Bad at Sports first came on my reader radar for the interviews. Or, more precisely, the conversations. Beyond the accessibility of the medium, podcasting’s greatest contribution to broadcasting is the reintroduction of elastic time. Without the constraints of advertising and station breaks and schedules and all that, a program can last as long as it needs to. At least that’s the idea. I’ve found the long, wide-ranging interviews heard on this podcast and in others to be enormously instructive in thinking about the interview, in how conversational it can be and in what types of questions or prompts are most productive in elucidating the practices and personalities of those involved.
My feeling at this point is that a great deal of my output here at Bad at Sports will be interviews with artists working with moving images and in time-based media. In thinking through how I want these to function in the coming year, I’ve assembled a few smart, funny, strange or otherwise interesting interviews I’ve seen or heard in the last little while that have opened up the form to me a bit.
Felix Bernstein, a precocious 17 at the time of the interview, spoke with the late George Kuchar in 2010. I’ve experienced a lot of interviews with George and he’s always funny and sharp and excellently dodges whatever questions might seek to polish the stained, patinated scum skin of his cinematic cesspool. I am typically simultaneously in love with his responses and estranged by how they’re evoked. His best interviews were always those he performed on and by himself in his diary and weather films. Felix, though seems a nice foil for his quasi-serious, arch antics of a reclining George. This kid does well and it’s a nice glimpse into this period of his life.
Screening Room was a Boston television program that ran through much of the 1970s. Its host, Robert Gardner, is a filmmaker, visual anthropologist and academic who served as Director of Harvard’s Film Study Center for 40 years. The show featured long-form interviews with critical filmmakers of the period and is still a wonderful resource for learning about these makers and getting to know the texture of their personalities. Here is a short portion from his interview with Bruce Baillie. Or, at least, it’s something like that. The film shown is also quite extraordinary.
I think Charles Bernstein (no relation, at least to the best of my knowledge, to Felix) is simply terrific. I’ve long admired his poetry and his critical work in poetics is astounding both for its breadth and its depth. He’s a great critic in part because of how well he listens. He’s also very generous and enormously funny. As an interviewer, here are three examples of what he does well. First, from a series of commercials in the late-90s in which Jon Lovitz played the author of the Yellow Pages. I vaguely remembered these from when they initially aired but have gone back and enjoyed them tremendously. In this long cut, Bernstein’s mental agility and openness to the expansive nature of poetics enables the joke to take on a much grander scale. If only Lovitz could keep up.
Here, Bernstein interviews pioneering underground filmmaker Ken Jacobs on his excellent Close Listening radio show. My favorite moment is at around 25:40, when the weight of Jacobs’ Marxian humanism and empath(et)ic anxiety is revealed.
Finally, here is Bernstein in the video-maker role, performing seasick camera moves and asking the amazing Caroline Bergvall language questions. A button film, but a wormhole into longer discussions.
This is a weird one. Filmmaker and curator Tyrone Davies is on the news in Missouri, chatting up his traveling film festival and thenâ€¦
This video has been seen almost two million times. Davies was able to parlay his infamy into a spot on the tosh.0 show on Comedy Central. Beyond all this, of course, Davies is a real artist and one who uses the medium of television in interesting and inventive ways. The way internet video and video commingle, antagonize and sometimes exist as one is the subject for a whole other post, but this is one in a long queue ripe for examination. Or at least “Like”ing.
Finally, here’s an interview of sorts with the great filmmaker, ethnomusicologist and lifer Harry Smith. This is from late in Smith’s life, but his ebullience, defiance and wit are still ferocious.
For whatever it’s worth, I cut this post in more than half, so let’s just call this Part One.
In 1934 a weather observatory positioned on New Hampshire’s Mt. WashingtonÂ measured the highest wind speeds ever recorded on the earth’s surface.Â 231Â mph. It would seem the recorded record has recently been broken, but I don’t think that makes the idea of 231 mph wind gusts (even one) any less terrifying. The Mt. Washington Weather Observatory is unique not simply because of the close eye it keeps on some of the world’s worst weather but also because it was first of its kind and remains one of the few observatories to maintain such a human presence. It is also the site for Jacqueline Goss‘ newest and longest film to date, The Observers. Jackie has been making fascinating, research-driven (mostly) animated essay films and new media works for more than a decade that have screened widely and received positive, thoughtful attention. In each, she evinces a strong interest in the ways codes and maps and systems of measurement shape our human experience. Her interests lie at the intersection of the quantitative and the sublime while her wry, trenchant intellect serves as an able guide through these strange, conflicting worlds. I encourage readers to become viewers (and stay readers) with both the 100th Undone and There There Square, embedded beneath the interview.
