Aftermath (2014) for Joël Verwimp
A performer makes a simple action (5 seconds or less), and records it.
The performer slows the video down to 10 seconds, and using audio recording, describes exactly what she sees within the 10 second video as if she is giving instructions
Using these instructions, the performer performs the act at 10 seconds, video recording, and then slows the video down to 1 minute.
The performer audio records description-as-instruction for the 1 minute video, and uses the 1 minute of audio instruction to perform again while again video recording.
The performer slows this video recording down to 5 minutes. Audio records to the 5 minutes with description-as-instruction.
And etc.- continuing same process toward 10, 15, 20 minutes.
A.L.R.E.A.D.Y.
Start to try to film a movement from its inside. Which means that instead of discovering the inside of movement by filming you discover that movement isn’t so much about the body as you thought- in it, the body is used as a reference point for sensing other things too- the room spinning, perhaps, or feeling the air moving… (by moving yourself through it). When you talk about the history of movement everybody tells you, “well it must have been solved when they invented film,” but you must think, not so much. The most interesting parts of movement wasn’t ever there to be seen. You think you can tell yourself this much: From the inside you feel the outside (why else have a body?), movement experiences the former to produce the latter. So movement wasn’t ever entirely about being seen or being done but about doing anything to make something else be done to you in turn (encourage something outside yourself to become itself animated). So you start these little film experiments trying to push the experience into the visual (the last place it wants to be), each time you do it you make one version.
lindsey drury 