CIMATICS / Altered States
Fri, 20 Nov
Altered States
When Dreams Turn Into Data

With the digital invading every creative enterprise and form of expression, pencils have become pixels, dreams have turned into data. While cinema's obsession with the 'holy grail' of photorealism has generated a blizzard of visual extravaganzas aimed at a suspension of the distinction between representation and simulation, a generation of DIY bricoleurs use ubiquitous 'tools of vizuality' (Kevin Kelly) to explore alternative viewings and readings of the familiar. Through processes of transference, translation and combination, they encode, reveal or impose layers of information and deceive expectations about visibility and availability. Poking the surfaces of various images, sounds and symbols, their renderings create poetic, playful and often melancholic environments that are both alien and familiar, questioning our relation to images and our imagination. (in collaboration with Courtisane - www.courtisane.be)

Doors
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Les Brigittines

Korte Brigittinenstraat / Petite rue des Brigittines - 1000 Brussels

http://www.brigittines.be
Map
Beep Prepared
By Stephen Gray
20:30 → 20:35
United Kingdom (2002)
film
"What is Road Runner without Willie E. Coyote, what is a cartoon without protagonists? What remains of the longest running and most existential series of sketches, once the actors have left the stage? Part one of a deconstructivist trilogy."
Hip-Hop Movie
By Joseph Ernst
20:35 → 20:39
United States (2008)
film
Transforming visual imagery into words, this video is a word for word translation of a stereotypical hip hop video. 'Bling bling' from a different point of view.
Text Field
By Christinn Whyte & Jake Messenger
20:39 → 20:40
United Kingdom
film
Christinn Whyte's and Jake Messenger's work exists in the interstices of dance and the digital world. Using ASCII animation, the two artists created a whirling text-body that is part fluid and improvised and part of an algorithm's discipline, like a dancer that obeys chaos theory.
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By Oliver Laric
20:40 → 20:42
Turkey (2008)
film
Oliver Laric uses thousands of tiny animated gifs to create an ultra-low-res illusion of cinematic movement, generating a barely discernible compilation of clips from a series of hip-hop music videos.
Collision
By Max Hattler
20:42 → 20:45
Germany (2005)
film
Islamic patterns and American quilts and the colours and geometry of flags as an abstract field of reflection. "It can be interpreted either way: carnage or carnival, it is open-ended. I don't have the answers, I'm only asking questions."
RGB XYZ
By David O'Reilly
20:45 → 20:58
Ireland (2005)
film
"Discovered in late 2007 when a gardener accidentally dug up a hard drive buried somewhere in central Europe, RGB XYZ found its way to David O'Reilly, who compiled its five incomprehensible episodes into what became perhaps the most enigmatic piece of animation ever to leave a computer."
All Through the Night
By Michael Robinson
20:58 → 21:04
Canada (2007)
film
Described by Michael Robinson as a "charred visitation with an icy language of control; there is no room for love". In this 4 minute digital video sequence, Robinson recontextualizes appropriated animation footage. In doing so, he successfully merges video effects into textures and glacial landscapes and creates his own kind of melancholic magic.
Rogue State
By Dave Griffiths
21:04 → 21:07
United Kingdom (2003)
film
Vetoed UN resolutions hand-inscribed onto DV tape using a magnetic quill. Reinterpreted by the digital apparatus, these marks reveal abstract, lawless sonic and visual explosions - a fluid display of synthetic aerial terror. The action alludes to the shared nature of entertainment and military technology in seeking perfect spectacle whilst shunning error or uncertainty. Compressed light and sound are unleashed in volatile glitches to commemorate the abandonment of conventions in both the digital medium and international law.
I've Got a Guy Running
By Jonathan Kirk
21:07 → 21:15
United States (2006)
film
In this video, Jonathon Kirk explores the relation between cognition and recognition of war images, a relation that has been severely affected by the influence of simulation, surveillance and real-time media coverage. Images of a precision bombing, released by the U.S. Department of Defense to the glory of the American army and its weapon suppliers, are subject to algorithms, which gradually reveal the reality that lies beneath them.
Paths of G
By Dietmar Offenhuber
21:15 → 21:16
Austria (2006)
film
The long backwards tracking shot through a trench in Stanley Kubrick's WWI drama Paths of Glory (1957) is reduced to pure geometry. Nothing is visible other than a matrix of rectangular figures and a line which follows the movement of the camera and counts off the spent frames. The viewer sees less but learns more.
Lossless #5
By Rebecca Baron & Doug Goodwin
21:16 → 21:19
United States (2008)
film
Lossless is a series of works that looks at the dematerialization of film into bits, exposing the residual effects of the process that makes file sharing possible. Baron and Goodwin used several methods to alter these works, either interrupting the data streaming by removing basic information holding together the digital format or comparing 35 mm to DVD and examining the difference between each frame. The project considers the impact of the digital age on filmmaking and film watching, the materiality and demateriality of film as an artistic medium, as well as the social aspects of how the online community functions and the audience for such obscure films.
Papillon D'Amour
By Nicolas Provost
21:19 → 21:23
Belgium (2003)
film
By subjecting fragments from the Akira Kurosawa's film Rashomon (1950) to a mirror effect, Provost creates a hallucinatory scene of a woman's reverse chrysalis into an imploding butterfly. This physical audiovisual experience produces skewed reflections upon Love, its lyrical monstrosities, and a wounded act of disappearance.
Starship
By Bernard Gigounon
21:23 → 21:27
Belgium (2002)
film
Fantasy worlds are always there, anywhere, just like images, the only thing we need to do as a spectator is to allow our imagination to run free. Gigounon gives us a boost to let go of trivial reality, even if just for a while. This results in tiny phantasmagorias like Starship, a visual investigation of a passing ship, which turns into a weird and estranging object through the juxtaposition of its symmetrical reflection.
Jed's Other Poem
By Stewart Smith
21:27 → 21:32
United States (2002)
film
Stewart Smith programmed Jed's Other Poem, a music video for a Grandaddy song, in Applesoft II on a 1979 Apple ][+ with 48K of RAM. Seriously. Jeddy-3, a humanoid robot built from spare parts, is a recurring character in Grandaddy's 2000 album The Sophtware Slump. According to Grandaddy, before Jed's system crashed he wrote poems. Poems for no one.