<nettime-ann> [dvd] 06:32:00 Recombined

["lists" <lists@asquare.org>]

.

Announcing the release of a dvd art work with online documentation by=20
Garrett Lynch:

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06:32:00 Recombined
http://www.asquare.org/project/063200_recombined/

Recombinatory cinema suffers from two diametrically opposed issues.
How=20=

do we make a film that is always different, whether that be through=20
interaction or some other means, yet retain a narrative as defined by=20
the author / director?

06:32:00 Recombined started as an idea to make a film which
recombines=20=

itself continuously yet is cinematic in its experience with
acceptable=20=

flow and / or believable cuts. It is a film, which chooses its source=20
footage, documentation of one of the artist's night's sleep, as a=20
starting point for conscious active creation later when awake. This=20
sampling becomes a generalisation, a base of information that can be=20
recombined in numerous ways, potentially any or all nights sleep yet=20
guarantees a range of movements and possible outcomes that can be
taken=20=

into account and planned for.

By combining the scenario of the sleep, the uncontrolled footage=20
captured at this "acting stage" of the piece, with the controlled use=20
of this footage when awake, the "editing stage", the artist attempts
to=20=

maximise creativity and expression. Both sides are equally important
to=20=

the creation of the work. Each is sited as the location for the two=20
stages of what classically make a cinematic creation, the "acting"
and=20=

the "editing", yet here nothing is acted for the camera and nothing
has=20=

been edited out.

Essentially it becomes a choice between narrative and form. Form=20
dominates and replaces narrative so that a system or schema can be
put=20=

in place where the film directs itself. Narrative within the film=20
becomes irrelevant instead the system becomes a narrative of all=20
possible outcomes. The system tells a story of generalization /=20
repetition / pattern instead of the actual sequence of images on the=20
screen yet each time the movement through the sequence is credible=20
because of their range of possibilities. Movement through the film is=20
controlled by the technology and not predefined by the artist. This
is=20=

echoed by the body's movement on screen which is not consciously=20
controlled by the artist at that time. Both the image of the artist
and=20=

the technologies continuously different combinations of its movements=20
form an unconscious or auto portrait of the artist.

06:32:00 Recombined was shown at Videoformes=20
(http://www.videoformes.com/) 2005.


References:

Peter Weibel, Expanded Cinema
Lev Manovich, Soft Cinema (2002), (http://www.softcinema.net/)
Mike Figgis, Timecode (2000)
Zbigniew Rybczynski, Tango (1980), Nowa Ksiazka (New Book) (1975)
Tam=E1s Waliczky (http://www.waliczky.com/), Der Wald (The Forest),=20
(interactive cd-rom version, (1995)
We Live In Public (2000 / 2001)


a+
gar
__________________
Garrett@asquare.org
http://www.asquare.org/


a+
gar
__________________
Garrett@asquare.org
http://www.asquare.org/


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