The Observers, though, is different. Or, at least, it looks different. It’s more than an hour long, it was shot on color 16 mm film, it’s peopled by something approaching actors and it exists very much in the real world. There are shared themes, certainly, but Jackie’s personality is less palpable in it, sharing space with her collaborators and the sheer might of natural phenomena. The film’s insistence on observation allows us long (and longing) glimpses at human labors, modes of measurement, the tasks of observation, an observer’s connections with others and others’ times, isolation, the natural spectacle, hints of narrativity and the cyclicality of years, of weathers. If that feels like a list, it is one written on a mÃ¶biusÂ strip and has room for many more inscriptions.
For those of us who have followed your work for a while, this may feel like a departure of sorts. Not too long ago I described (the bulk of) your work as “research-driven, animated documentaries and essay films.” This film, however, looks and feels very different. It’s shot on 16 mm, there are real people playing other real people in it, there’s almost no animation at all (and when there is it feels like the camera has simply rested on these images as it has on other “data visualizations” such as a thermometer) and your own presence feels displaced by that of a camera. Can you talk a bit about this shift?
Well, a lot of it has to do with having a kid which made me feel somewhat isolated and longing for a collaborative adventure with people I trusted and admired artistically. Having a baby also killed off part of my brain too, I think, and made my previous work feel kind of “book report-y.” I wanted to make something that appealed to the senses first with the brainy stuff maybe a little more in the background.Â Having said that, I don’t think it’s a huge departure: like most of my work, it’s still about the ways humans and their measuring systems come up against an immeasureably complicated and idiosyncratic world.
I think animation is very interior, very connected to writing for me and live-action is always, on some level, a documentary– something happens in front of a camera that is documented. I expect I’ll go back to animation soon, but this project was so much about waiting for something to happen, to point the camera at the land and sky and wait for it to perform in some surprising way and it always did. In Stranger Comes To Town I was starting to get to that by using World of Warcraft and I’d like to find other ways of courting the unexpected in animation.
The film is very much about isolation, about the solitary work of scientists measuring, tracking and bearing witness to unbelievably difficult weather conditions. What about the intersections of human labor and the intensity of this landscape made this subject so interesting to you? This is to say, why not a film about Mt. Washington without people?
Mount Washington, NH and the Weather Observatory interest me particularly because I grew up in the shadow of that mountain and WEATHER is the ur-text for people I grew up around. When I started talking to the real observers who work there, I was surprised by how differently their narrative of the mountain differed from mine. For instance, the world record for highest wind speed ever on the planet was held by Mt Washington until just two years ago. A month after we finished shooting, a typhoon in Australia took the record. I was bummed out about it, having lost this little bit of notoriety but the observers seemed to feel ok about it â€” their line was â€œWeâ€™re just glad someone was there to get the data.â€ I realized their narrative is on one level much more quotidian than mine â€” theyâ€™re thinking about the micro: changes from hour to hour in wind speed, pressure, visibility, temperature â€” but also much longer: they know the mountain and its weather is going to be around a lot longer than we are and that gives them a certain perspective. I feel like thatâ€™s part of what the film is about.
One strand that seems to run through all of your work (most of which, Chicagoans should note, can be found at Video Data Bank) is an interest in different types of measurement, in codes and in the ways subtle and not so subtle boundaries and data affect people. Can you describe your interest in measurement, the aesthetics of data and so forth?
I never really formed a philosophy about this stuff but it just seems to have become the dominant refrain of my work. I think it may be something very basic about my temperament: that I long to know and experience the unquantifiable, but am also pleased and comforted by order and information. I don’t think I’m alone in that- it’s probably a tenet of being human. I do love stories about people who try to quantify, measure, and map but get their goals messed up by all the color and noise of the world.
In the production notes for the film you note (happily) that Dani Leventhal performs without affect and later you consider how to compose shots to avoid the feeling of artificiality. You also mention that you “fear telegraphing emotion!” I’m hoping you might expand on these concepts a little and describe, now that the work is complete, how you feel about the balances you’ve struck between artifice or construction and observation.
I’m pretty happy with it. There’s a shot in the film of Dani in bad and her eyes sort of travel up. All I did is hold my finger in front of her face and move it up and said, “Watch this.”Â That’s about an emotional as I let her get.Â When my Mom watched the movie and saw that shot, she said “Good acting!” So I felt like I had gotten something right. I do feel like the pitch is right. My least favorite experience as a film viewer is watching someone like Sean Penn go to town on a scene emotionally while the narrative grinds to a halt. I’m way more into Bresson’s approach where the actor doesn’t act, and the filmmaker has to bring the emotional cadence to the scene by making choices about light, composition, sound, and duration.
