<x-rich><fontfamily><param>Arial</param>Announcing the release of a dvd art
work by Garrett Lynch:


<bold><bigger>06:32:00 Recombined</bigger></bold>


Recombinatory cinema suffers from two diametrically opposed issues.
How do we make a film that is always different, whether that be
through interaction or some other means, yet retain a narrative as
defined by the author / director?

06:32:00 Recombined started as an idea to make a film which recombines
itself continuously yet is cinematic in its experience with acceptable
flow and / or believable cuts. It is a film, which chooses its source
footage, documentation of one of the artist's night's sleep, as a
starting point for conscious active creation later when awake. This
sampling becomes a generalisation, a base of information that can be
recombined in numerous ways, potentially any or all nights sleep yet
guarantees a range of movements and possible outcomes that can be
taken into account and planned for.

By combining the scenario of the sleep, the uncontrolled footage
captured at this "acting stage" of the piece, with the controlled use
of this footage when awake, the "editing stage", the artist attempts
to maximise creativity and expression. Both sides are equally
important to the creation of the work. Each is sited as the location
for the two stages of what classically make a cinematic creation, the
"acting" and the "editing", yet here nothing is acted for the camera
and nothing has been edited out.

Essentially it becomes a choice between narrative and form. Form
dominates and replaces narrative so that a system or schema can be put
in place where the film directs itself. Narrative within the film
becomes irrelevant instead the system becomes a narrative of all
possible outcomes. The system tells a story of generalization /
repetition / pattern instead of the actual sequence of images on the
screen yet each time the movement through the sequence is credible
because of their range of possibilities. Movement through the film is
controlled by the technology and not predefined by the artist. This is
echoed by the body's movement on screen which is not consciously
controlled by the artist at that time. Both the image of the artist
and the technologies continuously different combinations of its
movements form an unconscious or auto portrait of the artist.

06:32:00 Recombined was shown at Videoformes


Peter Weibel, Expanded Cinema

Lev Manovich, Soft Cinema (2002),

Mike Figgis, Timecode (2000)

Zbigniew Rybczynski, Tango (1980), Nowa Ksiazka (New Book) (1975)

Tamás Waliczky
Der Wald (The Forest), (interactive cd-rom version, (1995)

We Live In Public (2000 / 2001)








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