What's it Like to see like a Bat?
W HAT'S IT LIKE TO SEE LIKE A BAT? In 1974, philosopher Thomas Nagel used this question to introduce his famous essay about the nature of our perceptions. His question echoes through the thinking behind this ongoing study — part of a manifesto for slower, more playful seeing. The 'sketchbook' of works here are gathered from a path followed daily, thousands of times on foot and bicycle over several years. The hope (or exercise) is to stir a deeper attention towards our lived environments. The French might call this strolling style of observation the acts of Flâneurie, and at the turn of the 20th century it was an important practice for artists and thinkers of all kinds.
Intended as an ongoing sketchbook of observations, the following samples illustrate things as familiar as snowfall, frozen rivers, city infrastructure, trees frozen beneath ice, or beating waves and the architectural debris being reclaimed by life around it. Below are a variety of the strange and opposing wonders that shape our living, seeing paths. Each use combinations of film, digital and analogue techniques to imagine the familiar in unfamiliar ways — or simply, to see with an otherworldly eye.
Selections from the Journals
Nagel's question has always been intriguing, partly because it challenges the absolute beliefs we have in our own sensory perceptions. Many of us believe our perceptions to be the de facto standards of reality. And yet, our eyes can see less than 2% of 'light' surrounding us. Bats can echo locate, while birds, fish and insects can see more spectrums of light than we can, with microwaves and electromagnetic waves extending the spectrum of 'light' even further. What's even more remarkable are the ways that Monarch butterflies — who like many birds — can follow or 'see' the magnetic path of the earth. So with limited human vision, the rest is left to our imaginations to try and explore. The works here are in part an homage to this type of thinking, but on another level, they are also an homage to the art of image making and capture itself — ideas, processes and steps we've begun to take for granted. Playing with the philosophy 'of Other', it refocuses perceptions on all that remains unseen in the pathways we follow. At its core, is a way of seeing that doesn't ask to solve immediate perceptions, but to settle into their unfolding mysteries, and to surrender to a deeper vantage of other.
— michael graf