I wasn't able to attend the introduction class for the multi-channel project so my background may be a  bit uninformed. I did scan over the examples that were linked on Moodle and after reading some of the other ideas by my fellow classmates I think I've come up with a loose plan. I've decided to keep it simple when concerned with underlying meaning, yet somewhat complicated with the editing and execution. I've been very busy lately and this is causing me to become disoriented and tired. With that in mind, I want to use two screens. One will be upside down and on top of the other screen. Playing with the "multi-channel medium" I want to use a pillow that will fall back and forth between the subjects (me?) on either screen. They will both be yearning for the pillow, but can't ever seem to hold onto it. The screens will disorient themselves, twisting and turning, upside down and backwards, as the subjects fight for the pillow to be on their screen. This should work perfectly in a loop. I'm finding this hard to explain in words and that may be a good thing.

Me by Mike Zeile
56 seconds
Digital Video

In Dick Goody's article titled "The Roving Eye: Aura and the Contemporary Portrait" he states, "From our various perspectives, when we look at a portrait we are naturally wary of falsity or the staged guise." Goody describes the search for truth in portraiture quite clearly as we, the viewer, try to pick out the falsity in a [sitter's] face. I agreed for the most part with this statement, but after viewing the exhibition I found a few that stuck out to me that made me think twice. Woman gliding southeast at 70 mph on Highway 101 sometime in March 1990 (Listening to the Silence), 1992-1993/2008, Andrew Bush, photograph. ----- A dozen useless actions for grieving blondes #1, 2009, Rosemary Laing, digital photograph. These two pieces in particular seemed to defy the notion that Goody was trying to convey. In the first one listed, a candid photo of a woman driving in the 90's is an easy example of true unawareness. The woman looks to have no idea she is being photographed and her expression feels real and uncaring of who's looking in on her. The second portrait listed is more staged, but could also be considered within the realist spectrum. The pure disheartened and woeful gaze the sitter gives the viewer feels more powerful than a "staged guise". Although one is candid, while the other staged, I feel that Goody can't lump all portraiture into false truths. I've found, in these two portraits, that truth can be revealed and real emotion has been captured.