Split Diopter 2
The cinematic device known as the split diopter is akin to bifocal glasses for the camera. It involves a supplementary half-lens applied over an existing one, allowing one side to focus on a nearby object while the other is trained on something farther away. This creates an image that is simultaneously shallow and deep, with an occasionally visible seam running down the middle.
In analog photography, depth of field is achieved through small apertures and long exposure times, but moving images require higher speeds to avoid blurring. The split diopter was conceived to overcome this hurdle, providing an efficient way to maintain sharpness across varying depths. Although rarely employed in current film production, this somewhat antiquated implement might now supply us with a handle, a graspable means to consider the complex dynamics of extended visualization, in contrast to the more mysterious workings of today鈥檚 technologies.
Contemporary cameras increasingly override human perception, producing evenly distributed, high-definition images where no detail escapes. Such flattening of vision is presently commonplace. The split diopter, which anticipated this trend, has fallen behind it. Yet for this reason precisely, it might now allow for reflection on the general concept of resolution in our data-driven visual economy. The technical flaws of this silver screen artifact have turned poetic, encouraging analysis and speculation on what has been lost beneath today鈥檚 wholly visible fields.
Split Diopter 2 explores the relationship between fine art and cinema, as well as the impact of technical optics on creative practice. This exhibition disassembles the cinematic apparatus of the 鈥渨aking dream鈥� into a collection of parts: still frame, action sequence, mise-en-scene, soundtrack, film reel, promotional poster, etc.鈥攅ach of which is assigned to an individual work of art. Navigating this array of objects in the space of the gallery, viewers are enjoined to imagine their own filmic narrative, while also reflecting on its material means of construction.
A soundtrack has been composed for the exhibition by Eyvind Kang. Also included is a dance video shot with a split diopter lens, choreographed by Brian Golden and performed by Jas Lin, Madison Ostrach, and Euseon Song. Finally, Split Diopter 2 presents a documentary in which artists Stan Douglas, Lynne Marsh, Patti Podesta, Jeffrey Stuker, and Liam Young discuss the influence of cinema on their respective practices.
*Split Diopter 2 is based on Split Diopter held at Chapman University鈥檚 Guggenheim Gallery and Co-Curated by Guggenheim Gallery Director, Marcus Herse.
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The cinematic device known as the split diopter is akin to bifocal glasses for the camera. It involves a supplementary half-lens applied over an existing one, allowing one side to focus on a nearby object while the other is trained on something farther away. This creates an image that is simultaneously shallow and deep, with an occasionally visible seam running down the middle.
In analog photography, depth of field is achieved through small apertures and long exposure times, but moving images require higher speeds to avoid blurring. The split diopter was conceived to overcome this hurdle, providing an efficient way to maintain sharpness across varying depths. Although rarely employed in current film production, this somewhat antiquated implement might now supply us with a handle, a graspable means to consider the complex dynamics of extended visualization, in contrast to the more mysterious workings of today鈥檚 technologies.
Contemporary cameras increasingly override human perception, producing evenly distributed, high-definition images where no detail escapes. Such flattening of vision is presently commonplace. The split diopter, which anticipated this trend, has fallen behind it. Yet for this reason precisely, it might now allow for reflection on the general concept of resolution in our data-driven visual economy. The technical flaws of this silver screen artifact have turned poetic, encouraging analysis and speculation on what has been lost beneath today鈥檚 wholly visible fields.
Split Diopter 2 explores the relationship between fine art and cinema, as well as the impact of technical optics on creative practice. This exhibition disassembles the cinematic apparatus of the 鈥渨aking dream鈥� into a collection of parts: still frame, action sequence, mise-en-scene, soundtrack, film reel, promotional poster, etc.鈥攅ach of which is assigned to an individual work of art. Navigating this array of objects in the space of the gallery, viewers are enjoined to imagine their own filmic narrative, while also reflecting on its material means of construction.
A soundtrack has been composed for the exhibition by Eyvind Kang. Also included is a dance video shot with a split diopter lens, choreographed by Brian Golden and performed by Jas Lin, Madison Ostrach, and Euseon Song. Finally, Split Diopter 2 presents a documentary in which artists Stan Douglas, Lynne Marsh, Patti Podesta, Jeffrey Stuker, and Liam Young discuss the influence of cinema on their respective practices.
*Split Diopter 2 is based on Split Diopter held at Chapman University鈥檚 Guggenheim Gallery and Co-Curated by Guggenheim Gallery Director, Marcus Herse.
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