Slit deconstructs iconic filmic images into three motions and four relationships - literally pan, zoom, follow shot, and far shot; close-up and mid-shot. It is a literal deconstruction of filmic convention. The monitors are suspended at eye level on thirty foot tracks in a triangular formation. By placing the machinery of image production, the very machinery that renders cinematic images seamless, on this side of the screen, the viewer is immersed in the elaborate construction of filmic reality. Animating the screen (not surprisingly) animates viewers as they move around and find the single privileged position from which we are accustomed to viewing film. It becomes dangerous not to move around in this mechanical matrix.
I use this project to introduce the way that cultural tradition, in this case filmic convention, becomes technical imperative, and how a tradition of representation becomes operationalized, or commodified as a comprehensive database. The problem is, it is not comprehensive. Representation strategies outside of the hegemonic tradition are not in that database, and the formal systems of video are prioritized over content. I want to introduce a second point, which I will return to later. When you work with technologies, you are dealing with corporations. This piece was shut down because of copyright infringement, and never shown again. There is no fair use clause in Australian copyright law.