tag:blogger.com,1999:blog-50624647781709412622024-03-13T10:48:50.419-07:00Quantum Filmmaking [Research Blog]Unknownnoreply@blogger.comBlogger16125tag:blogger.com,1999:blog-5062464778170941262.post-40796300897738386882020-09-22T08:56:00.004-07:002020-09-22T09:01:50.800-07:00Quantum Filmmaking at Gallerie delle Prigioni, Treviso (Italy).<p> </p><div dir="auto"><div class="ecm0bbzt hv4rvrfc ihqw7lf3 dati1w0a" data-ad-comet-preview="message" data-ad-preview="message" id="jsc_c_fy"><div class="j83agx80 cbu4d94t ew0dbk1b irj2b8pg"><div class="qzhwtbm6 knvmm38d"><span style="font-size: large;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql fgxwclzu a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v knj5qynh oo9gr5id hzawbc8m" dir="auto"><div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"><a href="http://www.quantum-filmmaking.org.uk" target="_blank"><b>Quantum Filmmaking</b></a> is participating in the exhibition <b><span style="color: red;">When the GLOBE is HOME.</span></b></span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;">From 3rd July to 29th November 2020.</span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="color: red; font-size: x-large;"><b>Where:</b></span><span style="font-size: x-large;"> Gallerie delle Prigioni, Piazza del Duomo 20, Treviso (Italy). </span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="color: red; font-size: x-large;"><b>Opening Times:</b></span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"><b> </b></span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;"><span style="font-size: x-large;">Tuesday to Friday > 3pm - 7pm.</span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;">Saturday and Sunday > 10am -1pm and 3pm -7pm.</span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="color: red; font-size: x-large;"><b>FREE ADMISSION</b></span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;">If you are around, please join us.</span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;">Otherwise, we invite you to take a <b><span style="color: red;">virtual tour</span> </b>of the exhibition here:</span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="https://my.matterport.com/show/?m=xAKbvMZmLSZ&fbclid=IwAR10ceeTnzq-5Q9W00aB2GpmoP2FBQt3pN3u-yTn_eDJNiuj-6kDO9nnnW4" rel="nofollow noopener" role="link" tabindex="0" target="_blank">https://my.matterport.com/show/?m=xAKbvMZmLSZ</a></span></div></div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="color: red; font-size: x-large;"><b>+info:</b></span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"><b> </b></span> </div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="http://www.imagomundiart.com/exhibitions/when-globe-home?fbclid=IwAR304lpkjDQeL9P63gKeKmXyFdxwV2nTuvNipgoMJGg9yTXkDwyquAJuL8E" rel="nofollow noopener" role="link" tabindex="0" target="_blank">http://www.imagomundiart.com/exhibitions/when-globe-home</a></span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"> </span></div><div dir="auto" style="text-align: start;"><span style="font-size: x-large;"><a class="oajrlxb2 g5ia77u1 qu0x051f esr5mh6w e9989ue4 r7d6kgcz rq0escxv nhd2j8a9 nc684nl6 p7hjln8o kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x jb3vyjys rz4wbd8a qt6c0cv9 a8nywdso i1ao9s8h esuyzwwr f1sip0of lzcic4wl py34i1dx gpro0wi8" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fimagomundiart.com%2Fmuseum%3Ffbclid%3DIwAR19QUwvf4Ywsd7qJ3aTNGjQHEN7iykhsdJmjBRYHTwysyFSolR03i53NxI&h=AT20S2JEX2oTUkcF1ChmdoUwZS_1IZ1iJ6BVS61NYNzfQriWwFt2FHdHlIxTAWdq_ua2N4wNsF9CWWSwZAkFH0G1N_9s9see6wB9ngiEU9IaJM-9Qz5hwPBGU5go_i57HIQ4vG-v7Q&__tn__=-UK-R&c[0]=AT2ryYMtD5t0IZ6Gz35NKuVn4lyQ2oWBE27-t7CMB3xFobi4rfmk8qDIir_DmFezJUd9xRN6zv6TliLI4qNSVNYHMn6yqF6tvgybHSZoXQuflUwGqJxaVyKhzYqQUQfwP25B2eEnUz0qAQt1IVHTePTGWp0MREoWGA" rel="nofollow noopener" role="link" tabindex="0" target="_blank">http://imagomundiart.com/museum</a></span></div><div dir="auto" style="text-align: start;"><span> </span></div><div dir="auto" style="text-align: start;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW6CjiBSHHDWYiL4i-6dcN6qf4XhIunDoq8-bEiMU43Xp-ph0wMmTci9JlUAIA1hN5pqHDXJkTRg_WZ0KUdR2hGbhk3WLA1SPt2N_vzUCRBSpN2Qm5-6NkHMA-9G3w35xRZswzzKkckcw/s789/G+prigioni+entrance.