sound: @c (www.at-c.org)
length: 3’44” – format: 4:3
G.S.I.L.VI/almada is an approximately four-minute video which deals with motifs taken from a much longer live performance given in Almada, Portugal. In that sense, it offers an example of reductionism: frameworks and forms which overlap and are in constant motion, which renew themselves independently and are shot through by vertical and horizontal movements. In all, it seems as if the reduction to basic geometric shapes (polygon, arc and line) and computer-generated planes undergoing constant processes of iteration are intended to deal with the theme of two-dimensionality and thereby disabling a basic mechanism of moving images: The projection’s flatness must always be repudiated so that its magic – the reincarnation of the three-dimensional world – can take effect.
At first glance, G.S.I.L.VI/almada seems to betray a relationship to the experiments of the French avant-garde (such as Anemic Cinema by Duchamp/Ray), though the viewer will also notice the considerable differences with as little difficulty. These differences can be found both in the music’s generative role and the fact that the merging of forms caused by movement is replaced by clear juxtaposition. The iteration of planar figures creates a three-dimensional structure without disguising the fact that it consists of two-dimensional elements. The movement no longer devours the figurations in the vortex of its linearity; it permits them to correspond among themselves and with the soundtrack.
// Text: Vrääth Öhner