Seven Days invites the viewer to contemplate the complex relationship between the structures we invent in order to observe the natural world and the structure we perceive as a result of those observations.
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Welsby’s short (and similar) brings to mind the hasty assumption that film couldn’t appear elsewhere but in a society possessed by seeing and a ‘hygiene’of senses. The seventh art looks like a sensible outcome of such purist ideology. ‘Seven Days’ projects the shadow of a camera - itself a box of shadows that works as a museum-like interdiction instrument: see, but don’t touch. Landscape through lenses is a botched