MECHANISMS OF EXPOSURE – SCENESETTING

digital film / spatial installation by TJADER-KNIGHT inc.
produced by Boring Films MMV
Running time 24:42min

Eradicating the perspective confining the space-time continuum of “natural perception”.
Creating a perfect mirror of elongated distance. In this manner the spectator is also brought within the scene, within the very originary.
Tjader-Knight Inc.

“When qualities and powers are apprehended as actualised in states of things, in milieux which are geographically and historically determinable, we enter into the realm of the action-image. The realism of the action-image is opposed to the idealism of the affection-image. However, between the two, between firstness and secondness, there is something … It is no longer the affection-image, but is not yet the action-image. As we have seen, the former is developed in the Any-Space-Whatevers / Affects pair. The second will be developed in the Determined Milieux / Modes of Behaviour pair. But, between the two, we come across a strange pair: Originary Worlds / Elementary Impulses. An originary world is not an any-space-whatever (although it may resemble one), because it not only appears in the depths of determined milieux; but neither is it a determined milieu, which only derives from the originary world. An impulse is not an affect, because it is an impression in the strongest sense and not an expression. … Now we must recognise that this set is not a mere intermediary, a place of transition, but possesses a perfect constituency and autonomy, with the result that the action-image remains powerless to represent it and the affection image powerless to make it felt. … It is a pure background, or rather a without-background … energy dynamisms which do not even refer to the constituted subjects … the energy which seizes fragments in the originary world.”
Gilles Deleuze The Movement-Image Cinema 1

“In a world in which the Other has collapsed, the æsthetic task – a descent into the foundations of the symbolic construct – amounts to retracting the fragile limits of the speaking being, closest to its dawn, to the bottomless ‘primacy’ constituted by primal repression. Through that experience, which is nevertheless managed by the Other, ‘subject’ and ‘object’ push each other away, confront each other, collapse and start again – inseparable, contaminated, condemned, at the boundary of what is assimilable, thinkable.”
Julia Kristeva Powers of Horror

“According to Blake’s theory, the individual is no longer accountable for his actions. Responsibility can be attached only to states and not to the person (if such a being any longer exists) who passes through the states. The individual self is reduced to a mere locality in space – the region where states occur ; nothing more.”
Aldous Huxley Texts and Pretexts

Premiere within ”The Capture of the Temporal: New Works in Photography and Video”
Turchin Center for the Visual Arts, USA, March 4 – May 28, 2005

Screenings:
2008 Digital Media Valencia, La Nau – University of Valencia, Spain.
2007 Vertical, Caldes de Montbui (Barcelona), Spain.
Video Art Festival Miden, Kalamata, Greece.
Simultan, Timisoara, Romania.
View’07, Cinema Andorra, Helsinki, Finland.
2006 Optica 2006 International Encounters of Video-Art, Photography
and Experimental Film, Gijón, Asturias, Spain.
2005 Fluid Image Zone I.P. Grenoble, France.
ENTERmultimediale 2 CIANT, Institut Français, Prague, Czech Republic.
VII Salón y Coloquio Internacional de Arte Digital
Museo Nacional de Bellas Artes and Centro
Pablo de la Torriente Brau, Ciudad de La Habana, Cuba.

In collaboration with AVEK