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Mark Aerial Waller
Waller's extrapolations from a vast range of sources are not exclusive to video but also include a use of audio.

Shot once more in night vision, Sons of Temperance (2000) evolves around three agents in search of lost recordings. Stored in secret devices on invisible frequencies, they can be retrieved and interpreted as the voices of primordial civilisations that were saved in the grooves generated in the process of crafting ancient ceramics. To complement the narrative, the background noises throughout the entire video are played backwards, manifesting Waller's interest in experimenting through the medium of sound.

This reveals how, on a structural level, Waller's practice is, like that of Maya Deren, anagrammatical. All elements co-exist in a network of reciprocally influencing relations: whether through the alternation of colour to black & white, the separation of images from sounds, the repetition of dialogues over new sections of video, or actors pausing between performing times.

Literary quotations typically surface in titles, some of which, like Reversion of the Beast Folk and Midwatch, reference, respectively, the cult sci-fiction novels The Island of Dr Moreau (1896) by H.G. Wells and John Wyndham's The Midwich Cuckoos (1957). White Stags (2001) instead is an adaptation of the ancient Roman myth of Diana and Actaeon in which the goddess Diana transforms her apprentice into a stag so that he can't reveal he had seen her bathing naked. Reinterpreting Actaeon's voyeurism in Ovid's original myth, Waller sets his video in an open-air swimming pool, where Diana prompts Daggers to chase white stags beyond the limits of the immediate bathing surroundings. The theme of vision - Diana's binoculars are in fact metaphors of her ultravision - doesn't only concern the protagonists, but also engages the spectator, who is forced to look at the moving images as if through a glass lens.

White Stag (2000)
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