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  • An everyday life in thrall to the spectacle […] should be understood as the systematic organization of a breakdown in the faculty of encounter, and the replacement of that faculty by a social hallucination: a false consciousness of encounter, or an “illusion of encounter.”—Guy Debord, Society of the Spectacle, 1967 In the early months of 2004, I travelled to New Hampshire as an intern for a documentary production at the Democratic Primary there. I was hired by Matt Ehling and Jim Taylo…
  • An everyday life in thrall to the spectacle […] should be understood as the systematic organization of a breakdown in the faculty of encounter, and the replacement of that faculty by a social hallucination: a false consciousness of encounter, or an “illusion of encounter.”—Guy Debord, Society of the Spectacle, 1967 In the early months of 2004, I travelled to New Hampshire as an intern for a documentary production at the Democratic Primary there. I was hired by Matt Ehling and Jim Taylo…
  • An everyday life in thrall to the spectacle […] should be understood as the systematic organization of a breakdown in the faculty of encounter, and the replacement of that faculty by a social hallucination: a false consciousness of encounter, or an “illusion of encounter.”—Guy Debord, Society of the Spectacle, 1967 In the early months of 2004, I travelled to New Hampshire as an intern for a documentary production at the Democratic Primary there. I was hired by Matt Ehling and Jim Taylo…
  • In the believing game we return to Tertullian’s original formulation: credo ut intelligam: I believe in order to understand. We are trying to find not errors but truths, and for this it helps to believe. […] To do this you must make, not an act of self-extrication, but an act of self-insertion, self-involvement—an act of projection. And similarly, you are helped in this process, not by making logical transformations of the assertion, but by making metaphorical extensions, analogies, associ…
  • In the believing game we return to Tertullian’s original formulation: credo ut intelligam: I believe in order to understand. We are trying to find not errors but truths, and for this it helps to believe. […] To do this you must make, not an act of self-extrication, but an act of self-insertion, self-involvement—an act of projection. And similarly, you are helped in this process, not by making logical transformations of the assertion, but by making metaphorical extensions, analogies, associ…
  • Art, like games, is a translator of experience. What we have already felt or seen in one situation we are suddenly given in a new kind of material. Games, likewise, shift familiar experience into new forms, giving the bleak and the blear side of things sudden luminosity.             – Marshall McLuhan, Understanding Media The arcade at the Ridgedale Mall in the mid-90s was called, I think, “Arcade,” and it was tucked into one of the far corners of the building, out of sight fr…
  • Art, like games, is a translator of experience. What we have already felt or seen in one situation we are suddenly given in a new kind of material. Games, likewise, shift familiar experience into new forms, giving the bleak and the blear side of things sudden luminosity.             – Marshall McLuhan, Understanding Media The arcade at the Ridgedale Mall in the mid-90s was called, I think, “Arcade,” and it was tucked into one of the far corners of the building, out of sight fr…
  • I’ve been a videographer for performance in the Twin Cities for more than a decade, documenting dance and theater at almost every non-union venue in town. The Walker Art Center’s McGuire Theater has its own in-house video people, but occasionally I shoot a show there, particularly when a choreographer wants more documentation than the Walker offers – more cameras and/or more nights of a run. Karen Sherman hired me and another videographer, my colleague Ben, to shoot two additional performa…
  • I’ve been a videographer for performance in the Twin Cities for more than a decade, documenting dance and theater at almost every non-union venue in town. The Walker Art Center’s McGuire Theater has its own in-house video people, but occasionally I shoot a show there, particularly when a choreographer wants more documentation than the Walker offers – more cameras and/or more nights of a run. Karen Sherman hired me and another videographer, my colleague Ben, to shoot two additional performa…
  • I’ve been a videographer for performance in the Twin Cities for more than a decade, documenting dance and theater at almost every non-union venue in town. The Walker Art Center’s McGuire Theater has its own in-house video people, but occasionally I shoot a show there, particularly when a choreographer wants more documentation than the Walker offers – more cameras and/or more nights of a run. Karen Sherman hired me and another videographer, my colleague Ben, to shoot two additional performa…