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="789" data-original-width="526" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW6CjiBSHHDWYiL4i-6dcN6qf4XhIunDoq8-bEiMU43Xp-ph0wMmTci9JlUAIA1hN5pqHDXJkTRg_WZ0KUdR2hGbhk3WLA1SPt2N_vzUCRBSpN2Qm5-6NkHMA-9G3w35xRZswzzKkckcw/w426-h640/G+prigioni+entrance.jpg" width="426" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQnsREtR_QLIt-vbjkxrnxLwZsO8452rc0Vm7DLjyn0Hi62n92BzJUXY-DTwwaJyrnwJXsidkybBHU1XubI39fQCD_LHb62S0AWPtEoAsEISKABXNthGwn0-Dg4TnYtuP7lVRcWKqXLI/s960/globe+is+home.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="365" data-original-width="960" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifQnsREtR_QLIt-vbjkxrnxLwZsO8452rc0Vm7DLjyn0Hi62n92BzJUXY-DTwwaJyrnwJXsidkybBHU1XubI39fQCD_LHb62S0AWPtEoAsEISKABXNthGwn0-Dg4TnYtuP7lVRcWKqXLI/w640-h244/globe+is+home.jpg" width="640" /></a></div><br /> </span></div><div dir="auto" style="text-align: start;"><span> </span></div><div dir="auto" style="text-align: start;"><span> </span></div></div></span></span></div></div></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-74005642527303740572019-06-30T08:20:00.002-07:002019-06-30T10:02:24.005-07:00X3 > Re-constructing the X at Gostivar Culture Center (Rep. North Macedonia).<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: red;"><b><span style="font-size: x-large;">X3 > Re-constructing the X (2019)</span></b></span><span style="font-size: x-large;"><br /> </span><br />
<span style="font-size: x-large;"><a data-lynx-mode="asynclazy" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.re-constructing-the-x.org.uk%2F%3Ffbclid%3DIwAR0SRO7AcyiOH5DtEO5bRbkBewKIVCdYRwvcY1Ct_Wr4CI_Gi1dNAxHDBJE&h=AT0Ro4WmuZNPYqCdV40fz_njHt47PLxvqBC2Af9HI4GgT83WpSYXRP19x6fPHGJHo_sQBDN0HLeSu3dsBLQAentDJFdbKA3xPSf_RI4bMazrCynb2V6AagA5I8VAnpUZWiSZThVczZB19PQ" href="http://www.re-constructing-the-x.org.uk/?fbclid=IwAR0SRO7AcyiOH5DtEO5bRbkBewKIVCdYRwvcY1Ct_Wr4CI_Gi1dNAxHDBJE" rel="noopener nofollow" target="_blank">www.re-constructing-the-x.org.uk</a></span> <span style="font-size: x-large;"><br /> </span><br />
<span style="font-size: x-large;">Mixed media: collaging the offline with the online realm.<span class="text_exposed_show"><br /> </span></span></div>
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<span style="font-size: x-large;"><span style="color: red;"><b>Re-constructing the X</b></span> is a <a href="http://quantum-filmmaking.org.uk/"><span style="color: red;"><b>Quantum Filmmaking</b></span> </a>project, in which participants film during 30 seconds with their mobile phones their point of view shots of <span style="color: red;"><b>X</b></span>, which is a specific <span style="color: red;"><b>momentum </b></span>in space and time, co-creating a multiscreen video-collage re-constructing the situation.</span> <span style="font-size: x-large;"><br /><b> </b></span><br />
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<span style="font-size: x-large;"><span style="color: red;"><b>X3</b> </span>happened on <span style="color: red;"><b>24th June 2019 at around 20:30pm (Local Time)</b></span>, during the <span style="color: red;"><b>exhibition of the International Art Colony Gostivari 19</b></span>, at <span style="color: red;"><b>Gostivar Culture Center</b></span> (Rep. North Macedonia).</span> <span style="font-size: x-large;"><br /><b> </b></span><br />
