Erik Sanner Home Visual Other About

kisokaido = moving?

so the argument for video earlier was basically "hey you could record a lot of what you see." and this was reinforced last night when i saw a woman, a well-dressed together-looking middle-aged professional-looking woman walking swiftly in high heels turn her head and emit a powerful stream of vomit into the street, in midtown. wow. ok so then another one does the same thing, maybe five seconds later. both barely pause, just keep on going. would you want to see that?

but the tension between the still and the moving. if i say "hey this one cone near tastes like chicken looks like it's bleeding"

if that's video, what's the advantage, camera movement from unsteady hand?

these cones in a garden by the boat basin, do you want to see the flowers moving in the breeze?

this looks like - well, it's a water balloon.

but you don't get the weirdness of how frequently, having met him, i keep running into david, or the largeness of the splash, that this is all happening at jack the pelican...

matthew and i just skyped, we were talking about lessening our loads, no computer, no video camera, i never used to take a camera travelling ever, just wanted to experience things directly and maybe remember them in the future...

so is writing the answer? this water balloon image, i actually have a nice video clip of it, but it's the sort of thing where all of a sudden you're influencing events, would it have been as theatrical without being documented?

isn't writing, umm, sort of, ummm... ok so i've been doing a lot of visual art. right? and visual art, anyone can more-or-less immediately experience it, right? different time periods, different geographies, different cultural backgrounds, we can still, most of us, most places on the planet, see the same thing, pretty quickly. writing, not so much.

accept video and that's what it's going to be, video? equipment, and time-consuming nature of production? maybe matthew is writing something and i'm doing a video something and the only collaboration is that we're walking? no, that sounds very wrong.

ok, so thinking, many more days to solve dilemmas or find what it is that we want to do. but moving pictures, moving prints, moving paintings, straight video - seems like i won't be able to avoid it? (traffic cones of the kisokaido?)

still conveys fine that "huh?" when you stumble across bread and milk on an industrial building shuttered windowsill.

but not the blinking of the lizard on the man's head, next to you on the subway bench.

combinations? focus more on movement or stillness?

what do you really want to do?

what did hiroshige really want to do?

all this was just maybe two hours of walking today, we're going to be doing more like eight...

there are no rules for this sort of thing, are there. our lives, we pretty much make them up as we go along. our art, it's arbitrary. you can take from tradition, you can give to tradition, but you're going to be confronted, over and over, with very fundamental decisions, about what you want to do.

and before they're decisions, they're vague unsettling notions...

eva and wes

sibling rivalry/cooperation