Q&A with David Lachman ('Secret Decoder Ring')

Continuing our series of blog entries for ‘Secret Decoder Ring’ we hear from artist David Lachman regarding his entry SNEW…
What was the inspiration for your piece?
This piece is a collaboration. We each had different things we brought to its creation. I know that we were both interested in how language works and wanted to see it in physical expression.
Why call it SNEW?
Humor is important to both of us. So the piece starts off with that old line: “whatsnew?” “I don’t know whatsnew with you?” The piece takes off from there and the possibilities of communication and miscommunication.
How do you feel this piece fits into “code” ?
We think it fits “code” because language and movement are codes, sometimes easily translated, other times not. Often it depends on what we are willing to know, willing to see.
Describe the concept, design, look of the piece?
We took a lot of footage with the performers and used props around the issues we were interested in. They are all in a dance troupe that Jodi runs so the dance they were working with touched on these issues. We ended up using less dance footage and more stuff with the props, but I think all that stuff is in there. And that is “code” again. The way art is code and we each have to break the code ourselves to complete the piece, just like a message. There are always the issues of translation.
What would you like viewers to take away from watching SNEW?
I think some of our answers have gotten to that, but I think it is good to remind ourselves that the piece is really completed in the viewers eye/mind/heart, and that means it will be different things for different people, and have different meanings over time for the same person. I think it is important to understand that communication is a process of human engagement, and that there is so much more there than just the words, or just the code. We always already make it up as we go along.
Thanks David!

Q&A with Jane Hudson ('Secret Decoder Ring')

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.

Thanks Jane!