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<span style="font-size: x-large;"><span style="color: red;"><b>X3</b></span> was co-created by: BURIM AJDINI, XHEZAIR REXHEPI, ICEBERG FERNANDEZ, MUHAMED VESELI, LULZIME LULU OSMANI, BEJTULLA ZAIMI and SNEZANA GROZDANOVIC.</span> <span style="font-size: x-large;"><br /> </span><br />
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<span style="font-size: x-large;">Special thanks to Draudacum Shafm, Reshat Ameti, Ylber Zulfiqari, Ismane Mehdi, Xhezair Rexhepi, Arjan Rufati and everybody involved in the organization of the Colony, who are at the core of the process.</span> <span style="font-size: x-large;"><br /> </span><br />
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<span style="font-size: x-large;">+ info: <a data-lynx-mode="asynclazy" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.quantum-filmmaking.org.uk%2F%3Ffbclid%3DIwAR21I2fI9a-BXf6X9AvMiBQU75H3VA0maCftPPbXoE5sGjGewYTmb5_4C2o&h=AT3c_m6lC61KiQVpVCRZ7SlUxz-PGOAITr3K0fAa5Dm98PuaOezPv7yB-4mWnz6pDVTbCKoQPlbdkBfsES1m_tmpyZQsgAGkb2E6dG1x4hJG53nOTUGwDepJAHOEWWa_GJVm0E300sziKDQ" rel="noopener nofollow" target="_blank">www.quantum-filmmaking.org.uk</a></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><b><i>X3 > Re-constructing the X</i></b> (2019). </span><br />
<span style="font-size: large;">60 X 70 cm. Mixed Media. Photo by Snezana Grozdanovic.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHqa8a8-XGl0g37NLkT2oz0PndQBsMnQK4ka_klCUeP-KM-wG3aausNbKAFx2DRglpecvehMpv_A65dgS-IVwNOzNAAu9BmHMptObI28qQ5HYwVt2vzJhURHJ3ooTCWWLoDYp3YqwmG3s/s1600/X3+screenshot.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="889" data-original-width="1600" height="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHqa8a8-XGl0g37NLkT2oz0PndQBsMnQK4ka_klCUeP-KM-wG3aausNbKAFx2DRglpecvehMpv_A65dgS-IVwNOzNAAu9BmHMptObI28qQ5HYwVt2vzJhURHJ3ooTCWWLoDYp3YqwmG3s/s640/X3+screenshot.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><a href="http://re-constructing-the-x.org.uk/"><b>X3 > re-constructing-the-x.org.uk</b> </a> (2019). Screenshot. <span style="color: red;"><b> </b></span></span><br />
<span style="font-size: large;"><span style="color: red;"><b>X3</b></span> was co-created by 7 artists during the Exhibition of the Art Colony Gostivari 19 </span><br />
<span style="font-size: large;">on 24th June 2019 at Gostivar Culture Center (Rep. North Macedonia).</span></td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-34563490427783661112019-06-26T14:04:00.001-07:002021-03-09T07:13:16.603-08:00Quantum Filmmaking at 14th International Art Colony Gostivari 19, Gostivar (Rep. North Macedonia).<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "times new roman" , serif; font-size: 24pt;"><span style="color: red;"><b>Quantum Filmmaking</b></span> has had the pleasure of participating in the<span style="color: red;"><b>14th International Art Colony Gostivari 2019</b></span>, Gostivar (Rep. North Macedonia), from 20th to 25th June 2019. </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 24pt;">Special thanks to Draudacum Shafm, Reshat Ameti, Ylber Zulfiqari, Ismane Mehdi, Xhezair Rexhepi, Arjan Rufati and everybody involved in the organization of the Colony, for your hospitality and for making this creative week so wonderful.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 24pt;">More special thanks to all the artists in residency for being as authentic as you are, and for sharing your forms, colours, strokes and avant-garde techniques. And especially, for sharing your unique approaches to art and life. </span><br />
