<div dir="auto"><div>Hi Toby<div dir="auto"><br></div><div dir="auto">Yes we met recently at Filmwinter when you showed your work The Signal. I really liked the sonic composition that accompanied that and Grottoes and Groves is just as impressive.</div><div dir="auto"><br></div><div dir="auto">The length of our work (apart from the necessity of the 34 hours) came out of our thinking about one interpretation of expanded cinema (in regards to time literally expanded) but also watching both videos and music on YouTube. Videos that petform a technical feat of being 'the longest video on YouTube. ..' and audio being time stretched to several hundred percent, usually using Paul stretch. Ironically our video surpassed most if not all of those video's length but became unrecognisable by YouTube, Vimeo and even most html5 players (in the case of the latter they can't handle the length of the time code - luckily I did find one that could).</div><div dir="auto"><br></div><div dir="auto">With all this in mind folding our work back to the web makes a lot of sense for us as most film festivals can't accommodate the length so exhibiting at Invisible Geographies is ideal. We've been luck enough as well to be invited to exhibit at EMAF next week which is running for a month and they will run our work continously so it should be at a different point at the same time each day.</div><div dir="auto"><br></div><div dir="auto">Not sure about geological or reptian time but certainly a non-human/machinic vision of the space, perhaps similar to a drones, and that fits well with what is occurring on the border (hi-tec surveillance that's even outsourced to the public, which we found horrible).<br><br><div data-smartmail="gmail_signature" dir="auto">regards<br>Garrett<br>_________________<br><a href="mailto:Garrett@asquare.org" target="_blank" rel="noreferrer">Garrett@asquare.org</a><br><a href="http://www.asquare.org/" target="_blank" rel="noreferrer">http://www.asquare.org/</a><br><br>Artist in residence at:<br><a href="https://www.facebook.com/peripheralforms" target="_blank" rel="noreferrer">https://www.facebook.com/peripheralforms</a></div></div><br><br><div class="gmail_quote"><div dir="ltr">On Mon, 9 Apr 2018, 9:32 p.m. Toby Tatum, <<a href="mailto:tobyjamestatum@yahoo.co.uk" target="_blank" rel="noreferrer">tobyjamestatum@yahoo.co.uk</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div><div style="font-family:times new roman,new york,times,serif;font-size:16px"><div style="font-family:times,serif;font-size:16px"><div>Thanks for this Garrett. I'm watching this now, although I think a different kind of watching is going to be be required of me for this piece. I'm going to leave it rolling and drop in as and when. You're certainly at the outer limits in terms of digital duration with this one. It suggests to me something non-human, the relentless of some kind of robot or perhaps we're in the terrain of geological time, or the time of reptiles (actually the subject of non-human time-perception I find fascinating). I'm very drawn to the correlation between the experience of watching your film and the experience of being in those immense landscapes.<br></div><div><br></div><div>By way of introduction my name is Toby Tatum and I'm a film-maker from the UK. The piece I contributed to the FLEFF is called <i>The Toby Tatum Guide to Grottoes & Groves</i>. The piece resulted from a self-initiated vision quest into the twisted labyrinths of the forest, specifically the ancient woods near my Hastings home. The FLEFF curators have written an insightful piece of the project here should you wish to take a look: <a href="https://www.ithaca.edu/fleff/invisible_geographies/tobytatumguide/" rel="nofollow noreferrer noreferrer" target="_blank">https://www.ithaca.edu/fleff/invisible_geographies/tobytatumguide/</a> </div><div> </div><div><br></div><div>Regards,<br></div><div><br></div><div>Toby<br><div><br></div><div><br></div><div class="m_8062550342309534655m_-2039799631509534176ydpec9d5cfsignature"><div> <p style="margin-bottom:0cm" align="LEFT"><font size="3" color="#000000" face="garamond, new york, times, serif"><font style="font-size:11pt">Toby Tatum</font></font></p><font size="3" face="garamond, new york, times, serif"><br><span class="m_8062550342309534655m_-2039799631509534176ydpec9d5cfApple-style-span"><font