digital film / spatial installation by TJADER-KNIGHT inc.

running time 24min 42sec – colour – stereo

Looking behind in time, collecting, recollecting, amplifying a moment long past.
Creating a perfect mirror of elongated distance.
Opening through, slowly, sounds followed by images, unraveling ..

By this manner the spectator is also brought within the scene, within the very originary.
T-K Inc.

“The purely optical and sound situation (description) is an actual image, but one which, instead of extending into movement, links up with a virtual image and forms a circuit with it. The problem is to know more precisely what is capable of playing the role of virtual image. What Bergson calls ‘recollection-image’ seems at first sight to have the requisite qualities. Of course, recollection images already intervene in automatic recognition; they insert themselves between stimulation and response, and contribute to the better adjustment to the motor mechanism by reinforcing it with a psychological causality. But, in this sense, they only intervene accidentally and in a secondary way in automatic recognition, whilst they are essential to attentive recognition: this latter comes through them. In other words, with recollection-images, a whole new sense of subjectivity appears. We have seen that subjectivity already emerged in the movement-image; it appears as soon as there is a gap between a received and an executed movement, an action and a reaction, a stimulation and a response, a perception-image and an action-image. And if affection itself is also a dimension of this first subjectivity, it is because it belongs to the gap, it constitutes its ‘insides’, it in a sense occupies it, but without filling or fulfilling it. Now, on the contrary, the recollection-image comes to fill the gap and really does fulfil it, in such a way that it leads us back individually to perception, instead of extending this into generic movement. It makes full use of the gap, it assumes it, because it lodges itself there, but it is of a different nature. Subjectivity, then, takes on a new sense, which is no longer motor or material, but temporal and spiritual: that which ‘is added’ to matter, not what distends it; recollection-image, not movement-image.
…
Bergson constantly reminded us that it was not by its own efforts that the recollection-image retained the mark of the past, that is, of ‘virtuality’ which represents and embodies, and which distinguishes it from other types of images. If the image becomes ‘recollection-image’ it is only in so far as it has been to look for a ‘pure recollection’ in the place where it was, pure virtuality contained in the hidden zones of the past
as in oneself … “
Gilles Deleuze: Cinema II The Time-Image

“In this so-called new world order of automation, which is simultaneously hyper-complex and indifferent to
us, what the individual who feels threatened by “new maladies of soul” is asking for is to have a genuine
experience. And they grant authority to those who convey such experience. A person with experience is rare.
What I mean by that is someone who has made their journey to the end of the night, fully aware of the loss
of self but who succeeded in regaining his self. What flows from the words he takes from that experience is
knowledge. He is neither a guru nor a dry savant, but someone who both knows and is flesh and blood
into the bargain.”
Julia Kristeva: revolt, she said

“The colours of the mind, exited by a flower or the moon should not be seen as self at all, but we think of
them as our self.”
Dogen: Shobogenzo

“Sage, Salvia officinalis, is perceived/distinguished as (a metaphor of) perpetual being/existence : one that
grows sage in the garden shall thus live forever!”
T-K inc.

produced by: Boring Films
Supported by: AVEK

We are pleased to announce that we will be unveiling a completely new piece @ The Capture of the Temporal: New Works in Photography and Video,
March 4 – May 28, Main Gallery, Turchin Center for the Visual Arts, Appalachian State University, Boone, NC, USA.

This new piece continues the flow from the ‘Mechanisms of Exposure’ series under the title of ‘SceneSetting’.
Thank you to AVEK for their support

Come and listen to our sound piece ‘You’re not alone!’ @ Kiasma, Helsinki. The piece is being played every 1.5 hours during the day, but more importantly @ the time the piece refers to 03.00-07.00am (CET+2). It was also aired online during these times @ Freshsounds (now offline). You can here it now by clicking the image above from our sound archive.

We thank everybody involved in getting this piece live..  We added this piece in flash format, so those of you who did not get a chance to hear it live may do so now. Thank you for all the interest..
Play|Time

small|hours

You’re not alone!

We build on the understanding that history is constructed, not discovered, truth is made not found.

Also, as Aragon once replied to John Cage when he asked: “how history is written” “You have to invent it”.

Play|Time small|hours addresses to this discourse by the means of sound-installation bordering a public city-space with additions and subtractions to the already existing soundscapes. The sound itself powers the forums parallel in situ in Helsinki, Finland as well as via a virtual sound bridge
[freshsounds.servemp3.com] (now offline, available shortly from sound archive) every day during the Pixelache-festival from 3-7 am [GMT+2].

We have just launched online ‘antiauthoritarian immanence’ commisioned by Pineapple, Sweden.
Take note that this piece was made for viewing from a cd-rom, not online….

antiauthoritarian immanence
a project for ˜spacelessness‘
interactive and immersive spatio-temporal installation (Cd-rom)

Commenting on authoritarian structures of constructivist architectures ˜antiauthoritarian immanence’ is an audio-visual development project for creating a virtual atmosphere / interactive journey through reality based immersive spaces for multiple simultaneous users to interact with virtual translucent scapes that emit omnidirectional light to the virtual planes

antiauthoritarian immanence should be installed in a rear-projected cube of screens to surround the viewer(s) with moving and immersive images (controllable either through air-mouse or vr-glove) and soundscapes.

˜What phenomenology sets up as a norm is ‘natural perception’ and its conditions. Now, these conditions are existential co-ordinates which define an ‘anchoring’ of the perceiving subject in the world, a being in the world, an opening to the world which will be expressed in the famous “all consciousness is consciousness of something..’..Hence movement, perceived or made, must be understood not of course in the sense of an intelligible form which would be actualised in a content, but as a sensible form which organises the perceptive field as a function of a situated intentional consciousness. .. For Bergson, this is to say, the model cannot be natural perception, which does not possess any privilege. The model would be rather a state of (virtual)* things, which would constantly change, a flowing matter in which no point of anchorage nor centre of reference would be assignable. .. This infinite set of all images constitutes a kind of a plane [ plan ] of immanence. The image exists in itself, on this plane. This in-itself of the image is (virtual)* matter: not something hidden behind the image, but on the contrary the absolute identity of the image and movement.’

Gilles Deleuze I’Image-Mouvement

*Inserted by Tjader-Knight inc.

antiauthoritarian immanence is a niche product anyway intended to a wide audience from children to the elderly from ‘film freaks’, critical thinkers and academics to ambient sound and ‘intelligent techno’ enthusiasts.