#d-lux 3

[ivanjurado]

Chan Marshall. San Diego, CA. 4/16/2008

[pamflett]

Nämndrapport 20 januari: verksamhetsområde

På Kretslopp och vattennämndens sammanträde förra veckan hade vi ett flertal informationspunkter och några beslut.  (more…)

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[pamflett]

Skriver i metro om överklassens destruktiva hederskultur och ekonomiska brottslighet

Skriver i metro om överklassens destruktiva hederskultur och ekonomiska brottslighet

Det är något speciellt med pappersupplagan ändå.

Idag publicerade Metro i sin papersupplaga artikeln jag skrev i torsdags med anledning av Polisens specialsatsning i 14 områden för att bekämpa organiserad brottslighet att nästa polisiära specialinsats borde ske i Göteborgs överklassenklaver. (more…)

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[pamflett]

Processägarskapet för ökad resurshushållning rullar på trots att målet är avskaffat

Processägarskapet för ökad resurshushållning rullar på trots att målet är avskaffat

Mötet hölls i rådhusbyggnaden ritad av Gunnar Asplund.

Idag hölls egentligen det sista mötet med kommunstyrelsens ansvarige Ulf Kamne (MP) för oss som är processägare för fullmäktiges mål om ökad resurshushållning. Nästa års budget innehåller inget sådant prioriterat mål men arbetet fortsätter ändå. (more…)

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[pamflett]

Äntligen är alla tvivel skingrade kring luftmätstationen i Gårda

Äntligen är alla tvivel skingrade kring luftmätstationen i Gårda

På väg till mötet med Luftvårdsprogrammet och GR:s styrgrupp för miljö och samhällsbyggnad cyklade jag förbi den mobila mätstationen i Gamlestaden.

Under mitt decennium i Miljö- och klimatnämnden diskuterades hela tiden huruvida luftövervakningsdata från mätstationen i Gårda var relevanta för att bedöma om Göteborg klarar miljökvalitetsnormen för luft. På dagens sammanträde med…

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[fancysouthdos]

Bertoia Diamond Chair in Copenhagen Bike Shop by d.goligorsky on Flickr.

[f-f-t-t]

Last Night in Montreal

5:42 min

For my 100th post I figured why not include something that I made. This will be a rare indulgence, I promise you. 

Note: this film is meant to be played in a dark room, with the sound up to almost an unbearably loud level. Do it! You know you want to.

Here's the blurb I wrote a while back to accompany the film:

This film is the first part of three sections that were all shot over one 24 hour period. 

This particular part was shot beginning at dusk and ending sometime around dawn. The piece is constructed with somewhere around 1100 still images. The idea was to take a simple camera and a familiar space (my dining room in my old apartment) and explore the camera's basic relationship to light and time. I plotted out a course of the camera physically traversing the space via it's optical zoom, and along the way I evenly adjusted the aperture and exposure along discrete points. The film thus follows the retraction of the zoom in a linear fashion, and finally jumps back to it's starting point at the end, I suppose suggesting that this action could repeat itself over and over again. 

Standing there taking a slightly adjusted photograph constantly for several hours was a very unusual experience, and for me personally the passage of time and the rhythm of constantly taking a photograph is an unshakeable element of the film. Oddly enough, when considering how it plays for those that are just watching the film as an end product only, I came to realize that it feels rather fleeting and almost compresses time into a series of rhythmic bursts of light that fall back into darkness. The distraction of what the zoom will potentially reveal, as well as the suggestiveness of the music, as it's somewhat married to the rhythm of the light fluctuations, are also elements that revealed themselves after the fact when sifting through what I'd done. My initial idea was to try to make something that attempts to expand time. That was the case for me in the creation of the film, but I think that perhaps it somehow achieves both an expansion and compression of time and space for others. It is also very important that the viewer is 'looking for something to happen'. I'm not sure if it does or doesn't occur. That's for the viewer to decide, I suppose.

I also found that photographing that space and standing there in silence for all that time altered my perception of that space. What was essentially a non-space (the camera was positioned in a hallway close to the entrance of the apartment) becomes transformed by the lens, as it shifts from the particular to the overall in it's zoom retraction, as well as how much light the lens lingers to pull in or the shutter closes up to reject, and so on.

I just wanted to see if I could create something invigorating and challenging out of the space I occupied for several years and hadn't really considered previously. Soon after making this film I moved away from the city. 

The music is taken from Keith Fullerton Whitman's Lisbon.