shiftctrlesc     Sun, Aug 1, 2010  Permanent link
Mike Figgis's Timecode is an interesting cubist experiment: an improvised, one take, feature-length movie shot with four simultaneous cameras that start in different locations and then frequently intersect over the course of the film. The final movie is presented as a four-quadrant grid of videos with sound from each of the cameras being mixed in and out. For the original screening, Figgis sat in the projection booth mixing the sound from the cameras in real time.

The rough outline of the narrative couldn't be captured in the typical screenplay format - which isn't designed to handle multiple simultaneous perspectives. So Figgis ended up resorting to a kind of musical notation to write the film: Each camera was an instrument in the score, and the narrative became a composition of actors moving between the cameras.
Gabriel Shalom     Sun, Aug 1, 2010  Permanent link
Timecode is a brilliant example of a hypercubist work.
shiftctrlesc     Sun, Aug 1, 2010  Permanent link
Corpus Hypercubus. Many of Dali's paintings were experiments in trying to convey a fourth dimension within a 2 dimensional canvas.
Ilparone     Wed, Aug 25, 2010  Permanent link
Gabriel, thanks for an inspiring post.

A couple of thoughts emerged: 1) How the time of a product as an industrial output can be over when we are aware that the continuously increasing industrial mass production has been relocated in the massive factories and sweatshop outside of the western world (also when it comes to non-material, virtual mass production as you mention yourself)? The objects produced in these assembly lines are still mere industrial output (naturally depending on the observer, e.g. the assembly line worker). How do you see that?

2) Objects are part of narratives and thus the objects themselves can be seen as discourses and the bearers of values/parts of value systems. Accordingly, the "value" and the values that the object contain are always negotiated and re-negotiated in a given context (e.g. the assembly line worker/the buyer). How do you see this affecting the object as a part of a narrative (object being part of multiple and multilinear narrative networks that might not be part of the same discourse e.g. the assembly line worker/the buyer)?
Gabriel Shalom     Thu, Aug 26, 2010  Permanent link
1) While one era of industrial manufacturing may be "over" it can still "continue" insofar as time as we know it is not one continuum but rather multiple simultaneous layers, patches and zones of time.

"The future is already here - it is just unevenly distributed."
– William Gibson

"He used to write me from Africa. He contrasted African time to European time, and also to Asian time. He said that in the 19th century mankind had come to terms with space, and that the great question of the 20th was the coexistence of different concepts of time."
– Chris Marker, Sans Soleil

2) The social object that serves as a mutable carrier of values will seem more and more magical. In the case, for instance, of a smartphone, it will become increasingly multipurpose and therefore transformable by the person controlling it. As this German video about a new smartphone model clearly demonstrates: