> Chia-Yun Wu (taiw)
Darkness within darkness
dual-channel paper made video installation / site specific / 2017
The work attempts to visually represent the Chinese philosophy of Tao, a formless natural law that yet informs a way of life whilst eternally resisting description. Yin and Yang form one body with two sides, a central concept of Taoism and of this piece. Tao is empty yet inexhaustible; hidden but always present; a way of life yet not a locatable truth. darkness within darkness seeks, in the same way, to be comprised of the very contrast between the established and the abstract.
In the beginning, the work aims to investigate the essence of moving image, and tries to “materialize” the digital image, which is composed by computer memory. After film was invented in 1895, people have watched moving image through the movement of film roll over a century. However, as the film roll is transparent and smooth, and it can almost represent the reality through projection, it’s hard for audience to observe the fact that the essence of moving image is actually the continuous-still-images of 24 frames per second. Moreover, after the digital image has been developed, image can exist within electron without physical material such as film roll, and it can be displayed just through LED monitor, etc. Thus, moving image has become an invisible virtual data. I then try to experiment the media transforming in order to present the one body with two sides (Yin and Yang) between moving image and still images, and recall the essence of image – time, through physical material, in the generation when film roll is disappearing.
Firstly, divide the recorded video into the original 24 frames per second, and then print the continuous-still-images of 24 frames per second on the non-transparent papers to replace the traditional process of image exposed on film roll. And then, use digital scanning to replace the process of film projection, and edit the scanned continuous-still-images to re-compose a moving image. This moving image consists of the papers’ dust and wrinkle from the process when printing and scanning, therefore, it’s not only an invisible digital data but also a physical material, which keeps the evidence of existence.
As the persistence of vision of human eye, when continuous-still-images move, they are automatically processed as moving image. Thus, the paper made video could lead audience to re-think the work’s media and meanings from the interfering of the huge amount of dust and wrinkle within the video. Moreover, the work can be a reflection thinking of the relations between the oriental philosophy – “one body with two sides” (Yin and Yang) and the western born video – “moving image equal to still images”. At the same time, I would like to create an image memory which is not only within electron but also physical for my won, such as paper, in this digital generation. It not only communicates emotion via the sense of craft in technology, but also presents the logic of existence rationally in new media.<