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Post-Cinematic Explorations: A Few Experiments Transforming Time Into Space
In the digital era, a moving image artwork can easily be transformed into a large database of sequentially ordered images. By viewing an artwork as large database of ordered photographic images, it is possible for the viewer to engage with the original work in entirely different ways, in essence, it opens up the artwork to new forms of manipulation and visual analysis.
Wavelength Without the Time (2012) is an image created by reducing Michael Snow’s 45-minute seminal film Wavelength (1967) to a large database of sequentially ordered images. The work is transformed from a cinematic representation of the world (and the single image contained within), to a photographic representation of the film. In an attempt to make Wavelength more accessible the modern viewer, one who constantly craves media stimulation, Snow created WVLNT (or Wavelength For Those Who Don’t Have the Time) (2003) a condensed version of the original. I have attempted to bring Wavelength into the post-cinematic era by further condensing the film, that is, by transforming the film into a single image, removing cinematic time entirely from the equation by transforming time into space.
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