Writing Through Editing TMY

From XPUB & Lens-Based wiki

First Version

Enlightenment stems from an understanding of divine order, which is the flow of the cosmos.

This edition attempts to capture the pulse of Japanese life, following a cosmological and sonic clue.

Second Version

Using archival material of soldiers detecting the weather/enemy, I fictionalized a soldier looking into the distance with binoculars,travelling between the past and the future, poetically meditating on youth, eternity, the politics of idealism/communism, justice yet to come and lovers yet to meet, trying to break through the cruelty and despair of war and life.


War machine (Deleuze)

Karen Barad



Mousse 34

Agential Cut


Moving Images and Music

  1. the initial impulse of any film project comes from the structures of contemporary music, which do not rely on melodies, but on rhythm.
  2. Cornelius Cardew - Scratch Orchestra
  3. Luke Fowler
  4. the relationship between music, sound and image
  5. My search, which seems in a certain way historical, is not approached from a historiographical perspective, but is part of the voices that are currently in the atmosphere, voices that resonate with me as a present, not as a tradition.
  6. The methodology with which I approach the subject of the moving image has to do with a rather intuitive relationship with the structure of music and sound.
  7. I think in terms of harmonics and counterpoint, with a script that is perhaps more of a musical type and is not based on the logic of cause-effect or temporality-spatiality; it is more abstract and is related to ideas close to music theory.
  8. I am interested in thinking about how the present acts in the face of these historical gazes, the gaze is always from the present and thinks about the present. There is a historical enquiry in the search for matter on that lost film, which becomes image and which becomes sound.
  9. when I make a film, the atmosphere starts from the music and then I find different possibilities of editing the material.
  10. From the reflection on the body that appears in the performance as a gesture that retakes the physical body as an object of work, we should consider the lack of knowledge we have about what a body is, where it begins, where it ends. So, what is the question of individuality? I think it is almost ridiculous to speak, for example, of auteur cinema when cinema is a collective fact, however handcrafted and personal it may be. One as an individual is completely influenced by different situations, aesthetics, people, etcetera. We are collective beings.
  11. the relationship of historical moments as an instantaneous connection in time.