I have troubles with intentions – mine, and others. In my biblical studies days I was quite bitten by the post-modern bug and would argue that with texts we don’t have author’s intentions, we merely have words on the page. If intentions mattered anywhere, it was more with the reader than the writer.
Today, I don’t necessarily disagree with that opinion, but I also don’t clutch onto it as some kind of dogma.
When I look at and think about the photographs and videos I’ve been creating lately, especially the videos, I will admit I’m pretty baffled about my own intentions. I often don’t really understand why I film what I do. It may very well be evidence that I’m just thoughtlessly amused by the novelty of making videos and will point the camera at whatever catches my eye. I described my approach to someone the other day as intuitive, impulsive, and impatient. I think there is some truth to that, but I also think I like saying that because it uses alliteration and they all seem shockingly uncharacteristic of me – like I’m some kind of free-wheeling artist.
As much as I’ve enjoyed not thinking about my intentions, I don’t know that this approach is really helping me – or anyone who spends time watching anything I create.
So, I will try to explore my intentions with the most recent video I posted on YouTube – “The Cabin”. Here is what I know about my intentions:
I had gone out walking looking for things to film or photograph.
I decided to do a shot of the cabin, because a cabin in the woods seems like potent image. People like the idea of a cabin in the woods.
The light was nice and the birds were singing, so this seemed like a good time.
I had been talking with someone about how I like long shots, so I thought I should film for 2.5 minutes.
I shot what was the 2nd scene in the video first.
At some point, I decided to shoot three vantage points of the cabin, each for 2.5 minutes. This idea was inspired by, or mimicing the work of James Benning. James Benning has done several films using the structure of a series of single shots of uniform length. I don’t know why that structure appeals to me. Benning also has a relationship with cabins as he has built replicas of the cabins of Thoreau and the Unabomber on his property.
I was intrigued by the relationship of the trees – particularly 2 trees in front – with the cabin.
When assembling the video, I liked the progression from further away to closer.
All the audio was what was captured when filming.
And here’s the thing, I enjoy the final product, although I completely understand why others might find it baffling and stop watching after a minute. Perhaps investigating why I enjoy it might reveal why I made it.
I like the idea of long shots with little movement because I think that is the stance I would like to have with life. Slowly gazing. Slowly receiving. Not rushing. This is certainly more aspirational than actual. Even if on the surface what is being gazed at and or received doesn’t seem to have any significance, spending some slow, quiet time with it opens the possibility for significance to emerge. I’m attracted to the idea of living my life in long, slow, simple scenes.
I like the structure of three 2.5 minutes segments because even though it is very slow rhythm, it is a rhythm. Rhythm and repetition are the foundations of style and the patterns that hold together a sensible life.
At first I was going to dismiss the cabin as an inconsequential convenience, something to point my camera at, but the does evoke a solitude which is important to me. This solitude fits well with long, quiet, uneventful scenes.
So I guess underneath it all, I had some intentions, and expressed them. I will, however, be delighted somebody watches it and has a completely different experience.