Last week was the end of DOXA fest here in Vancouver and, while I’d planned on putting up a little post about it while it was still on, I happily spent all my spare time casting shadows in the flickering light of the projectors at the Cinematheque and the Vancity Theatre watching intensely beautiful and, sometimes scientifically themed documentaries.
In the well-planned variety of films chosen this year, I saw men driven mad by probable government agents feeding them stories of aliens so as to distract them from the stealth bomber testing they’d observed, a wordless scenes of a life and death in a rural Brazilian village, doom metal from the apocalyptic landscape of post-financial-crisis Las Vegas, and astronomers peering up from the Atacama desert in to the past life of stars while old ladies searched the sand with small shovels for the bones of their loved ones taken from them during the ‘disappearances’ common under Pinochet’s rule.
The theme of the festival – secrets and lies – ran through all these films. But something else surfaced from within the stories of the people and the places on screen. Something linking science to art. Through the science most of us are exposed to today, we know so much about the way the world works. Whether it be tourism, astrophotography, animal husbandry, or government atrocities, there’s a reality that can be studied and documented.
What I felt was being captured in the festival – the art of it – was the showcase of how individual’s emotions fit into the documentable reality, and, more importantly, how they sometimes don’t. The resulting pictures are of sorrow, longing, and misplaced happiness and how people fit their own emotional lives into the reality of the world.
Not too long ago I saw another kind of artistic capture of something from the world of science in the photography of Rose-Lynn Fisher and especially in her studies of human tears. I won’t copy the images here, but her site has a series of pictures which capture the differences of tears between persons and between feelings. I was especially struck by an image called “Tears of change” where a large, squared rather solid-looking crystal is surrounded by a sea of shattered wavy ripples. Each image is unique and I’m sure connected to the person’s thoughts and feelings at the time the tears were shed.
So now I wonder if this is the role of the artist – to capture the emotional life of a being’s living reality. How much of this reality is based in our surroundings, our situation? How much of that situation does the artist need to show in order to help the viewer understand the emotion? The documentary format is, of course, the ideal platform for the kind of presentation that provides that context.
In the images of tears, we have to wonder about the person’s situation based on the title of each image. This is powerful too – in order to identify the situation that could have caused the tears, we look inward to an experience of our own we could conjure. Something our reality has included that made us cry similar tears.