The signal is the very essence of sound and the digital image: of the material information invisible to the naked eye, codified and circulating through the filmic technologies of the age of the Net. Its access, of capital importance, is in protected mode (Friedrich Kittler).
Although the films that make up this program show real worlds, they could be seen as many chapters of a dystopian fiction, visions of a planet in perdition: phantasmic, invasive, post-apocalyptic nature (Wayward Fronds); sacked nature (Le Pays dévasté); exiled humans, forced to seek refuge in areas of radio silence (Quiet Zone); a desolate landscape, the sinister and worrying ruins of an old radar station (Cobra Mist).
Filmed on several visits to the Scottish Borders, the film focuses on Scotland's unique heritage: sheep breeding, textile art, the tradition of wool spinning and unique landscapes are all represented in an impressionistic arc of color and movement.
On February 22, 1987, Andy Warhol died at 58 years following a mere gall bladder operation. Thirty years after his death, Warhol remains a superstar of sales and exhibitions and his notoriety goes well beyond the world of art.
In 1951, Maurice Lemaître made his first film, Le Film est déjà commencé? (Has the film already started?). It is the first attempt to destroy the normal framework of the cinematographic representation in which each element is upset: image, sound, screen, venue, spectators... It is the advent of syncinema: it is no longer just a film projection, but a cinema session that has become a work of art as a whole.
"A moment is an area of limited time, but very special because it is based on facts that characterize it as singular. There is perhaps nothing better than trying to film a moment to realize the great difficulty of transmitting it on a screen. Overall tonight's movies were edited in the camera during filming to create visual moments from a succession of images appearing on the screen simultaneously.
The signal is the essence of sound and digital image: from the invisible material information to the naked eye, codified and flowing through the filmic technologies of the age of the Web. Its access, of paramount importance, is in protected mode (Friedrich Kittler). On one side digital tools are built as black boxes in the middle of which the signal processing is carefully rendered opaque and inaccessible. On the other, private companies and governments of the intelligence services have unlimited technological power of interception and investigation of signals to conduct their surveillance and profiling globally. Rejecting this paradox, some artists like Pierre-Yves Cruaud, HC Gilje, Paolo Gioli, Benjamin Muzzin, Jacques Perconte, Leighton Pierce, Joost Rekveld, Sadia Sadia, Jerome Schlomoff, develop signal intelligence: they thus pass its regulated treatment according to the standards of audiovisual experimentation to release the untapped plastic resources and express all the strata of the artist's sensibility.
In an experimental approach to film, the mirror as a reflective device is used more in its concrete dimension that in the metaphorical: the mirror surface denounces the cinematographic transparency, the famous "window to the world" dear to André Bazin and manifests its power of illusion, infinitely poetic.
This programme will give rise to various speculations about the self-portrait, memory, landscape, but also on the presence of mirrors in Hollywood movies that reveals a double or the narcissistic staging full of doubts and anguish.
The palingenesis means regeneration after an apparent death. In cinema, the rebirth of nature may appear in the pattern, the shape of the film or the image itself. For example in the return of vegetation among the ruins and trauma of History (Resnais, Pollet, Herzog).