“Parallax is an apparent displacement or difference in the apparent position of an object viewed along two different lines of sight.” (from Wikipedia)
Three micro-scenes featuring Jack Lemmon (two from The China Syndrome and one from Missing) are repeated while the soundtrack (Lemmon’s pre-verbal utterances from The Odd Couple) shifts ever so slightly with every iteration. A “sound work with image”, this work enacts the concept contained in the title, with the exception that the image is viewed in relation to sound and not to another visual object. The Parallax View is predicated on what might be called the “synchronization paradigm”, essential to the suspension of disbelief inherent within cinematic space: the viewer’s predilection to associate a given soundtrack with a moving image, regardless of perceived or projected synchronicities. In this context, memory plays a vital role, especially as the image undergoes progressive enlargement or shrinking, while sonic signposts move backwards and forwards in time, edging closer towards possible simultaneities while others recede into subconsciousness and become part of a vast reservoir of unfulfilled potentials.