Lindsay Seers & Keith Sargent

Anomaly 4, 2020

There is no singular way to sum up this work. It does not really want to be explained by an elucidating text; it wants to rest in the medium that shapes it. It does not follow a convention of story telling that governs theatre/cinema. What it does follow is a freewheeling set of associations and the vagaries of our interpretations of events. As a construct it wants to be like consciousness might really be … fragmented, discontinuous, oscillating, driven to constructing false cause and effect narratives from endless occurrences that ultimately have no clear singular causal relation'.

Yet one thing seems to lead to another.

We could say about this film “An alien form studies the earthlings from its spaceship. It conceives of dance as a language that seems to have a truth lacking in human writing and speaking. It is bewildered by the contradictory nature of the conventions that govern humankind - of their own making. It has more trust in animals. It sees the politics of a dance by Leni Riefenstahl performed on an island off Germany - an island swapped with Zanzibar …causing an Omani Princess to escape to Germany.

But everything is entangled not just by a singular flapping of a butterfly wing.

It seems that the medium has become more than 'a massage' as McLuhan proposed (no where near as gentle).

Our technological, mathematically defined image systems can no longer be understood as a simple image thrown through an aperture like a camera obscura. If an image was ambivalent in the past as to its relationship to the cause and effect narratives of history, its susceptibility to digital manipulation – both in software edits and in the hardware processes of image-making devices (running proprietary firmware has led to an even more dense and pressing problem where programming assumptions), accident, and chance govern how the image emerges. Events are left to be written by each human consciousness in ever multiplying versions of something that seems to have no well-defined content or meaning. Documentary no longer exists.

Hallucination and projection abound. Let's dance to feel in the spaceship of zero gravity and feel our embodiment …dance - but not for TikTok.

Visit Lindsay's website / visit Keith's website
The right-wing fuselage is the largest section of the craft and contains three essential features. The most complicated of which is the prism-powered processor. In form it bears a lot of similarities to the ventilated prism in the left-wing fuselage, but its function is entirely different. Powered by light refractions, it can make more calculations per second than required.