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<span style="font-family: "times new roman" , serif; font-size: 24pt;">This week has been a </span><span style="font-family: "times new roman" , serif; font-size: 24pt;">very interesting journey merging art and life: departing from the white canvases and going through aesthetic processes, enjoying coffees, lunches, dinners and touristic trips together... until the final exhibition, demonstrating the artistic diversity of the group. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuGaRjRCMkBsVIbU7CMYJqUbjPiPh53mwi6c8Ue0gtVbUohyphenhyphenCnh0s3jqJ-nwQUnPThXruu6ubJslIXGBUGUgCdbp1J5k1TsxFY1GxyOq7JcAux3cW8cEoE0WEfTzclPgKk7B_rSvPlIAU/s1600/RCX_Gostivar+19.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuGaRjRCMkBsVIbU7CMYJqUbjPiPh53mwi6c8Ue0gtVbUohyphenhyphenCnh0s3jqJ-nwQUnPThXruu6ubJslIXGBUGUgCdbp1J5k1TsxFY1GxyOq7JcAux3cW8cEoE0WEfTzclPgKk7B_rSvPlIAU/s640/RCX_Gostivar+19.JPG" width="426" /></a></td></tr>
<tr align="center"><td class="tr-caption"><span data-offset-key="5h1p7-12-0"><span data-text="true"><span style="font-size: large;"><span aria-live="polite" class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> <b><i>X3 > Re-constructing the X </i></b>(2019). 60 X 70 cm.</span></span></span></span></span><br />
<span data-offset-key="5h1p7-12-0"><span data-text="true"><span style="font-size: large;"><span aria-live="polite" class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> Mixed media: collaging the offline with the online realm. </span></span></span></span></span><br />
<span data-offset-key="5h1p7-12-0"><span data-text="true"><span style="font-size: large;"><span aria-live="polite" class="fbPhotosPhotoCaption" data-ft="{"tn":"K"}" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"> Photo by Snezana Grozdanovic.</span></span></span></span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIbaqoo617HhuBvJHdJ9X_jNskMOOIQ9n0MtoB4H1OlG4bvcLd7s5ccHcOOQMXTPq9DIVBkkpMW6qoEtkcHrAgYx1YSFRUtBnzO28a1h_xzIbdzYIG_TXn4KuZhH7C-iEU2rpwgxJN7tg/s1600/X3+screenshot.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="889" data-original-width="1600" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIbaqoo617HhuBvJHdJ9X_jNskMOOIQ9n0MtoB4H1OlG4bvcLd7s5ccHcOOQMXTPq9DIVBkkpMW6qoEtkcHrAgYx1YSFRUtBnzO28a1h_xzIbdzYIG_TXn4KuZhH7C-iEU2rpwgxJN7tg/s640/X3+screenshot.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"><a href="http://re-constructing-the-x.org.uk/"><b>X3 > re-constructing-the-x.org.uk</b> </a> (2019). Screenshot. <span style="color: red;"><b> </b></span></span><br />
<span style="font-size: large;"><span style="color: red;"><b>X3</b></span> was co-created by 7 artists during the Exhibition of the Art Colony Gostivari 19 </span><br />
<span style="font-size: large;">on 24th June 2019 at Gostivar Culture Center (Rep. North Macedonia).</span></td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-23185220782859127822018-07-25T05:00:00.000-07:002019-04-25T05:35:04.646-07:00Imago Mundi: Join the dots/ Unire le distanze: Nature and Progress.<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><a href="http://quantum-filmmaking.org.uk/">Quantum Filmmaking</a> will be participating in the exhibition <a href="https://www.facebook.com/events/487851585000657/">Art Theorema #1: </a><a href="https://www.facebook.com/events/487851585000657/">Join the Dots / Unire le distanze </a></span><br />
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;">From 3rd August to 1 September 2018 at Salone degli Incanti, Riva Nazario Sauro 1, Trieste (Italy).</span><br />
