Writing Through Editing TMY: Difference between revisions
No edit summary |
|||
| Line 1: | Line 1: | ||
=== First Version: Echos of An Unverifiable World === | === First Version: Echos of An Unverifiable World === | ||
[https://vimeo.com/manage/videos/808621149 https://vimeo.com/808621149] | [https://vimeo.com/manage/videos/808621149 https://vimeo.com/808621149] | ||
==== From Sam ==== | |||
==== From Arabella ==== | |||
Can you bring the logic or tarot cards or astrology logic? | |||
response: | |||
When I talk about the cosmos it usually has nothing to do with astrology and tarot. I see images as another language, and astrology is another language. A non-dual language that I look for in images appears only in the constellations of the images. For the stars, we are the stars on earth. We and the stars are witnessing each other. The relationship between the constellation of images and me is also a kind of, non-dual, beyond the subject and the object. | |||
Can you now trace this propaganda to now? Can you make a contemporary link | |||
response: | |||
My work is not approached from a historiographical perspective. 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. | |||
I want to explore, the relationship of historical moments as an instantaneous connection in time. | |||
==== From Claudio ==== | |||
Notes | Notes | ||
# war machine (Deleuze) and propaganda? | # war machine (Deleuze) and propaganda? | ||
# Karen Barad | # Karen Barad | ||
# telepathy | # telepathy | ||
# the initial impulse of any film project comes from the structures of contemporary music, which do not rely on melodies, but on rhythm. | # the initial impulse of any film project comes from the structures of contemporary music, which do not rely on melodies, but on rhythm. | ||
| Line 11: | Line 32: | ||
# the relationship between music, sound and image | # the relationship between music, sound and image | ||
# 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. | # 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. | ||
# 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. | # 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. | ||
# 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. | # 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. | ||
# 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. | # 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. | ||
# when I make a film, the atmosphere starts from the music and then I find different possibilities of editing the material. | # when I make a film, the atmosphere starts from the music and then I find different possibilities of editing the material. | ||
# 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. | # 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. | ||
# the relationship of historical moments as an instantaneous connection in time. | # the relationship of historical moments as an instantaneous connection in time. | ||
| Line 20: | Line 41: | ||
=== Second Version: To The Revolutionaries to Come === | === Second Version: To The Revolutionaries to Come === | ||
Revision as of 22:18, 17 March 2023
First Version: Echos of An Unverifiable World
From Sam
From Arabella
Can you bring the logic or tarot cards or astrology logic?
response:
When I talk about the cosmos it usually has nothing to do with astrology and tarot. I see images as another language, and astrology is another language. A non-dual language that I look for in images appears only in the constellations of the images. For the stars, we are the stars on earth. We and the stars are witnessing each other. The relationship between the constellation of images and me is also a kind of, non-dual, beyond the subject and the object.
Can you now trace this propaganda to now? Can you make a contemporary link
response:
My work is not approached from a historiographical perspective. 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.
I want to explore, the relationship of historical moments as an instantaneous connection in time.
From Claudio
Notes
- war machine (Deleuze) and propaganda?
- Karen Barad
- telepathy
- the initial impulse of any film project comes from the structures of contemporary music, which do not rely on melodies, but on rhythm.
- Cornelius Cardew - Scratch Orchestra
- Luke Fowler
- the relationship between music, sound and image
- 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.
- 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.
- 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.
- 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.
- when I make a film, the atmosphere starts from the music and then I find different possibilities of editing the material.
- 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.
- the relationship of historical moments as an instantaneous connection in time.