As part of our ‘Secret Decoder Ring’ video installation, we will blog a Q&A series with various artists represented in this video.
The first is with digital artist Jane Hudson. Enjoy!
Why did you call your work “desiring machines?”
The piece is related to Gilles Deleuze’ ‘Anti-Oedipus’ in which he coins the expression ‘desiring machines’. This concept defines the trajectory of desire we seek to express which is constantly constrained by the institutions of State, family and culture.
What was your inspiration for the content and the design/look of this piece?
I had been working with digital animation, and became interested in the rather mechanical quality of movement I could achieve with the animation of still images. As well I had been using the technique of compositing for some time, and loved the way I was able to create a totally synthetic space for the figures to move in.
How or why do you believe ‘desiring machines’ fit into the topic of code?
If ‘code’ indicates the translation of all phenomena into digital information, then the ultimate constraint/filter through which to drive desire is the quantification of the body.
What would you like viewers to take away from watching your piece?
Hopefully, the ways in which the body is thrown from the cone of time onto the constantly moving surface of life to act out a pattern of expression that seeks to define an identity.
Describe the music, who produced it, and what rhythm were you looking for and why?
My husband, Jeff Hudson, created the sound track for the piece. I wanted an electronic pulsing complex that illustrated the thrust of the cone and the undeniable power of the return.
What format did you produce this in and how long did this take you to complete?
I produced the piece, first, in digital photo, then imported stills into Adobe After Effects for animation and compositing of 3-D, video and still images. The piece was mastered in widescreen Final Cut Pro.