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<span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjWJaU8jBF476AQ4iHVzQVQ7Lrz5eGuULWYDZ5kBFqFOO2z3f1wbCOqz_GOUVHylcWoP8HoA3GJqrKDuGxfQZlPNnox3N3NBRVdvuNMvkA3iL5R1sqnByLIUiJxFMCbirlZFFFy58EpYk/s1600/join+the+dots+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="1200" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjWJaU8jBF476AQ4iHVzQVQ7Lrz5eGuULWYDZ5kBFqFOO2z3f1wbCOqz_GOUVHylcWoP8HoA3GJqrKDuGxfQZlPNnox3N3NBRVdvuNMvkA3iL5R1sqnByLIUiJxFMCbirlZFFFy58EpYk/s640/join+the+dots+.jpg" width="640" /></a></span></div>
<span style="font-size: x-large;"> </span><br />
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;">The program of events linked to the Imago Mundi exhibition “Join the Dots / Unire le distanze” is further enriched on 3rd August with a new appointment: the presentation of the catalogue and the Imago Mundi collection Art Theorema # 1, in the company of Gianluca Calligaris and Lorenzo Rigonat, with a degree in architecture at the University of Trieste, Claudio Scorretti, curator of Imago Mundi Art Theorema and Jean-Christophe Norman, artist, coordinated by Massimiliano Schiozzi<br /><br />Art Theorema is a continuation of the research and promotion of the artistic talents in Imago Mundi; it integrates the over 150 collections dedicated to the nations and native communities of five continents. <br /><br />From Europe to the Caribbean, from African countries to Australia, from Canada to Central Asia, Art Theorema traces the kaleidoscopic and colourful portrait of the local artistic expressions that, all together and faithful to the pluralistic principles of the art of Imago Mundi, contribute to the formation of a global scenario of contemporary art. In the words of Luciano Benetton, Art Theorema represents “the aspiration of Joseph Beuys to artistically express ‘unity in diversity’ through the movement of ideas and inspirations that cross boundaries, interact and maybe, slowly but without hesitation, change humanity.”<br /> <br />Unity in diversity, the local that becomes an expression of the global, are principles echoed by Jean-Christophe Norman’s research and his artistic project “Ulysses: A Long Way”, which will also be presented during the evening. Norman, whose work is included in the Art Theorema collection, has chosen the work of James Joyce because it represents the universality of aspirations and of the human soul. Trieste, an emblematic city in Joyce's biography, becomes the parchment for Norman’s performance; on the asphalt of the city he will write with chalk phrases and passages of the famous novel, in what appears almost a physical expression of the flow of consciousness. Because, Norman believes, writing is never definitive; it is instead a vital and natural flow that traverses us in a continuous progression.</span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-19249688953785205642017-10-31T04:59:00.000-07:002019-04-25T05:07:03.054-07:00NOW&HERE = EVERYWHERE > MOMENT 17 at Imago Mundi Highlights (2018), Benetton Foundation and Fabrica (Italy).<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><a href="http://www.now-here-everywhere.org.uk/">MOMENT 17</a> has been co-created on Saturday 14th October 2017 at 18:00pm BST at the core of <a href="http://www.imagomundiart.com/artworks/iceberg-fernandez-link-moment-17">Imago </a><span class="text_exposed_show"><a href="http://www.imagomundiart.com/artworks/iceberg-fernandez-link-moment-17">Mundi </a>Highlights 2017-18, supported by Benetton Foundation and Fabrica (Italy).</span></span><br />
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<span style="font-size: x-large;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "helvetica"; font-size: 10.0pt;"> <span style="font-size: x-small;"><span style="font-size: small;">Link to Moment 17<span style="mso-spacerun: yes;"> </span></span></span></span></i></b><span lang="EN-US" style="font-family: "helvetica"; font-size: small;">(Mixed media, 2017).</span></span></div>
