Counter-Motion Sequencer

23. November 2001. – 31. December
MegnyitóOpening: November 22, 2001, 7:00 pm

C3 Galery website

Counter-motion sequencer

“Decomposed cinema, implementation of a digital fantasy, a kit to cause surprises: what is imaginable being handled with digital media is translated by Rosa Barba into a tangible spatial, real time construction that one can enter.

Hard cuts, short image sequences, origins and transitions, constant moves and changes, and a framework on which everything is hanging. From a rigid point of view nothing makes sense, you have to open and look into it; jump between  the stroke of the re-enforced sound of the stroboscope lamp’s beat and put together the image sequences by yourself; stand in front of the flashing images and wish you got inside it;  follow the suspension of the film and decode it. There are a lot of rhythms pulsating together and at the same time counter-rotating, knocking along the interrupted time axis.

There are no buttons for the user to push. You have to immerse yourself in it, displace your point of view, and interconnect the perspectives. It is a landscape that you have to cross. You have to be corporeally inside a jungle of light, metal, celluloid and current: a story that is told by building blocks, projected illusions and choreographies of hanged film. Rosa Barba wants to save the metaphysical power of the cinema over the digital hysteria. The counter-motion sequencer is a paradox manifest; it is a devising machine, a criticizing machine and a techno-space divider; the sense of the digital that a body receives.”

[ J.W ]

Counter-motion sequencer

A film loop is thumbed on two positions from two stroboscope machines. The lamps beat rhythmically, owing to which the diverse rhythms of the diversely flashing images compose the sound. The images are projected onto two opposite screens. The projector motors are coordinated with each other. The speed of the projector motors is not synchronized with the flash frequencies of the images. Through the different strokes of the projector lamps the image sequences move against each other poly-rhythmically. Through the short flash continuance and the unsynchronized film speed, always new and never repeated image combinations are chosen. In the wake of the clattering projector mechanism and the clicking stroboscope lamp, a complex sound backdrop is emerging. The images show photographs of unclear moments and places of the same people in different locations and different times, moments in cities, airports and casinos. The photos, standing still for variable lengths of time, compose the film. a text interrupts the sequences, commenting on the film flow via words and sentences