This is an extract taken from the first draft of my proposal that I’ll be submitting for feedback later this month. If you would like to read the full text, it can be viewed here.

Context:

One of the key practitioners within my chosen area of research is Kurt Ralske – a visual artist and musician who has created experimental moving image with his own custom software. “Cultural artifacts – books, photographs, cinema – all these thing in their digital form have become dematerialised – they no longer take up space. At the same time they become detemporalised – they’re freed from time. They’ve become pure data. They’ve become an abstraction. They almost don’t even exist – they have no mass and no duration” (Kurt Ralske – LISA Conference 2012). Kurt Ralske’s work presents these concepts visually by, for example, condensing the entire duration of a film into a single omnipresent image or converting cinematic content into a data set that can be explored from a critical perspective.

Digital environments and networked technology has drastically changed the way we consume different types of narrative – allowing us the opportunity to follow our own line of enquiry. Lev Manovich and Andreas Kratky explore what kind of cinema is appropriate for the Internet age in the project ‘Soft Cinema: Navigating The Database’. The films that were created aimed to represent cinema in the software age and explore “a ‘cinema’ in which human subjectivity and the variable choices made by custom software combine to create films that can run infinitely without ever exactly repeating the same image sequences, screen layouts and narratives” (Manovich and Kratky, 2005).

References:

softwareandart (2012) Kurt Ralske – LISA2012. Available at:
https://www.youtube.com/watch?v=nrL7wiFyMy8 [Accessed: 11 May 2016].

Manovich, L. and Kratky, A. (2005) Soft cinema: Navigating the database. United States: MIT Press.