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<span lang="EN-US" style="font-family: "helvetica"; font-size: small;"> The artwork is the material offline index to the immaterial online <i style="mso-bidi-font-style: normal;">Moment 17, </i></span></div>
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<span lang="EN-US" style="font-family: "helvetica"; font-size: small;"> co-created internationally by 25 artists on 14.10.2017 at 6pm BST.</span></div>
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<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><b><span style="color: red;">MOMENT 17</span></b> is composed by 25 videos entangling 25 artists while filming simultaneously with their camera-phones from diverse geographical locations, such as, Bilbao and Donosti (Basque Country), Asturias, Cáceres and Madrid in Spain; London, Langley, Pease Pottage and Edinburgh (Scotland) in the UK; Sao Paolo in Brazil; Vijayawada in India; somewhere over France; Tournai in Belgium; Hamburg and Berlin in Germany; Rome in Italy and Ruthin in North Wales.</span><br />
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;">Congratulations to all the participating artists!!!! <span class="_5mfr _47e3"><span class="_7oe">😍</span></span></span><br />
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<span style="font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj58MGLOWhSZg1hqVdf8IpSucAENCsy5ZNDa0iPyAFAhqCE0tqzX0emap7FGb5ox96Nm_MzN8o9ikfH8BfMZLgEsHcPnGaMsosNTxUKfKQ5cIBTXoky-9CJDNHiFxMu-5mLeG-L1ZAlmyo/s1600/Moment17+screen-shot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="841" data-original-width="1597" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj58MGLOWhSZg1hqVdf8IpSucAENCsy5ZNDa0iPyAFAhqCE0tqzX0emap7FGb5ox96Nm_MzN8o9ikfH8BfMZLgEsHcPnGaMsosNTxUKfKQ5cIBTXoky-9CJDNHiFxMu-5mLeG-L1ZAlmyo/s640/Moment17+screen-shot.jpg" width="640" /></a></span></div>
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><b><span style="color: red;">MOMENT 17</span></b> was co-created by:</span><br />
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;">MARIO MARTINEZ , ELISA LóPEZ BURGOS, STEVE GEER, SHIVKUMAR K V ART, SANDRA BECKER, JUSSARA FéLIX FIGUEREDO, LUIS ETXANIZ, MANUEL HENCHE, MARIANO MELMAN, RAPHAEL LATOUR, JONE ZUBIAURRE, JOHN LEE BIRD, IOANA PIOARU, VICTOR CANO , ELIANE FIGUEREDO , ELENA UGARTE, DEWI YARD, BELEN RODRIGUEZ, AITOR ALBO, SILVIA SUSANNA, CARLOS MARTíN SáNCHEZ, RAFA HERNáNDEZ, ION SAGARZAZU, IKER IZAGIRRE and PARRY MORALES.</span><br />
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;"><b><span style="color: red;">MOMENT 17</span></b> will be physically travelling around the world with Imago Mundi Highlights that will be at the focus of the international exhibition activities starting 2018, including major biennials and top international art events and fairs. </span><br />
<span style="font-size: x-large;"><br /></span> <span style="font-size: x-large;">+info: <a href="http://www.imagomundiart.com/">www.imagomundiart.com </a></span> </div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-25062887585901513032015-11-10T10:00:00.000-08:002015-12-06T18:24:35.297-08:00NOW&HERE=EVERYWHERE > MOMENT 16 at the 1st International Tech Week 2015, in Sao Paulo (Brazil)<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><b><a href="http://www.now-here-everywhere.org.uk/">MOMENT 16 </a></b>has been co-created on 6 November 2015 at 4pm Brst or 6pm
GMT, at the core of the First International Tech Week in Sao Paulo
(Brazil).</span><br />
<div class="text_exposed_show">
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<span style="font-size: x-large;">This <b><span style="color: red;">MOMENT</span></b> is composed by 40 videos filmed with
