In the meantime, to a curator who used the term "affective" in her writing about my work, I responded by saying:
I am interested in your use of the term affective since I too am using it, but perhaps in a different way, drawing from Bergson's Mind and Matter in relation to my new theories on "remixology" and what it means to "become a postproduction medium." Living, in this way, is an auto-remix process that takes place via affective filtering and proactive manipulation of the source material we experience while selectively tapping into our memories, imaginations, and creative unconscious. Sometimes by entering these (potentially) negative spaces we reveal the darker undertones of a life struggling to be creative as part of an innate desire to participate in what feels like a cultural renewal process that keeps the body throbbing in its eros-driven agenda to stay alive. To stay alive is to come, again, or to make an appearance, an image-appearance, the way any image may come and reveal its in-and-out state of presence ... thus the possibility of a chora-obscura ...Chora Obscura is the working title of the third work in my Foreign Film Series ...
Metadata: chora, foreign film, body, postproduction, remix, art, Bergson