They contain long, sumptuous scenes in which not much is happening.” And you will find those dramas are not all frenetic action. Look at 10-hour Netflix dramas that people consume in blocks, hours at a time. I mean, the long form has a place in contemporary culture. It’s an underestimation of people to feel that their attention spans have disappeared. It’s pleased me that people have described spending hours looking at the work. But we’ve found that people are capable of doing that. “Some people find it boring and get uneasy. You’re trying to encourage people to adjust to the speed of the work.” And then the images change, but they change really gradually. Once you hear music you know this is going to take a while. “For me, using music is a way of saying to the visitor that this thing happens in time, it’s a way of saying: settle down. He mentions the contemporary cultural tendency to speed through museums, barely pausing for selfies and snapshots of what you’re supposed to be looking at. Technology does tend to encourage this view.
You know this notion that we’re all supposed to process stuff faster and faster and can’t fix our attention on anything for more than an instant?” He shakes his head. “It’s always changing,” Eno says, “and it is slow, deliberately so. Image: Courtesy of the artist and Lumen, London Nothing happens suddenly, but no image is ever fixed and static, it is always becoming something else.īrian Eno, 77 Million Paintings. Intensely coloured, the images mutate against a constant symmetrical template, and both sound and image proceed at quite a slow, hypnotic pace. In a continual sequence of fades, in and out, the programme combines elements of four of the images, accompanied by a constantly changing soundtrack. At the heart of the work is a computer programme with a cache of hundreds of image and audio building blocks at its disposal.
One feels the real number might be close to infinity. The number specified in the title is not a definitive estimate. Preparations included building a large temporary wall, a projection screen rather than a barrier, which also houses what he terms “a fairly serious sound system”. His technical team had been in town for the best part of a week. In the hours before the opening of his exhibition 77 Million Paintings at the RHA in Dublin, Brian Eno was to be found manoeuvring a vacuum cleaner around the floor of the sparse installation of spindly tree trunks that forms the setting for his sound and moving image epic, which unfolds on a large projection screen.
0 kommentar(er)
