Color / HD / 30min
The film explores the remnants of the French bourgeoisie, a world slowly but inexorably undermined by the forces of acceleration and globalised finance capitalism. dividing the sequences are still frames taken from the history of French aviation, the developments of which were a particularly bourgeois pastime of the 18th and 19th centuries enabled by family industrial infrastructure.
The notions of speed and acceleration associated both with flight and post industrial capital are contrasted to slowness and investment associated with bourgeois values and the old industrial elites.
Self professed Bourgeois are filmed in their family (secondary) homes performing role playing games that they themselves have chosen. These sequences are followed by “cinematic” sequences designed by the performers and produced by the film maker.
The French aviation threads that bookend the chapters are accompanied by a narrated voice and composed of a single frame image. That image degrades over time. The degradation of the image is a result of algorithmic scripting that obliterates the traditional notion of decay by performing in fast forward, 1,000 years of the opening and closing of a jpeg image until the image itself is degraded to the point of being unrecognisable. This process formally performs the undermining - by technologies - of the temporal weapon of tradition and manners mobilised in the project of bourgeois hegemony.
Glacis is an ancient military term that denotes a field of view unimpeded by obstacles where the enemy other is clearly visible, figured against the nothingness.
T’S WORLD PROJECT
Color / HD / 70min
Over-identification: Taking the system more seriously than the system takes itself seriously
Over the course of 15 years Terry Thompson collected tigers, lions, bears, wolves, and other carnivorous animals, accumulating a menagerie of 60 or so creatures on his private ranch. Normally these animals could be purchased at the amish auction up at Mt. Hope. According to the Ohio regulations the authorities had no right to inspect or otherwise cast an eye upon Mr. Thompson’s private menagerie. Thompson was known in the county as a dare devil Vietnam vet pilot, a collector of guns, motorcycles, cars, and carnivorous animals up at his 90 acre ranch known to the Police as T’s World. Over the years an adversarial relationship developed between Thompson and the county police due to the perception that Thompson did not properly care for his animals, and the fear that they might escape exacerbated by the fact that the authorities could not legally inspect the cages. Years of regular complaints from neighbours culminated in Thompson’s arrest and imprisonment for one year on weapons charges due to an expired permit for a machine gun. Upon returning from prison, the restrictions imposed upon Thompson by the judicial regime were severe enough to render him unable to care for the animals. On the evening of October 11 2011, Terry Thompson cut open his cages and made holes in the fences surrounding his 90 acre property. He laced his body with chicken parts and shot himself in the head allegedly expecting the animals to consume him, which they partially did. The sheriff was alerted to the animal release by a Woman who had seen a lion bounding near the highway. With two hours until nightfall, and without any means to control the animals the sheriff ordered his deputies to kill all of the animals. The subsequent hunt lasted for 24 hours and this event became an international media sensation for a few days.
This project unpacks themes that Terry Thompson had begun to open up through his dare devilry, collecting / accumulation, and ultimately his suicide. The project asserts that Thompson’s practices were not abhorrent to the prevailing logic of anarcho-liberalism in the United States, if anything he has over identified with a radical liberal ideology that asserts the individual as an entrepreneur of himself and where the notions of governance are immediately connected to expectations of freedom that crystallise as “custom” and are often opposed to “law”…
Reading emancipatory discourse on information technologies from Mckenzie Wark. With repetition the language begins to break down into sounds as a desperate attempt to circumvent this false utopia renders an infancy of semiotic soup. The structure emerges from the utopic discourse of Robert McKee’s script guru seminars while the images themselves are hijacked from commercial film production, moments of ennui on the set of a yogurt advert. The notion that capitalism recuperates its own critique is turned around in a cannibalistic form of production that attempts to be slightly comedic.
I have informed them and they have understood.
In 1971 Nixon announced the departure of the dollar from the gold standard effectively nullifying the post war Bretton Woods Agreement. Money was now free to accelerate and dematerialise echoing the vision of Filippo Marinetti whose Futurist manifesto of 1909 exalted technology war and speed.
It has been asserted that the digital image far from being a shiny futurist perfect replicant is a thing that like other things can suffer the imperfections of use, time, and manipulation.
This work inserts the 11 points of the futurist manifesto into the code of jpeg images representing the Bretton Woods agreement. The code of the manifesto operates upon the code of the image. The resulting image is transformed by Marinetti’s ideas.
Area K is an Israeli controlled military marine zone isolating the Gaza strip and preventing Palestinian fishermen from entering Israel, Egypt and international waters. Here, we follow a business partnership between a clan of Palestinian fisherman from refugee camps in Gaza and Israelis from the settlement of Dugit, Gaza strip. In the partnership, Israeli settlers arrange permits from the Israeli Military, allowing Palestinians to work from the Area K beach. Starting in April 1999 when peace was still at the top of the agenda and finishing March 2001 in month seven of the bloody Al Aqsa Intifada, we watch as Arabs and Jews struggle together to make a living from the sea in the midst of territorial bloodshed.
Directors: Nadav Harel & Ramon Bloomberg
Producers: Ben Evansky, George Eid