I also realized that there were lots of unacknowledged theater forms going on all around. Our lives are filled with performances that have been so woven into our daily routine that the artificial and performative aspect has slipped into invisibility.
The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move.
Modern man lives isolated in his artificial environment, not because the artificial is evil as such, but because of his lack of comprehension of the forces which make it work- of the principles which relate his gadgets to the forces of nature, to the universal order. It is not central heating which makes his existence ‘unnatural,’ but his refusal to take an interest in the principles behind it. By being entirely dependent on science, yet closing his mind to it, he leads the life of an urban barbarian.
Darkness is usually portrayed as evil and light as good. What happens when light takes on ominous and threatening overtones?
This delightfully eerie and atmospheric short film, Light, is the work of Sunday Paper, the creative home of Cole Schreiber and David Parker. Their “goal is to create evocative, beautifully crafted images, showcasing stories that are thoughtful and compelling in any and all mediums.” The photography and cinematography of Light are gorgeous and the musical score is haunting. Sheer brilliance!
The unnerving and fascinating thing about this video is that it takes light, something we usually acknowledge as a friendly force in our lives, and gives it attributes that make us squirm. Peter Lauridsen’s evocative musical score illuminates and describes an ominous form of light: slippery and unpredictable. It drips and oozes. Lamps collude with one another, blanketing areas in radiance and pushing cars. If light chose to be evil, wouldn’t it be a more blinding and fearful enemy than darkness?
Humans have feared darkness much more than light because shadow hides so much from our eyes. Despite this, many religions speak of the most malevolent angels and demons as beings of light. Lamps are used to intimidate during interrogation, torture, and crowd control. Light pollution affects our health and robs us of our view of the stars. Poisonous ingredients are used to produce light bulbs. All of this shows us that light is not universally good, especially artificial light.
Are we too quick to let the luminous into our lives?
Directed by David Parker
Carlos Veron: Cinematographer
Kevin Zimmerman: Editor
Ritu Paramesh: Producer
The Mill NY
Colorist: Damien Van Der Cruyssen
Producer: Cat Gulacsy
3d Artist: Navdeep Singh, Thomas Bardwell, Joshua Merck
Producer: Marcus Lansdell
3d Artist: Aldrich Torres, Entae Kim, Yuheng Chiang,
Juan Cristobal Hernandez.
Compositing: David Parker, Cole Schreiber.
Original score: Peter Lauridsen @ Stimmung
Sound design and Mix: Lindsey Alvarez @ Lime studios
Maybe we are all prospective migrants. The lines of national borders on maps are artificial constructs, as unnatural to us as they are to birds flying overhead. Our first impulse is to ignore them. If we stay where we are it is not because the instinct for migration is entirely absent from our nature, but because friends, family, home, opportunity — or fear, laws, inertia, laziness — keep us from moving. For me, as an immigrant, recognising that those already resident in the place to which I have immigrated often themselves wish to emigrate suggests a giant circle of human motion and potential motion of which I am a part.