frost frames © Kazuo Fukunaga
This method of projection makes the screen exist as a non-materialistic membrane, not merely as a representative space for image projection. It reminds us that the self-shadow from inside the Plato's cave becomes a metaphor for the existing world, and it hides the essence of images as membrane. This device for the duality of sight creates interface for another side of the world, and they affect each other.
The fast-projected images are a series of images shot by DV (digital video camera) with electronic high-speed shutter of 1/10000 second, and each digital image is shown per 1/30 second.
The image from one projector is from landscape, and the other from human body. They are not created by visual effects, but are actually shot automatically from DV attached to a moving vehicle or machine.
What is recorded digitally, which is unperceptible to naked eye, is reduced to the analog state, perceptible by human eye. These images are not the feedback from human senses and perception, but are what electronics have seen and generated as image-mechanic /machinic. The images are cut up by technology's high-speed, extended, and penetrate our eyes as "tranquil and crazy images" (Shiro Takatani), or whiteout (Doesn't the system have similarities with the system of human memory?).
Sound made with Ryoji Ikeda, cooperating in the production, is in tandem with the changing memory counter, and generates breaks, along with the images, by random stop.
The image of "whiteout" in the "frost frames" shares the same concept with dumb type's work [OR] (1997-1999), for which Shiro Takatani is a core member.
Initially created for Canon ARTLAB at the Spiral Hall in Tokyo in May 1998, frost frames has since been presented in Lyons, Créteil, Maubeuge (2000), Sendai (2001), Toulouse (2002) and Jerusalem (2005/2006).