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work 3
Triptych: Motion Stillness Resistance, by Peter Horvath (Canada), 2006
In this triptych, each unit presents a series of clips randomly selected from thematic data bases. As images representing motion stream on the left panel, the opposing theme, stillness is represented on the center panel. The triad is completed by the right panel where fragments are used to represent resistance. These clips, which vary in length, work together in a horizontal composition that changes continuously and offer sequences that vary from one viewing to the next.
A structure such as this reminds one of creative techniques like that of the exquisite corpse or cut-ups that have inspired other Web-works. Based on data generators, these works use randomness to create unusual semantic ensembles. In this case, the composition's linear feature and its tripartite form constitute positive elements of its narrative state. However, the content of these videos focuses mostly on the unifying theme supported by each fragment rather than on its narrative potential. Indeed, each section displays repetitive situations, analogue events that, in the end, present an idea rather than committing it to a confrontation with other segments of the work. There results a rupture among the various presentation units, a contrasting group of images with different values, that work against their unity and consequently against the creation of semantic links. Initially, it is the each segment's uniqueness that attracts attention, and that wins out against an overall experience.
Furthermore, as each theme is made known at the very outset, each significantly retains and directs one's attention. Consequently, the viewer observes each crowd movement, each vehicle movement as well as the human activities that unfold in the first panel, while the center panel presents views of urban sites or scenery. As for the "resistance" clips, each displays repetitive situations, intermittent gestures and events that appear to oppose image or activity progression. Yet, after a few minutes, and having realized that the videos effectively illustrate the notions outlined previously by the author, the alert viewer will draw a more nuanced conclusion. Indeed, the first two sections of the work are never totally in motion, never totally still. Some, but few videos, do rally, albeit with some difficulty, to these notions. It is then that one can appreciate the overall work and that the third panel, the one dealing with resistance, takes on its full meaning.
In fact, rather than promoting narrative associations as is the case in many generative works, the structure of this project is used to support a dialectic exposé. One might therefore conclude that the first panel represents a proposition, accompanied by the second panel which presents an opposite notion. Lastly, the last section of the triptych would provide a conclusion, a summary. Accordingly, the notion of resistance is a critical consequence of motion and stillness; neither concept totally or adequately exists.
Upon examining the clips in the third panel, one notices in fact that this resistance takes on many shapes and forms. Although the image moves, its progression is lacking because of repetitions, breaks and returns. This absence of progression forces a "relative" stillness that one might compare to "walking on the spot". This resistance, to both motion and stillness, is an expression a certain tension between two poles, a duality that has proven to be creative in the history of image art, and more specifically with regards to images obtained through technological means.
Resistance to motion and stillness addressed in this work is expressed in a unique context, that of the web. Initially, this space hosted fixed images and over time, as equipment evolved, videos, animations and other visual interactive materials were presented. The multimedia mission that this support currently provides does not exclude fixed images. Quite to the contrary, they continue to play an important role (one simply has to recall the success of flickr, which is but one obvious example). Within this environment, however, fixed images are never really fixed as they remain in an ever changing environment (scroll bars, integration into interactive zones, etc.). On the other hand, videos and animations on web pages constitute stages, i.e. the user stops, varying progression. All content published on the Web belongs to a mixed environment, one that is in motion, one that is still and therefore a paradox. Moreover, the Web experience is based on the fact that users, who remain "still" in front of their computer, feel they are moving around virtually. Subsequently, Horvath's triptych provides a critical view of the Web structure and experience by using a mixed qualifier - resistant to each other - stillness and motion - in their absolute form.
Sylvie Parent
(Translated from French by Renée Brisson)
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