Going Somewhere: Episode I reconfigures nuclear tests, World War II documentaries and abstract glitch footage to recreate the science fiction narrative of atomic apocalypse. The story concerns the "Mushroom Man": a symbolic figure arising from a single nuclear explosion to create total war, leaving nothing standing as his radiant power destroys the world in the name of "civil defense."
The data stream that is the digital file has been glitched to create a continuous flow of imagery that functions syntactically—eschewing montage and the long take—so that each shot develops seamlessly into the next, morphing from one image into another. The overal structure of these images allows for a consideration of the relationship between displacements (primarily einbau structures) and their capacity to amplify the conceptual-narrative aspects of the science fiction 'story.' At the same time, the conversion of the shot sequence into an ASCii code animation enables a consideration of the distinction between the surface of the image and its internal organization as code. The audience is central to this process: without them, there is no coherence, no organization to this progression.
Going Somewhere: Episode IV reconfigures science fiction movies with documentary/scientific NASA/JPL documentation and abstract glitch footage to reveal an underlying fantasy of transcendence. The story follows a simple trajectory: a traveler arrives, then embarks on a more abstract journey into inner space—a transcendent metaphor for exploring the self.
The data stream that is the digital file has been glitched to create a continuous flow of imagery that functions syntactically—eschewing montage and the long take—so that each shot develops seamlessly into the next, morphing from one image into another. The overal structure of these images allows for a consideration of the relationship between displacements (primarily einbau structures) and their capacity to amplify the conceptual-narrative aspects of the science fiction 'story.' At the same time, the conversion of the shot sequence into an ASCii code animation enables a consideration of the distinction between the surface of the image and its internal organization as code. The audience is central to this process: without them, there is no coherence, no organization to this progression.
Going Somewhere: Episode VI uses glitches and abstraction to transform documentary films, science fiction movies and NASA footage into a “city symphony” that depicts the fantasies of future life invoked by googie architecture.
The data stream that is the digital file has been glitched to create a continuous flow of imagery that functions syntactically—eschewing montage and the long take—so that each shot develops seamlessly into the next, morphing from one image into another. The overall structure of these images allows for a consideration of the relationship between displacements (primarily einbau structures) and their capacity to amplify the conceptual-narrative aspects of the science fiction 'story.' At the same time, the conversion of the shot sequence into an ASCii code animation enables a consideration of the distinction between the surface of the image and its internal organization as code. The audience is central to this process: without them, there is no coherence, no organization to this progression.
Going Somewhere: Episode VII uses glitches and abstraction to transform monster movies and NASA footage into a narrative of the search for extra-terrestrial life that leads to an alien abduction.
The data stream that is the digital file has been glitched to create a continuous flow of imagery that functions syntactically—eschewing montage and the long take—so that each shot develops seamlessly into the next, morphing from one image into another. The overall structure of these images allows for a consideration of the relationship between displacements (primarily einbau structures) and their capacity to amplify the conceptual-narrative aspects of the science fiction 'story.' At the same time, the conversion of the shot sequence into an ASCii code animation enables a consideration of the distinction between the surface of the image and its internal organization as code. The audience is central to this process: without them, there is no coherence, no organization to this progression.
Going Somewhere: Episode X reconfigures abstract glitch footage, NASA footage and sci-fi films to evoke a journey outwards, into space, but ultimately returning home to the Earth.
The data stream that is the digital file has been glitched to create a continuous flow of imagery that functions syntactically—eschewing montage and the long take—so that each shot develops seamlessly into the next, morphing from one image into another. The overall structure of these images allows for a consideration of the relationship between displacements (primarily einbau structures) and their capacity to amplify the conceptual-narrative aspects of the science fiction 'story.' At the same time, the conversion of the shot sequence into an ASCii code animation enables a consideration of the distinction between the surface of the image and its internal organization as code. The audience is central to this process: without them, there is no coherence, no organization to this progression.
Heads up: the shoutbox will be retiring soon. It’s tired of working, and can’t wait to relax. You can still send a message to the channel owner, though!
