VIDEO





Elemental
Polyptych
HD, 3 min each (simultaneous projection)
Santiago, 2009

1. Computer malfunction (Earth)
2. Serious crimes (Water)
3. I’ve got a secret (Air)
4. Access denied (Fire)

Elemental consists of four videos, built with fragments of films related to tech issues. There are short stories, a bit absurd and clichés, as fragmented pieces of a larger story that is not accessible any more.
This project has been designed for wall projection in a 12 minute loop.

 

Elemental

The digital world is a complex domain. However, its depiction by the film industry usually bypasses much of its inherent complexity. Cinematic fictions about technology tend towards hyperbole: they either assume that computers are powerful, beautiful and perfect, leading to a future of endless evolution and development, or they prophesize the opposite- technology will ultimately lead to a regression towards the destruction of the planet and the human species.
Such fantasies about the unlimited power of technology are at odds with the noise, impurities and unexpected appropriations that define the use of digital technology in the Third World. The purpose of this work is to address the gap between such idealized perfection and everyday anomalies.
Elemental consists of four videos of 3 minutes each, assembled from vectorized pieces of films. These are mini stories, absurd and clichéd; fragmented pieces of a larger narrative to which there is no access or whose meaning has been lost.
Shots depicting computers were extracted from eight films and arranged to form a basic narrative. Each story progresses in three parallel channels that overlap for only a few seconds: image, sound and text coexist as independent media, as lines that briefly intersect and then separate again. The sound is abstract and the text, imposed as subtitles, is a fantasy – it mirrors a nonexistent voice.
This project addresses the task of creating video without a camera, appropriating material produced by others in order to focus solely on post-production techniques. The overwhelming flow of images in everyday life renders irrelevant the act of capturing new images. This is consistent with Occam’s admonition: entities should not to be multiplied in vain.
This kind of work implies beginning with raw material of very low quality, which nonetheless allows for the retrieval of “pixel material”. The HD format is used to obtain quality and size, but not for its ability to generate a “hyper-realistic” image. The process of vectorizing the image is akin to drawing and animation, making it more ambiguous and manipulable, not only through editing cuts, but also in its surface quality as a matrix of pixels.