Still, I’m no Bresson and there are little moments in The Observers that make me flinch. I wish Katya Gorker didn’t frown quite as much (though that’s kind of what her face does!)
Many people have asked why we didn’t just use the real observers but instead used “actors.” Part of it was just the practicality of not wanting to bug them –they’re pretty busy.Â But it also gave me much more control to try things out.Â Obviously the stuff with the box is a fiction for instance. And I wanted to have some sort of fictional tension between the two observers even though they never meet.
Relatedly, you mention the notion of editing that is “often predictable (in an avant-garde fashion).” There are a variety of what we might call experimental or avant-garde techniques that filmmakers use much in the same way a conventional film might use their own codes. I think some of these reflect more a shared interest in, say, observation or in a slowed pacing (or, conversely, in an ecstatic, incomprehensible mesmerism) than they do a reliance on specific techniques to telegraph the work’s “experimental” characteristics. How important to you is it that these techniques be used in unpredictable ways? To what degree do these aesthetic signifiers help to situate viewers and their experiences such that, in this case, they don’t angrily require a less oblique narrative or are able to maintain a heightened criticality with regard to the veracity of the images?
Well I think you’re asking how do you pace it so people don’t get pissed off by the duration of the shots or have too much time to consider what’s fake about it? You’re right — some people hate this film because it’s a “nothing happens” filmÂ I love “nothing happens” films but I often tire of the predictability of the edit.Â For instance, I remember watching James Benning’s “8 1/2 x 11” and, even though I love that film, I could predict every single edit point. Character leaves frame. Beat. Cut.
That’s OK — but I wanted to try not to do that — It’s hard! Kelly Reichardt helped me a lot by looking a early cuts of The Observers and pointing out every time I did it.Â If every shot or scene has the same arc, it’s fatiguing.
(an excerpt from The Observers)
The Observers is showing, on a loop, in the Sullivan Galleries here in Chicago until the 19th. Though the film functions cyclically enough that one could watch it twice in a row and find interesting intersections between the seasons, their observers and our own observations (and is bookended visually by these physical, home address style numbers on the observation deck), it’s over an hour long and does have a specific thrust. Can you talk about this mode of exhibition and, more broadly, how you want your work to be experienced?
Originally I did conceive of it as a loop– that you wouldn’t know which came first: winter or summer.Â The knots-tying and the drawing of the knots got reduced a lot in the edit, but if a viewer looks carefullyÂ you see that D’s knots are there when Katya is drawing, and you see K’s drawing when D is tying.Â So somehow they are communicating and it’s impossible to know which came first.Â The data interlude kind of stymies that read because it is so linear. But I love that it’s showing as a loop because that’s the real narrative of the mountain and what they do.
The cast and crew for this film are very small. It comes as no surprise given your background and milieu that your cinematographer Jesse Cain is also an experimental filmmaker or that your sound recordist/composer Holland Hopson‘s other work can be situated within an avant-garde context, but why did you choose two moving image makers as your on-camera talent?
Well these are four people I like and admire so much and wanted to work with. I didn’t set out to “cast” filmmakers — Dani and Katya just seemed right to me tempermentally and physically — I knew they could handle the mountain and they both are so interesting-looking to me. It also meant I didn’t have to explain so much what I wanted — they just got it.Â Dani especially just always did the right thing at the right time with her body.Â In Walter Murch’s book In the Blink of an Eye, he talked about how Gene Hackman always intuited the edit as an actor and blinked where the shot should end.Â Dani’s kind of like that. She just “got” the pace of it.
Finally, if you could, please describe the shooting conditions of the film. I literally put on a second pair of socks when re-watching the work because the howl of the wind was making me shiver. Reading the production notes imbues the film with a kind of heroic quality. Was the intensity of the process an important component of your return to photographically-based image making?
Maybe more important to a return to collaborative filmmaking. I wanted us all to experience something together, to be stuck somewhere together, and to have to help and trust each other. In the winter stuff, we were rarely cold because we were prepared, but the wind was so overwhelming, we had to scream at each other or gesture to each other to make ourselves understood. It was hard, hard work but thrilling.Â Sometimes we’d scream at how beautiful the sky was. In some way the summer was harder because there were more people around and it kind of ruined the romance of isolation, but we knew that would happen and that’s part of the film. But we were still a team.Â At one point Jesse got sick and we had to rally and carry on without him. At that moment, I was super glad I had three other capable artists with me. I hope to work with all of them againÂ I’m ready to carry somebody else’s tripod through 80 mph wind!
