Interface and Indetermination

Interface. Or perhaps, as a prompt or proposition, interfaces? Ever since Manovich described (perhaps too quickly) as fundamental the deep difference between database and narrative, the plasticity of the gap between database, content, and interface has found itself married to the immaterial through a moment of slippage. Even if it is not explicitly stated, the […]

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Interactive Documentary and Digital Poetics version 0.4

In Australia the peak research funding body is the Australian Research Council (the ARC). Getting ARC money is a big deal. Highly competitive and as they always tell you, the money runs out well before the good projects. For most academics this is the royal road in Australia to fame and fortune. A simple indication […]

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Affective Assemblages: Documentary Practice

My slides from the 2012 Visible Evidence conference held in Canberra in December. Arguing that network specific ‘aggregators’ such as Cowbird are documentaries, that such systems revolve around or respond to indeterminacy in particular ways and are therefore affective assemblages (affect engines) in the sense of affect provided by Deleuze in Cinema One.

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Archives, Relations, the Sensory Motor Schema

An archive is a collection policed by archivists. An archive is a collection haunted by the rigours of integrity. An archive is, at heart, a closed institution. An archive is usually thought to be made up of things, the objects that it is an archive of. It is the presence of these things that constitutes […]

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Wholes and Parts, or Shots, Edits and Sequences

This is why we can cut up shots, why meaning does not disappear (meaning might change, but that is an entirely different proposition than the sorts of meaning that are possible or can be proposed about the half painting or half novel), as we have qualitative wholes, and this why half a shot is not the same thing as half a page. … As its basic unit is duration, a qualitative whole that is independent of quantitative scale, it always remains open to other series and so able to posit itself as a point of possible connection with other shots to form higher order series.

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Softvideo, Relations, Assemblages

Things, whether they are ideas, video sequences, or sentences have an immensity of relations that they are situated within and by, and things only come to be known to the extent that they actualise these relations. … In my work I begin from different premises where simultaneity, rather than seriality, is used in an effort to make concrete how soft practices produce and require promiscuous relations, that these works are determined by relation and so soft systems are engines and assemblages that enable these multiple relations.

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Archive Relations

This also means we can think of these relations as objects in their own right, and so pose the question and problem of what an archive of relations would be, and what is a relation, when considered as an archival object. Finally, this also means we can speculate about a new, virtual archive, which treats the relations that happen between its objects as the subject and object of its archival and curatorial practices and regime, and what, if anything, the implications of this are.

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Draft: Korsakow and Affect (2)

Here I take the movement image and the sensory motor schema and use it to think about Korsakow films: This tripartite series of noticing, deciding and doing is underwritten by an economy of movement and action that ranges from the purely autonomous (for example homeostasis) through to the relatively free (reading a menu to decide which meal to eat). … This ‘enlarging’ in a Korsakow film is achieved through including and allowing for multiple points of view, polyvocality and even simply because an affordance of online media is the ability, in concert with combinatory systems, to utilise as much footage as desired (since you are now liberated from having to choose amongst original footage to make your work fit a strict duration).

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