|Note: If you see this text you use a browser which does not support usual Web-standards. Therefore the design of Media Art Net will not display correctly. Contents are nevertheless provided. For greatest possible comfort and full functionality you should use one of the recommended browsers.|
indicate the boundaries of decentralization. This is what essentially differentiates his reflection of deterritorialization and disintegration from the deterritorialization discourse carried on by other cinematographers of the desert.
comparable to the first rigorous film documents of the surface of the moon. At the same time, it « &will feel like a record of the last wilderness on earth, a film to be taken into outer space as a souvenir of what nature once was.» After finishing the film in 1971, Snow thought that moments of ecstasy and totality prevailed. There was a zero point, an absolute center, a nirvana-like nothing, a lack of gravity, an orgasmic dimension, « &the ecstatic centre of a complete sphere.» This kind of incorporeal seeing, which is «beyond all subjective finality» (Raymond Bellour), reminds one of automatic recording and viewing machines that engage in viewing without seeing. This is a purely technical kind of viewing, which, in this case however, has no supervisory, controlling, guiding function. It is, as Alain Fleischer correctly wrote, «pointless,» mere performance (and thus also practically natural). The things Smithson and Snow each move (translate) from one «desert» to another «desert,» could not be more different. Whereas Snow s (mostly) dehumanized camera movements completely obey the camera robot, and the «human factor» is limited to constructing the machine, programming it,