----------empyre- soft-skinned space----------------------
Yes, of course! That is why your name was familiar. I can see now how Best of 
Luck with the Wall (variant) ties in with your installation at Stuttgarter 
Filmwinter. I can see now that the unrelenting gaze of the surveillance camera 
or drone is something you're very interested in, as well as the potential for 
subverting those machines. 
Best Wishes,
Toby


 
Toby Tatum

http://www.tobytatum.com/  



Toby Tatum's films are distributed by Collectif Jeune Cinéma  



Recent interviews online here & here

 

    On Tuesday, 10 April 2018, 12:42:29 GMT+1, Garrett Lynch 
<garr...@asquare.org> wrote:  
 
 Hi Toby
Yes we met recently at Filmwinter when you showed your work The Signal.  I 
really liked the sonic composition that accompanied that and Grottoes and 
Groves is just as impressive.
The length of our work (apart from the necessity of the 34 hours) came out of 
our thinking about one interpretation of expanded cinema (in regards to time 
literally expanded) but also watching both videos and music on YouTube.  Videos 
that petform a technical feat of being 'the longest video on YouTube. ..' and 
audio being time stretched to several hundred percent, usually using Paul 
stretch.  Ironically our video surpassed most if not all of those video's 
length but became unrecognisable by YouTube,  Vimeo and even most html5 players 
(in the case of the latter they can't handle the length of the time code - 
luckily I did find one that could).
With all this in mind folding our work back to the web makes a lot of sense for 
us as most film festivals can't accommodate the length so exhibiting at 
Invisible Geographies is ideal.  We've been luck enough as well to be invited 
to exhibit at EMAF next week which is running for a month and they will run our 
work continously so it should be at a different point at the same time each day.
Not sure about geological or reptian time but certainly a non-human/machinic 
vision of the space, perhaps similar to a drones, and that fits well with what 
is occurring on the border (hi-tec surveillance that's even outsourced to the 
public, which we found horrible).

regards
Garrett
_________________
garr...@asquare.org
http://www.asquare.org/

Artist in residence at:
https://www.facebook.com/peripheralforms

On Mon, 9 Apr 2018, 9:32 p.m. Toby Tatum, <tobyjamesta...@yahoo.co.uk> wrote:

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
----------empyre- soft-skinned 
space----------------------_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu  
----------empyre- soft-skinned 
space----------------------_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu  
_______________________________________________
empyre forum
empyre@lists.artdesign.unsw.edu.au
http://empyre.library.cornell.edu

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