<div dir="ltr">Hey everyone,<div><br></div><div>Long time listener, first time caller. ;-) Thanks to Dale for the invitation to contribute. </div><div><br></div><div>I'd like to return, if I may, back to the concept of documentary, and what a 'new media' form of documentary might exactly entail.</div><div><br></div><div>Documentary, as a word, stems from an idea of teaching using documents, providing a factual record of something. And of course these documents, in the filmic tradition, are necessarily visual, they entail surfaces and images, which are read as one reads any surface or image. </div><div><br></div><div>But looking across the works listed here, it seems they are all struggling to convey structure, not surface--something operational rather than optical. </div><div><br></div><div>As Garrett and <span style="color:rgb(0,0,0);font-size:12.8px">Frédérique have discussed, their work emerges precisely from the frustrations with the six minute video, and how such a neatly packaged duration in no way conveys the conditions of such a massive bordered space (or indeed the 'life-times' of the subaltern as Tadiar would say, that might go into building such a wall). The result is something that begins to literally exceed the capabilities of traditional documentary structure, and hence the time-code glitches with typical players and the need for a custom player. </span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px">In a similar fashion, Dorit's work seems to be about the operations of memory, in which the content is as much about the invisible as the invisible--those things that our current technological condition has rapidly erased through its hyperfocus on the now and its resulting historical amnesia. </span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px">Toby's work is a 'vision quest', but one in which vision largely proves inadequate. In these frames of running water and dark shadow, much is hidden beneath the optical surface, and the power of such a work is alluding to the forces, the energies, the latent capacities inherent in these sites of significance. </span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px">For myself, looking at my "Null Island" as a piece of documentary admittedly seemed very strange at first. This is, after all, a 3d environment that one can explore, based on a fictional island at the GPS coordinates of 0,0. And yet, "Null Island" does document a very 'real' technological condition, a condition operating every minute of every day, a condition made possible through an array of geospatial satellites, and a condition that intersects with everyday life at the moment we take our smartphone from our pockets. </span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px">GPS, like many of the 'documentary' subjects here, becomes political in that it actively determines the possibilities available to subjects and spaces. Such a politics, operating at the level of protocol, attains part of its power precisely from its invisibility. </span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px">And this, then, might be the design brief for new media documentary, to 'document' the ubiquitous but often invisible logics that increasingly infiltrate life-forces in our current neoliberal milieu. Such a brief would include both content and form--locating significant conditions operating unnoticed beneath our cultural and political landscapes as fitting subjects for documentary, and at the same time, developing expanded forms of 'documentation' able to present these subjects: new intersections of sound, media, code and presence that expands (or at least supplements) the progressive display of still images at 24 frames per second. </span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px">best,</span></div><div><font color="#000000"><span style="font-size:12.8px">Luke Munn</span></font></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><span style="color:rgb(0,0,0);font-size:12.8px"><br></span></div><div><br></div><div><div class="gmail_extra"><br><div class="gmail_quote">On 12 April 2018 at 04:32, Garrett Lynch <span dir="ltr"><<a href="mailto:garrett@asquare.org" target="_blank">garrett@asquare.org</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr">Yes gazing through technology is certainly an aspect of some of my works this probably creeps in from my reading around the New Aesthetic but the goals aren't the same. There is a simpler level/theme (even 'site') that links the works however, networks. Both Best of Luck with the Wall (variant) and Sculptures for Distant Places both use networks to see spaces in impossible ways. The former work shifts me more firmly into film because it's a collaborative work and Frédérique's main medium is film.<div><br></div><div>We've both (Frédérique and myself) being talking about deterritorialisation/<wbr>reterritorialisation (sticking more closely with Deleuze's spelling with an s) since it's been mentioned a few times now - trying to unpack a little more how we feel Best of Luck with the Wall (variant) deterritorialises a space. For us I guess this occurs on two levels; political, how politics is turing the US/Mexico border into a sort of no-mans land, and technological, how the use of technology/seeing through technology transforms the territory/space into something other than geography. We are not sure what that 'other' is precisely but its scale (rapidly approaching actual scale) makes us think of Alfred Korzybski's map-territory relation and Borges short story On Exactitude in Science.</div><div><br></div><div>There seem to be aspects of deterritorialisation/<wbr>reterritorialisation in all the works by the artist's this week (to greater and lesser degrees) - would be useful if you could all unpack this for the list.<br><div><br></div><div><div><br><div class="gmail_extra"><br><div class="gmail_quote">On Tue, Apr 10, 2018 at 6:15 PM, Toby Tatum <span dir="ltr"><<a href="mailto:tobyjamestatum@yahoo.co.uk" target="_blank">tobyjamestatum@yahoo.co.uk</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div><div style="font-family:"times new roman","new york",times,serif;font-size:16px"><div>Yes, of course! That is why your name was familiar. I can see now how <span><i>Best of Luck with the Wall (variant)</i> ties in with your installation at Stuttgarter Filmwinter. I can see now that the unrelenting gaze of the surveillance camera or drone is something you're very interested in, as well as the potential for subverting those machines. </span></div><div><span><br></span></div><div><span>Best Wishes,</span></div><div><span><br></span></div><div><span>Toby<br></span><br><div><br></div><div class="gmail-m_8233571105246971127gmail-m_8532543005545173689ydp205688b9signature"><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="gmail-m_8233571105246971127gmail-m_8532543005545173689ydp205688b9Apple-style-span"><font color="#0059cd"><font style="font-size:11pt"><u><a href="http://www.tobytatum.com/" rel="nofollow" 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="gmail-m_8233571105246971127gmail-m_8532543005545173689ydp205688b9Apple-style-span" style="font-size:15px"><font color="#000000">Toby Tatum's films are distributed by </font></span><span class="gmail-m_8233571105246971127gmail-m_8532543005545173689ydp205688b9Apple-style-span" style="font-size:15px"><font color="#14140e"><a href="http://www.cjcinema.org/pages/fiche_auteur.php?auteur=969" rel="nofollow" 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="gmail-m_8233571105246971127gmail-m_8532543005545173689ydp205688b9Apple-style-span"></span></font><font size="3" face="garamond, new york, times, serif"><font size="3" face="garamond, new york, times, serif"><span class="gmail-m_8233571105246971127gmail-m_8532543005545173689ydp205688b9Apple-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" 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" target="_blank">here</a></font></span></font></font></div></div></div></div></div></blockquote></div><br clear="all"><div><br></div>-- <br><div class="gmail-m_8233571105246971127gmail_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<br>_________________<br><a rel="nofollow" href="mailto:Garrett@asquare.org" target="_blank">Garrett@asquare.org</a><br><a rel="nofollow" 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">o<wbr>f </span><span style="font-size:12.8px">Garrett Lynch</span><span style="font-size:12.8px">:</span></div><div dir="ltr"><a href="http://www.filmwinter.de/en" target="_blank">http://realvirtuality.<wbr>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 href="http://asquare.org/work/peoplenetwork/" target="_blank">http://asquare.org/work/<wbr>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 href="https://www.facebook.com/events/177492866199740/" target="_blank">https://www.facebook.com/<wbr>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 href="https://www.emaf.de/en/index.html" target="_blank">https://www.emaf.de/en/index.<wbr>html</a><br></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
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