Large Archives and editing as thinking

Since my graduation essay on Reality and Realness from 2016, I am thinking of a camera as a tool of perception and projection at the same time. Ever since I can have it in my pocket, it becomes an intimate tool of storing moments and creating parallel reality of material, that creates possibility of reinterpretation and re-living the time. It’s an opportunity to create new narratives from the footage that has a personal meaning, but could also be treated as investigation tool.  

 Archiving and compulsive filming definitely is a tool of research.

I am currently looking for funding opportunities to work on narrative formats with my own archive but also to deliver such tools to users that aren’t artists or researchers.

I am proud to be included into a research team of Eyal Sivan located at the Dutch Film Academy, where we focus on designing interfaces and addressing our needs for technology that could facilitate intelligent video archiving.

Here some links to experiments I have been conducting during my time at the film academy.

The editing styles presented here plus the style of Digital Nomads and You must Apologize are basically the outcome of my work so far.

1.High Speed animation.

The work on archives of still images that manipulate the time is my great fascination. I used this technique with the Stock footage images while working with Szymon Adamczak on his „We Are Not Watching The past Yet” . Here a sample of 9 years of an archive created from the random footage in my Mac Photobooth – an early selfie tool. It follows my life but also a connection to my device- it later led to manipulating intimacy also directed outside – to the other side of the camera.

 

2. The Outside of the camera or camera as an intimate perception tool.

Revisiting an archive is crucial to my practice and it also builds my certainty in how editing and connecting meanings behind visual and sonic stimula is resembling thinking. It also allows to play with the sense of time and experience.