My current MRES is practice based and I am looking at film artefacts in digital networks.
This will mainly involve a look at and engagement with youtube and ebay. Youtube as a kind of archive that replaces the need for projection but nevertheless attempts to display film based moving image material. It also allows textual material to accumulate around displays and it allows a certain kind of tracking of material in terms of viewings, downloads, etc.
Ebay I am treating as an archive of the material world and I am using it in several ways. 1 as a source for film artefacts to help inform and compile an archive of my own that represents the general creative aims of this specific collection but also 2, as a way to ‘stage’ original film works that I create myself. In these instances I am producing works with very specific parameters and guidelines. These artefacts are made available on ebay to purchase and ebay allows the collection of some material data that forms part of the archiving process.
The early practical stages of this project are unfolding now with the initiation of a youtube account you can visit. I have uploaded a first test clip entitled CAT001.
The films for ebay are being outlined and the ‘furniture’ that supports and structures the archive entity ‘NACHLEBEN EXPERIMENTAL FILM LAB AND ARCHIVE’ is being designed.
In some ways the entity (from archival science studies) is not merely myself and my personal interests. A focus on the 16mm format through the agency of the collective archive of ebay renders a kind of entity that is beyond my individuality and rather becomes the apparatus itself, all the 16mm forms on ebay (and anywhere) being a materiological expression of that system of moving image production and its context and expressions in history.
In many ways this is an object orientated study as I am foregrounding the artefact, its modes of production, its properties and its proclivities to numerous contingent factors especially arrangement in series (the archive) and its appearance through projection (cinema). But this foregrounding comes with my anthropocentric ideas about use and expression and this lessons my interest in an ontology that might seek to define film ‘as inaccessible and infinitely withdrawn from all relations’ (g.harman).
Its precisely its relations to us through the agency of its relations within itself that constitutes one part of Cinema that interests me, and Cinema here would need redefining in terms of epochal reach, digital amnesia and the socio-political tyrannical capacity of technologies.
Here is a basic account of one aspect of my creative practice in diagrammatic form.
Ideas arise within a mental platform I am labeling Granular Idea Moment. This really an attempt at producing a material account of the formation of ideas (for films).
If suitable, ideas are executed in their production. The production outcome is a film artefact.
The artefact undergoes an arrangement, OCN and 1 POS print are added to the Archive.
The 2nd POS print (1 of 2) goes for sale on eBay, one type of ‘cloud’ archive, dispersed, expansive, public, networked (although propietry).
It may or may not be displayed on youtube, another type of ‘cloud’ archive (as above).
A full account of the Granular Idea Moment will take place away from this blog as it quickly descends into an avalanche of theories. It is made possible by a rigid and rigorous ‘project format’ outline that defines the productions or films that I plan to make. It does this by a series of properties and markers that consist of things like:
When an idea arises that seems to fit several of these checks, then I make a note of it. Usually, or at least so far into the process, ideas arise in a complete form, almost like dictates to me from someone else. This process is of great interest to me. Is all creativity collective (Deleuze & Guatarri) as ideas arise out of the sub-conscious which itself is always collective? If so then even within a reading that says that any idea is a programmatic response to the material format it must inhabit (to some degree) it still contains ‘imagery’ that cannot be predicted so easily and must come from a collective ‘pool’ of desires, memories, visions, dreams, experiences, etc.