color="#0059cd"><font style="font-size:11pt"><u><a href="http://www.tobytatum.com/" rel="nofollow noreferrer noreferrer" target="_blank">http://www.tobytatum.com/</a></u></font></font></span> </font><br><font size="3" face="garamond, new york, times, serif"><br><br></font><p style="margin-bottom:0cm" align="LEFT"><font size="3" face="garamond, new york, times, serif"><span class="m_8062550342309534655m_-2039799631509534176ydpec9d5cfApple-style-span" style="font-size:15px"><font color="#000000">Toby Tatum's films are distributed by </font></span><span class="m_8062550342309534655m_-2039799631509534176ydpec9d5cfApple-style-span" style="font-size:15px"><font color="#14140e"><a href="http://www.cjcinema.org/pages/fiche_auteur.php?auteur=969" rel="nofollow noreferrer noreferrer" target="_blank">Collectif Jeune Cinéma</a> </font></span></font><br><font size="3" face="garamond, new york, times, serif"><br></font><br></p><font size="3" face="garamond, new york, times, serif"><span class="m_8062550342309534655m_-2039799631509534176ydpec9d5cfApple-style-span"></span></font><font size="3" face="garamond, new york, times, serif"><font size="3" face="garamond, new york, times, serif"><span class="m_8062550342309534655m_-2039799631509534176ydpec9d5cfApple-style-span" style="font-size:15px"><font color="#14140e">Recent interviews online <a href="http://theundergroundfilmstudio.co.uk/wp-content/uploads/2017/01/FILM-PANIC-ISSUE-3.pdf" rel="nofollow noreferrer noreferrer" target="_blank">here</a> & <a href="http://www.swedenborg.org.uk/events/swedenborg_film_festival/programme_and_awards_24_march_2016/interview_with_2016_joint_winner_toby_tatum" rel="nofollow noreferrer noreferrer" target="_blank">here</a></font></span></font></font><br></div><font size="3" face="garamond, new york, times, serif"><br></font></div></div>
<div><br></div><div><br></div>
</div><div id="m_8062550342309534655m_-2039799631509534176yahoo_quoted_3842493483" class="m_8062550342309534655m_-2039799631509534176yahoo_quoted">
<div style="font-family:'Helvetica Neue',Helvetica,Arial,sans-serif;font-size:13px;color:#26282a">
<div>
On Monday, 9 April 2018, 19:49:07 GMT+1, Garrett Lynch <<a href="mailto:garrett@asquare.org" rel="noreferrer noreferrer" target="_blank">garrett@asquare.org</a>> wrote:
</div>
<div><br></div>
<div><br></div>
<div><div id="m_8062550342309534655m_-2039799631509534176yiv6286391100"><div dir="ltr">Many thanks to Dale Hudson for inviting us to participate in the discussion. Frédérique and myself are looking forward to some interesting discussion on the subject of New Media Documentary Practice but also on the ideas and issues that emerge from our work as part of Invisible Geographies.<div><br></div><div>Our work Best of Luck with the Wall (variant) and an introductory text about it cane be found on the exhibition site here: <a rel="nofollow noreferrer noreferrer" href="https://www.ithaca.edu/fleff/invisible_geographies/bestofluckwiththewall/" target="_blank">https://www.ithaca.edu/fleff/invisible_geographies/bestofluckwiththewall/</a></div><div><br></div><div><br></div><div><div>When invited to contribute to -empyre- on the theme of new media documentary practice and in particular to "think about digital media and environmentalism across vectors that are visible and invisible, material and immaterial, audible and inaudible", our first thought was that documentary is not the principle purpose of Best of Luck with the Wall (variant).</div><div><br></div><div>It is the purpose of Begley's original film, Best of Luck with the Wall, to document the absurdity of building Trump's US/Mexican wall (its scale and so forth). However, our 'variant' is foremost a critique of the form Begley's film as comment/criticism takes - a time/space compressed experience of travelling the wall. Given the social problems building the wall will create, i.e. destroying US/Mexican relations when the US should be building better relations with its neighbours, we wanted the experience of the film to be the experience of travelling the length of the wall (34 hours by car), seeing all the landscape, all the communities that will be cut in two. Nobody is going to watch the 34 hours of our 'variant' (the one extra minute is simply our credits) but if they do we want it to be a long arduous experience!