<div dir="ltr">In the video work The End of History, I am working with transcoding footage using analog equipment as a way to extract image layers formed when an "incorrect" algorithm applied to decode the image. To my understanding, video contains a discrete images within the temporal and spatial domain. However, tuning the conversion incorrectly (changing the intonation of the image if you will) allows for peripheral /secondary images to emerge. These fragmented ghosts are located somewhere in between frames, in between flickering intersecting lines of information. For my piece, this audiovisual space, suspended at the edge of erasure, the glitching interruption as you termed it Kathy, becomes the source of meaning, ... semantic rather than formal or technological ends in themselves. <div><br></div><div>When I think about limits of representation: my work with moving and still images revolves around relationships between history, ideology and contested histories. I explore the imaginary coming to terms with the demand to visualize history. I often appropriate material that is close to my life experiences, but at the same time I assume a certain fictional distance in order to achieve a degree of openness and criticality. This is especially related to images describing conflict, such as images of violence. I am looking for methods to resists the power of depiction, theory, and narrative as a way to probe the aesthetic limits of portrayal pressing claim on our cultural memory.</div><div><br></div><div>Cheers,</div><div>Isak</div><div><br></div><div><br></div><div><div><div><div class="gmail_extra"><br><div class="gmail_quote">On Sat, Sep 12, 2015 at 4:12 PM, Kathy High <span dir="ltr"><<a href="mailto:kittyhigh@earthlink.net" target="_blank">kittyhigh@earthlink.net</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left-width:1px;border-left-color:rgb(204,204,204);border-left-style:solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div style="word-wrap:break-word"><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px">Hi Isak,</div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px">Thanks so much for this posting. It is so great to get to know your work!</div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px"><br></div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px">“The End of History” effectively and viscerally details the Yugoslavian war in ways that are really compelling. Again the glitch! The glitch and stutter and halting of it all – the interruption. </div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px">The split of time - and even the split of frames - in times of war. It makes me think of a very different kind of moment. I appreciate how much this piece moved me.</div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px"><br></div><div><font face="Calibri,sans-serif">How else to explore the limits of representation? <span style="font-size:13px"> Would love to hear your further thoughts.</span></font></div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px"><span style="font-size:13px"><br></span></div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px">Thank you.</div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px"><br></div><div style="color:rgb(0,0,0);font-family:Calibri,sans-serif;font-size:14px">Kathy</div></div></blockquote></div>
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