Jesse Malmed is brand new to Chicago. This is his second blog post for Bad at Sports. His activities as an artist and curator can be tracked at www.jessemalmed.net.
I was very excited when Jason Rohrer agreed to conduct and interview with me within his newest game Sleep is Death. The game typically allows a host player and a guest player 30 seconds each to collaboratively navigate an interactive story. In the video above, you’ll be getting my side of our conversation, as you watch me type, move, and interact with the environment Jason provided for our discussion.
During the course of our adventure we talk about games as a creative medium, Jason’s decision to opt for 8-bit graphics, and how his games have changed over the course of the past decade. I soon find out that making certain decisions within the game lead to great, unforeseen, incidents of chaos and pleasure.
Near the end of our conversation, Jason discusses how games are intrinsically about meditating on time. Many of Jason’s games involve cooperation with other characters or entities, which – depending on your willingness or investment – can greatly influence the direction and development of your experience. With Jason’s games, once is not enough, and many times I find myself wanting to replay his games not out of any vain desire of completion (which happens to me frequently with big-name video games), but instead as a way of investigating how I play.
I suggest that games like Passage offer a challenging alternative to typical “choice” driven blockbuster games (like “morality engine” games developed by Bethesda Softworks). In Passage, you navigate an complex labyrinth to earn points; however, as you advance further into the maze you grow older and can travel less quickly. You also have a chance to picking up a partner to join you in your quest, and although doing so can prevent you from accessing certain areas, you gain more points the further you travel with your companion.
Jason’s passion for his work, and their powerful impact upon traditional gamers and non-gamers alike provide unmistakable evidence that games art art. I believe Sleep is Death and Passage are emblematic of a distinct shift within the gaming and art world; a movement away from gloss and sheen, and a revisitation to affect and process.
Art Babble has for a while been for me a great example of a institution just putting a few people to work and creating something on the net that is both useful, fun, well designed and not covered from head to toe with the trappings or promotion of the parent institution. Conceived, initiated, designed, built, sculpted, programmed, shot, edited, painted and launched by a cross-departmental collection of individuals at theÂ Indianapolis Museum of Art Art Babble takes IP that they already have and presents it in a way that is greater then the sum of it’s parts. Too bad Art institutions haven’t been able to do the same with the net or social media on average.
Bad at Sports would like to welcome Devin King as our latest guest blogger. “Devin King lives and works in Chicago. His first book of poetry, CLOPS, is out from the Green Lantern Press and the newest production of his serial opera, Dancing Young Men From High Windows, was part of the 2010 Rhino Theater Festival.”
Before Stephen Lapthisophon moved to Dallas in 2008, he worked and taught in Chicago for over 25 years. He’s represented in Dallas by The Conduit Gallery, has shown work recently in San Antonio at Unit B, will be doing an installation soon for The Henderson Art Project and currently teaches art and art history at The University of Texas at Arlington. I spoke with him over a few weeks last summer about his installation practice.
Through this, I’ve been interested in how his installations, paintings, and text/image essays effectively erased old conceptions of relationships between objects and their histories. As you’ll see, we spend a bunch of time trying to nail down exactly what he’s getting at. Lapthisophon says its an attempt to rethink our surroundings. I’m not sure we ever answered the question.
In Graham Harman’s recent book on the French sociologist of science Bruno Latour (Prince of Networks: Bruno Latour and Metaphysics), Harman describes Latour’s philosophy as “play[ing] out amidst microbes, tape recorders, windmills, apples, and any real or unreal actors that one might imagine.” Moreover, Harman continues, “Latour has no real interest in the pathos of depth: though his actors can always surprise us, these surprises always emerge at the surface of the world, not from some veiled underworld ruled by the shades of [philosophers, theologians, or poets.]” Against Harman’s description of Latour, Lapthisophon welcomes the irrational and poetic in our own responses to his work–Lapthosophon’s work with disjunctive elements reinforces Latour’s image of actors (be they objects, ideas, pictures, or personas) and their surprising emergence at the surface of a world of shifting relations.
The first thing I wanted to talk about was arrangement. You have an intuitive installation technique: you start with a small number of found objects/photocopies and build out into more materials–finding resonances through addition.
I think this is the result of an interest in limits and boundaries between art and everyday life experiences. I enjoy testing the tolerance level of a situation to see how much or how little can be added or changed while still living in the world of art. It is very much process oriented and, I hope, an open process–embracing flux and change: an open process reliant on intuition and chance operations. However, the method of working additively is neither sequential nor additive itself. I am guided by willful irrationality, chance, accident and mistake. I want to challenge accepted ideas concerning causality and intention.
Can you talk a bit about your idea of a “tolerance level of a situation” and how it manifests in your installations? Read more