Through an aerial robotic displacement, the sublimity of northern Canadian landscapes is surveyed by the machine-eye, calibrated to the spectator’s own point of view. The work opens onto a snow-covered drive-in cinema, where a white movie screen at the center of the landscape invites the viewer to lose themself within the machine’s perspective (“God’s-eye POV”) as it traverses the terrain. As the aerial tracking shot moves through the disorienting white desert—unsettling perception and producing vertigo—the spectator adopts the drone’s elevated, destabilizing viewpoint, that of the machine-eye over the landscape. The project thus situates itself within an inquiry into cinematic language (point of view) and digital arts, leading the spectator to undergo a singular sensory experience while being confronted with their own perceptions of the moving image. Do robots dream of landscape?
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