Friday, June 22, 2007

Postproducing Bodies (of Work)

(After Henri Bergson)

How could recollection arise after everything is over?

Is it true that perception per se consists of a cinematographic process wherein we take snapshots from the passage of time and string them on a becoming that is at once abstract, uniform, and invisible, situated at the back of the apparatus of knowledge?

Does the "streaming togetherness" of instantaneous sections which can freeze into elongated pseudo-photographic moments in postproduction position the work of time-based media in a state of aesthetic paralysis?

Or is that time-based image that now embodies a duration of its own really taking place in a body-brain-apparatus achievement that we hallucinate into the fluid (moving) picture frame?

Creating the impression of a continuity of movement is one thing.

Remixologically synthesizing a sequence of image events in perpetual postproduction is another.

In the first instance, one is merely living with eyes wide shut.

In the other, one is engaged in the revolution (practice) of everyday life (as a projection of interior shots, metatagged with experiential potential).

The durational drift of the remixologist's bodily rhythms postproduces an intuitively generated lifeform that can be translated into a time-based media fiction [narrative event].

This time-based media fiction unfolds in time while duplicating itself in the virtual.

What You See Is What You Forget.

The postproduced image and its body double.

(Post)production stills photographed by Serena Rodgers and Mark Amerika

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