[spectre] 06:32:00 Recombined

lists lists at asquare.org
Wed Feb 22 23:03:31 CET 2006

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


06:32:00 Recombined

Recombinatory cinema suffers from two diametrically opposed issues. How 
do we make a film that is always different, whether that be through 
interaction or some other means, yet retain a narrative as defined by 
the author / director?

06:32:00 Recombined started as an idea to make a film which recombines 
itself continuously yet is cinematic in its experience with acceptable 
flow and / or believable cuts. It is a film, which chooses its source 
footage, documentation of one of the artist's night's sleep, as a 
starting point for conscious active creation later when awake. This 
sampling becomes a generalisation, a base of information that can be 
recombined in numerous ways, potentially any or all nights sleep yet 
guarantees a range of movements and possible outcomes that can be taken 
into account and planned for.

By combining the scenario of the sleep, the uncontrolled footage 
captured at this "acting stage" of the piece, with the controlled use 
of this footage when awake, the "editing stage", the artist attempts to 
maximise creativity and expression. Both sides are equally important to 
the creation of the work. Each is sited as the location for the two 
stages of what classically make a cinematic creation, the "acting" and 
the "editing", yet here nothing is acted for the camera and nothing has 
been edited out.

Essentially it becomes a choice between narrative and form. Form 
dominates and replaces narrative so that a system or schema can be put 
in place where the film directs itself. Narrative within the film 
becomes irrelevant instead the system becomes a narrative of all 
possible outcomes. The system tells a story of generalization / 
repetition / pattern instead of the actual sequence of images on the 
screen yet each time the movement through the sequence is credible 
because of their range of possibilities. Movement through the film is 
controlled by the technology and not predefined by the artist. This is 
echoed by the body's movement on screen which is not consciously 
controlled by the artist at that time. Both the image of the artist and 
the technologies continuously different combinations of its movements 
form an unconscious or auto portrait of the artist.

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


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)
Tamás Waliczky (http://www.waliczky.com/), Der Wald (The Forest), 
(interactive cd-rom version, (1995)
We Live In Public (2000 / 2001)

Garrett at asquare.org

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