ENTRANCE
ART-e-FACT, STRATEGIES OF RESISTANCE   ISSUE #03, TECHNOMYTHOLOGIES
 

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Memory
Martin Bricelj


TRAVELOG

Gothenburg N.B.
Ralo Mayer and Philipp Haupt
The power & politics of information visualization.

Black Culture — White Nature
Rose Reitsamer
The musical traditions of white masculinity.

Allegories of Angelic Bodies
Mojca Puncer
Mind, body, cyborgs and angels in the land of new media technologies.

FEATURE AND WRITINGS
Interview with CANDIDA TV:
Agnese Trocchi

by Radmila Iva Janković


THEORY

Nostalgic Technology: Notes for an Off-modern Manifesto
Svetlana Boym
The aura of the error - the art of broken technology.

Dialoguing man and machine: Palindrome IMPG
pETER Purg
Bodies & space in a playground of people, words & numbers..


edit this banner
Lina Kovačević
Do-it-yourself online advertising.




CRITICAL
TECHNOLOGY: PERFORMANCE: REFLECTION
CLICK IMAGE TO VIEW
Time’s Dance: An exploration of trauma, time and memory
Compressed Quicktime of original video, 9 mins
Nadine Boljkovac


Time’s Dance: An exploration of trauma, time and memory

This 2002 project, my first filmmaking effort, was inspired by a desire to discover whether ‘found footage’ filmmaking could embody the temporalities of personal and universal traumas. Time’s Dance thereby engages with the quotidian as it interrogates a heightened temporal awareness, or experience of “discontinuity,” as Mary Ann Doane has said, “in an otherwise continuous system” or life that develops from the disruption trauma produces. As such, this video simultaneously considers the past and present; its examination of past-present time challenges a linear temporal paradigm through an ephemeral present that continually evolves in relation to a remembered, intangible past.

As evoked through recent and found footage, the montages of Time’s Dance layer allusions to a traumatic time within an ‘everyday’ context. A collective history was also of interest and so an experience of time and loss in both personal and universal contexts provide a contextual frame for Time’s Dance. However, it should be noted that my theoretical concerns are not fully realized in Time’s Dance; as indicated, the project was a first attempt at filming, digitizing and composing with audio and footage. Nevertheless, as I worked with ways to express a temporal coalescence of past-present, personal and universal, I experimented intuitively without a storyboard or definitive framework.

Digital editing provided a means to weave past and more recent footage. The latter, footage of my parents’ home, afforded a structure through which visual and sound excerpts simulate a journey through the temporal and spatial dimensions of the house. Footage of my movements towards, inside and away from the house has been temporally slowed and, as in the kitchen sequence, plays in reverse to reflect an experience of shock that generates an increased temporal consciousness. In other instances, zooms of stills (including those of my father and a freeze frame of his writing that reveals the name of a doctor who diagnosed his cancer) suggest past time, developing anxiety and absence. Slowed footage and close shots of other stills reveal pictures, dates and words from sources that include my eulogy for my father, newspaper captions from the week of 9/11, tombstones and my father’s writing. These are superimposed with my movements within and without the house and cemetery. Slowed and stilled images of my father’s own footsteps, footage he had accidentally taken, accompany my walk towards his grave.

Juxtaposed to these embodiments of a traumatized time are moments from a more mundane everyday that play in real or slightly accelerated time, as in the wedding sequences. The combination of accelerated and decelerated footage speeds, ‘real-time’ clips and freeze frames suggest various temporal experiences and, when superimposed and aurally layered with sounds of talking, laughing and singing, these clips imply a sense of personal and public trauma. Suggestions of a larger history as it coincides with personal memory are subtle; they exist in brief moments of superimposed footage of ruins filmed in Croatia, close-ups of newspapers from the week of 9/11 and corresponding close-ups of the same dates in my father’s notebook (for the ‘events’ of his diagnosis and 9/11 occurred concurrently). These allusions, as well as images of the last photos taken of my father, situate a personal crisis within a time of public catastrophe.

With the concepts of time and trauma as underlying concerns, layers of visuals and sounds thus give shape to this piece as structured by remembrances that speak through images of a more recent past. While unintended resonances appear (such as the action match of car and closet doors), other effects were intended by juxtapositions of audio and visual that, particularly in the moment of the cemeteries sequence, develop dark irony. These photos, footage and sound traces from diverse pasts form a fragmented virtual sense of my father in a context of global turmoil. Despite its limitations, Time’s Dance permits a surfacing of remnants that will not be lost to memory.


Dedicated to my father, Marijan Boljkovac, May 17, 1945-April 30, 2002






Thanks to Deborah Hardt from ART-e-FACT for her video assistance.



CONTENTS








CRITICAL
Dating, Relating and Performing inside the Internet
Helen Varley Jamieson

TECHNOLOGY: PERFORMANCE: REFLECTION

Dialoguing man and machine: Palindrome IMPG
pETER Purg

Dating, Relating and Performing inside the Internet
Helen Varley Jamieson

Kill all dreams
Ivan Jurica

edit this banner
Lina Kovačević

Time’s Dance: An exploration of trauma, time and memory
Nadine Boljkovac


ART WORK
SYSTEMS

TECHNOLOGY REVISED
 
TREMBLING MINDS / STRATEGICAL BONDAGE
 
WE COULD SURVIVE
 
TECHNOLOGY: PERFORMANCE: REFLECTION
 
CONTEXTUALIZATION OF EVENTS AND PRODUCTION
 
WWW FUCKED UP
 





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