I work in six dimensions. Y, vertical, X, horizontal, Z, depth, T, time, V, the vector from the viewer (the camera’s ﬁlm plane) to object , and S, sound. In the creation of a piece I cut away that which is not necessary in both XYZ,T, and V(S). Before T can be edited, XYZ (the object created), then V (the vector from camera to object) must be constructed, followed by the tuning of the temporal element. Finally, with the visual side in place, the sonic side can be attempted (again in XYZ,T, with the vector inverted to S).
The work is projected onto a ﬂat plan which extends into inﬁnity (the resolving power of the eye and ear). These dimensional events are processed there, upon this plane, rather than in the cones and rods in the back of our eyes. Overall, this movement of the place of rendering that which is 3d to 2d, is a choice of utility. By making this transition at the screen plane I am not conﬁned to the set laws of reality, which bind us when rendering 3d space with our own eyes.
Within proper sequence, “XYZ,V(S),T” this combination creates facility. It is this facility which allows one to speak with a certain force. I plan to direct this force towards imposed hierarchical structures. These structures are analogous to the algorithm above in that, we, like the object created, live within a particular structural hierarchy. Thus as we have escaped the laws of gravity in the rendering of 3d to 2d outside the human eye, I hope to free myself from their rule.