01 2007
Timescapes. The Logic of the Sentence
Translated by Aileen Derieg
Angela Melitopoulos
Timescapes. The Logic of the Sentence
Translated by Aileen Derieg
Angela Melitopoulos
There is more logic in a sentence than in a speech.[1]
Instead of explaining everything with the purportedly imperative law of evolutionthat demands the reproduction of phenomena as a whole and their identical repetitionin a certain order, and instead of explaining the small with the large,the detail with the bulk, I explain the similarities of the entirety with the joining of small,elementary actions, the large with the small, the bulk with the detail. [2](Gabriel Tarde)
Timescapes[3] investigates non-linear editing as a constituent force of what is held in common against the power politics of segmenting memory, communication and the spaces of imagining; video production is understood here as memory work, which develops the potential of mnemonic narrative and assesses geography not through the representation of a filmed object, but rather through narrative structures and editing strategies arising through the emotions of the image streams.
Vectors of time in the image (its becoming, its history, its associative potential) can be formed in the editing: what is to resonate between the current image, its mnemonic potential and its future appearance, and what is present as the possibility of an artistic and ethical decision, is the work of editing. What is contained in this as subjectivity cannot simply be reduced to an individual comparison of current and virtual experiences of time, because our intellectual work is bound to the capacity of our action and “subjectivity is never only ours”, for “it is time”[4]. The mode of access in editing affords us the possibility of drawing conclusions about the relationship between the spaces of imagining, geography and image spaces. The essential capital of video technology lies in the possibility of shaping movement that is found in thought and making it accessible to us as a topology of times.
(read more: http://translate.eipcp.net/transversal/0107/melitopoulos/fr)
Timescapes[3] investigates non-linear editing as a constituent force of what is held in common against the power politics of segmenting memory, communication and the spaces of imagining; video production is understood here as memory work, which develops the potential of mnemonic narrative and assesses geography not through the representation of a filmed object, but rather through narrative structures and editing strategies arising through the emotions of the image streams.
Vectors of time in the image (its becoming, its history, its associative potential) can be formed in the editing: what is to resonate between the current image, its mnemonic potential and its future appearance, and what is present as the possibility of an artistic and ethical decision, is the work of editing. What is contained in this as subjectivity cannot simply be reduced to an individual comparison of current and virtual experiences of time, because our intellectual work is bound to the capacity of our action and “subjectivity is never only ours”, for “it is time”[4]. The mode of access in editing affords us the possibility of drawing conclusions about the relationship between the spaces of imagining, geography and image spaces. The essential capital of video technology lies in the possibility of shaping movement that is found in thought and making it accessible to us as a topology of times.
(read more: http://translate.eipcp.net/transversal/0107/melitopoulos/fr)
Sem comentários:
Enviar um comentário