[Nettime-bold] [ot] [!nt] \n2+0\

[integer@www.god-emil.dk]

 Alex Adriaansens <alex@v2.nl>
 
 >JORDAN CRANDALL   -  DRIVE
 >An installation on the perception and conditioning of the human body 
 >through technological viewingmachines in the last century.
 >
 >Exhibition at TENT in cooperation with V2_Organisatie in Rotterdam.
 >Time: 25 januari until 11 februari 2001 open di - zo, 11 - 18 h.
 >Location: Witte de Withstraat 50 in Rotterdam
 >
 >Jordan Crandalls installation 'Drive' is being presented in TENT in 
 >cooperation with V2_Organisation.
 >Drive is about the influence of moving images onto the spectators. 
 
 Hello Alex.
 
 I am making an adjustment - imaging the influence of spectators on moving spectators.
 
 
 >About 
 >their psychological and physical impact. But it is also about the 
 >development of the cinematographic language 
 
 Marker
 
 
 >and its deep connection with 
 >the changing society. 
 
 Develop svp +?
 
 
 >Crandall has conciously 
 
               consciously  
 
 
 >embedded Drive in a 
 >historical and political context. Historical by using old film techniques 
 >(Super 8 mm and 16 mm), which he transformed into a contemporary document 
 >by DVD and the latest software. Political by using civilian and military 
 >images. Military footage shows a very different approach than 'ordinary' 
 >film does. It does not register movements but tracks them. 
 >Crandall combines recordings by espionage cameras, 
 
 Espionage cameras seldomly track whilst cinema cameras oftenly track.
 
 
 >satellites, Night Vision devices 
 >and thermal imaging cameras, to create an interaction of movement, 
 >technology and even erotic desire. 
 
 I am in a cord.
 
 
 >This way Drive's hybrid post-cinematic 
 >imagery contributes to film history.
 
 Marker
 
 
 
 
 >Link: 
 
 May i offer an observation - logicians would adore you.
 
 
 Lets listen to your.cells. Ready +?
 Camera. Track
 
 
         But it is also about the 
         development of the cinematographic language 
 
         This way Drive's hybrid post-cinematic 
         imagery contributes to film history.
 
 
         Historical by using old film techniques 
         (Super 8 mm and 16 mm), which he transformed 
         into a contemporary document by DVD 
 
 
 
 In other words - JORDAN CRANDALL contributes to the dev. of cinematographic 
 language by contributing to film history because JORDAN CRANDALL has
 transferred (Super 8 mm and 16 mm) to DVD.
 
 
 
 NN has always adored V2.
 however __y o u r elegant observations Alex, contribute to the dev. of a new love affair, 
 an interaction of movement, ___... and even erotic desire. 
 
 
 
 !zotrop!kl!.nn
 
 
 
 
 
 
 
 
         
 
 
 
 
 
 
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                                                 v3kt0r.r2!n - ztra!ng !n 2 dze z!ngular!t!
 
 
 
 -
 
 Netochka Nezvanova
 f3.MASCHIN3NKUNST
 @www.eusocial.com
 17.hzV.tRL.478
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