</div><div><br></div><div>This is where we return to the idea of documentary, our 'variant' isn't any more documentative than Begley's film is, that is it doesn't address the subject of the wall to any greater degree, but it is more documentative of the time/space of the affected landscape while still remaining a mediated and immaterial experience of it. What becomes invisible in Begley's film because of the speed of the edit accompanied by a pleasant soundtrack becomes visible in our 'variant' because it is time stretched transforming the soundtrack into a granular tortured soundtrack that makes the inaudible audible.</div><div><br></div><div>This is just one aspect of our thinking on this work. Others that we would also welcome discussion from the list are:</div><div><br></div><div>- deterritorialisation;</div><div>- political comment/criticism (in particular from an exterior position);</div><div>- deconstruction and documentation of political fact;</div><div>- ideas of appropriation (from Google, from Begley) and how they intersect with plagiarism;</div><div>- expanded film formats (time, generative);</div><div>- time stretching as a process in new media;</div><div><br></div><div>and the intersection of these subjects.</div><div><br></div><div class="m_8062550342309534655m_-2039799631509534176yiv6286391100gmail_extra"><div><br></div>-- <br><div class="m_8062550342309534655m_-2039799631509534176yiv6286391100gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div><div dir="ltr"><span>regards<br>Garrett Lynch & Frédérique Santune<br>_________________<br><a rel="nofollow noreferrer noreferrer" href="mailto:Garrett@asquare.org" target="_blank">Garrett@asquare.org</a><br><a rel="nofollow noreferrer noreferrer" href="http://www.asquare.org/" target="_blank">http://www.asquare.org/</a></span></div></div><div dir="ltr"><br></div><div>Current events and soon:</div><div><br></div><div dir="ltr"><div dir="ltr"><span style="font-size:12.8px">Real Virtuality </span><span style="font-size:12.8px">The </span><span style="font-size:12.8px">Networked </span><span style="font-size:12.8px">Art </span><span style="font-size:12.8px">of </span><span style="font-size:12.8px">Garrett Lynch</span><span style="font-size:12.8px">:</span></div><div dir="ltr"><a rel="nofollow noreferrer noreferrer" href="http://www.filmwinter.de/en" target="_blank">http://realvirtuality.peripheralforms.com/</a></div><div dir="ltr"><br></div><div dir="ltr">A network of people who attended an exhibition and contributed to the creation of this work<br></div><div dir="ltr"><a rel="nofollow noreferrer noreferrer" href="http://asquare.org/work/peoplenetwork/" target="_blank">http://asquare.org/work/peoplenetwork/</a><br></div><div dir="ltr"><br></div><div>Pick up a postcard and participate at any of the following galleries: Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA), Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth, England), The Gallery at Plymouth College of Art (Plymouth, England), Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA), Watermans (London, England), Wilhelmspalais (Stuttgart, Germany), WOWA (Riccione, Italy), ZKM | Center for Art and Media (Karlsruhe, Germany)</div><div><span style="font-size:12.8px"><br></span></div><div>Garrett Lynch: A network of people @ Galerie XY (Olomouc, Czech Republic) 9 - 13/04/2018<br></div><div><a rel="nofollow noreferrer noreferrer" href="https://www.facebook.com/events/177492866199740/" target="_blank">https://www.facebook.com/events/177492866199740/</a></div><div><br></div><div>Best of Luck with the Wall (variant) @ European Media Art Festival, Report - notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018<br></div><div><a rel="nofollow noreferrer noreferrer" href="https://www.emaf.de/en/index.html" target="_blank">https://www.emaf.de/en/index.html</a><br></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
</div></div></div></div>----------empyre- soft-skinned space----------------------_______________________________________________<br>empyre forum<br><a href="mailto:empyre@lists.artdesign.unsw.edu.au" rel="noreferrer noreferrer" target="_blank">empyre@lists.artdesign.unsw.edu.au</a><br><a href="http://empyre.library.cornell.edu" rel="noreferrer noreferrer" target="_blank">http://empyre.library.cornell.edu</a></div>
</div>
</div></div></div></blockquote></div></div></div>