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Thanks for this Garrett. I'm watching this now, although I think a different
kind of watching is going to be be required of me for this piece. I'm going to
leave it rolling and drop in as and when. You're certainly at the outer limits
in terms of digital duration with this one. It suggests to me something
non-human, the relentless of some kind of robot or perhaps we're in the terrain
of geological time, or the time of reptiles (actually the subject of non-human
time-perception I find fascinating). I'm very drawn to the correlation between
the experience of watching your film and the experience of being in those
immense landscapes.
By way of introduction my name is Toby Tatum and I'm a film-maker from the UK.
The piece I contributed to the FLEFF is called The Toby Tatum Guide to Grottoes
& Groves. The piece resulted from a self-initiated vision quest into the
twisted labyrinths of the forest, specifically the ancient woods near my
Hastings home. The FLEFF curators have written an insightful piece of the
project here should you wish to take a look:
https://www.ithaca.edu/fleff/invisible_geographies/tobytatumguide/
Regards,
Toby
Toby Tatum
http://www.tobytatum.com/
Toby Tatum's films are distributed by Collectif Jeune Cinéma
Recent interviews online here & here
On Monday, 9 April 2018, 19:49:07 GMT+1, Garrett Lynch
<garr...@asquare.org> wrote:
Many thanks to Dale Hudson for inviting us to participate in the discussion.
Frédérique and myself are looking forward to some interesting discussion on the
subject of New Media Documentary Practice but also on the ideas and issues that
emerge from our work as part of Invisible Geographies.
Our work Best of Luck with the Wall (variant) and an introductory text about it
cane be found on the exhibition site here:
https://www.ithaca.edu/fleff/invisible_geographies/bestofluckwiththewall/
When invited to contribute to -empyre- on the theme of new media documentary
practice and in particular to "think about digital media and environmentalism
across vectors that are visible and invisible, material and immaterial, audible
and inaudible", our first thought was that documentary is not the principle
purpose of Best of Luck with the Wall (variant).
It is the purpose of Begley's original film, Best of Luck with the Wall, to
document the absurdity of building Trump's US/Mexican wall (its scale and so
forth). However, our 'variant' is foremost a critique of the form Begley's
film as comment/criticism takes - a time/space compressed experience of
travelling the wall. Given the social problems building the wall will create,
i.e. destroying US/Mexican relations when the US should be building better
relations with its neighbours, we wanted the experience of the film to be the
experience of travelling the length of the wall (34 hours by car), seeing all
the landscape, all the communities that will be cut in two. Nobody is going to
watch the 34 hours of our 'variant' (the one extra minute is simply our
credits) but if they do we want it to be a long arduous experience!
This is where we return to the idea of documentary, our 'variant' isn't any
more documentative than Begley's film is, that is it doesn't address the
subject of the wall to any greater degree, but it is more documentative of the
time/space of the affected landscape while still remaining a mediated and
immaterial experience of it. What becomes invisible in Begley's film because
of the speed of the edit accompanied by a pleasant soundtrack becomes visible
in our 'variant' because it is time stretched transforming the soundtrack into
a granular tortured soundtrack that makes the inaudible audible.
This is just one aspect of our thinking on this work. Others that we would
also welcome discussion from the list are:
- deterritorialisation;- political comment/criticism (in particular from an
exterior position);- deconstruction and documentation of political fact;- ideas
of appropriation (from Google, from Begley) and how they intersect with
plagiarism;- expanded film formats (time, generative);- time stretching as a
process in new media;
and the intersection of these subjects.
--
regards
Garrett Lynch & Frédérique Santune
_________________
garr...@asquare.org
http://www.asquare.org/
Current events and soon:
Real Virtuality The Networked Art of Garrett
Lynch:http://realvirtuality.peripheralforms.com/
A network of people who attended an exhibition and contributed to the creation
of this work
http://asquare.org/work/peoplenetwork/
Pick up a postcard and participate at any of the following galleries: Aksioma
Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery (Rhode
Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura Digital
(Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok (Stuttgart,
Germany), Guest Room (North Carolina, USA), Human Ecosystems (Rome, Italy),
Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda (Mexico City,
Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), NYU Art Gallery
(Abu Dhabi, United Arab Emirates), Open Signal (Portland, USA), Plymouth Arts
Centre (Plymouth, England), The Gallery at Plymouth College of Art (Plymouth,
England), Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA),
Watermans (London, England), Wilhelmspalais (Stuttgart, Germany), WOWA
(Riccione, Italy), ZKM | Center for Art and Media (Karlsruhe, Germany)
Garrett Lynch: A network of people @ Galerie XY (Olomouc, Czech Republic) 9 -
13/04/2018
https://www.facebook.com/events/177492866199740/
Best of Luck with the Wall (variant) @ European Media Art Festival, Report -
notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018
https://www.emaf.de/en/index.html
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empyre forum
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http://empyre.library.cornell.edu _______________________________________________
empyre forum
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