‘Theo Eshetu in Conversation with Selene Wendt’
“investigation of the manipulation of the language of television is inspired by anthropology, art history, scientific research, religious iconography, history, and personal experience, seamlessly brought together in multimedia works” (100)
video as “the sum of influences from other forms of expression” (100)
conceptual progression attached to development in video technology changed: “[1] the ugliness of VHS brought about an exploration of its conceptual basis, and [2] working with broadcasting media brought about a dialogue between high and low culture and highlighted a more subjective approach in contrast to the so-called objective approach of television. [3] The introduction of digital technology brought about reflections on the relationship between originals and copies and on the preservation of dying ideas.“ (`102)
Re: feeling unhappy with how Blood is Not Fresh Water turned out: "I [initially] felt the experience was greater than the video I made about it. In hindsight, however, I was wrong to undervalue the results”. (103)
“I’m not necessarily interested in just the image or the sound, but a third meaning that is born out of that combination. You might see an African mask and hear soul music, but it’s not really about the mask nor the soul music, but the idea that emerges out of the combination of the two.” (107)
“In The Myth of the Flaneur Walter Benjamin speaks about allowing your observation to just be an observation and realizing that there is vitality and strength in that disenchanted observation.” (109)