camera-phones, entangling artists from diverse cultural backgrounds and
geographical locations, such as, Sao Paulo and Rio de Janeiro in Brazil;
Lumberton and Wilmington (North Carolina), Ypsilanti (Michigan) and
Great Barrington (Massachusetts) in the USA; Vijayawada and Bangalore in
India; Bilbo and Donosti (Basque Country), as well as, Valencia, La
Rioja and Valladolid in Spain; London, Wear, Woking, and Edinburgh in
the UK; Dusseldorf and Berlin in Germany; Belgrade in Serbia; Rome and
Chianti in Italy; Tournai in Belgium and, finally, Singapore.</span><br />
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<span style="font-size: x-large;"><span style="color: red;"><b>MOMENT 16</b></span> has been co-created by:</span><br />
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<span style="font-size: x-large;">J. RAMON FERNANDEZ, JOHN LEE BIRD, JON KOLDO VAZQUEZ, SILVIA GRIMALDI
WITH CLARA BUSHER (7 YRS) & BEN GEBAUER (7 YRS), VICTOR CANO ,
SHIVKUMAR K V ART, SANDRA BECKER, ELIANE FELIX FIGUEREDO, LEA VAN STEEN,
MADDIE FIX , SILVIA & GIUSEPPE, CARLOS CAS, CAROLINE KAHN, ARITZ
GALIANA, CARLOS MARTIN SANCHEZ, CAROLYN FOLAND, ICEBERG FERNANDEZ, BELEN
RODRIGUEZ GONZALEZ, KATARINA KAJA MARKOVIC’, RAPHAEL LATOUR, MARTA
ALVAREZ, JOZEF ONDKO, FRANCISCO GOMEZ DE VILLABOA, SAM CARBY, PABLO
VILLAVICENCIO, JUSSARA FELIX FIGUEREDO, ROBERT GREGORY COLE, MANUEL
HENCHE, ELENA UGARTE, CLAUDIA JACQUES, ASIER REGUERA, ALBERTO GARCIA ,
AITOR ALBO, MARIO MARTINEZ, PILARETA TAMARIT, ION SAGARZAZU, JULIA
LOUISE HARRINGTON, JAMES HUTCHINSON, GALERIA REPARTE and MATT LOVE.</span><br />
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<span style="font-size: x-large;"><b><span style="color: red;">MOMENT 16</span></b> has been shown and discussed on 9th November 2015 at 18:00 at the <a href="http://mobilab.prefeitura.sp.gov.br/2015/10/29/now-here-everywhere/"><b><span style="color: red;">Mobilab </span></b></a>exhibition, curated by Jussara Felix Figueredo.</span><br />
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<span style="font-size: x-large;">Mobilab Address: Rua Boa Vista 136, Sao Paulo 01014-000</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cq9sQHYvnkah5QhmreBK7rWUpl0gCfT_N3AQIWSbB3Ki7uxEmxtPQlInx_sE4ollgPlZEoYsTcwNtJg8IczQF4JjX-iIPuBu6JVkcJa8e6JTNKXVARwp8hTacb1K4oWwEfaG525uRAQ/s1600/Sao+Paulo+2015_03.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cq9sQHYvnkah5QhmreBK7rWUpl0gCfT_N3AQIWSbB3Ki7uxEmxtPQlInx_sE4ollgPlZEoYsTcwNtJg8IczQF4JjX-iIPuBu6JVkcJa8e6JTNKXVARwp8hTacb1K4oWwEfaG525uRAQ/s640/Sao+Paulo+2015_03.jpg" width="360" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Quantum Filmmaking at Sao Paulo Tech Week 2015 (Brazil). Photo by Jussara Felix Figueredo.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfDXXgH_JKfm6BUrqnLYBxn-s1waxw_1IIeMmPR48rBDGnS8P5RtisLwHXNtbNxWgHo-M7tSA4nr3p2084Uh_7Eb8wjcYNAMaut77Jskxwwy7xz5XTHWSHj5jeuGxmd_h_JuIoPQC2-GQ/s1600/MOMENT+16A+yellow.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfDXXgH_JKfm6BUrqnLYBxn-s1waxw_1IIeMmPR48rBDGnS8P5RtisLwHXNtbNxWgHo-M7tSA4nr3p2084Uh_7Eb8wjcYNAMaut77Jskxwwy7xz5XTHWSHj5jeuGxmd_h_JuIoPQC2-GQ/s640/MOMENT+16A+yellow.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Quantum Filmmaking at Sao Paulo Tech Week 2015 (Brazil). </span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7fZIkkyNMxbnAn4puH8jJf4KeHIAlMy2e1owsfUjQMyZe2_cPkU-5ve-ZP8S9klGxeJq94YgrxI3wDZ4iTSP1ddfsQSE2rSG4-ZHcOX8NA8JdCcWJvvNEeTQ_wiJxGXSM91c7qx-eF7c/s1600/Sao+Paulo+2015_06.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7fZIkkyNMxbnAn4puH8jJf4KeHIAlMy2e1owsfUjQMyZe2_cPkU-5ve-ZP8S9klGxeJq94YgrxI3wDZ4iTSP1ddfsQSE2rSG4-ZHcOX8NA8JdCcWJvvNEeTQ_wiJxGXSM91c7qx-eF7c/s640/Sao+Paulo+2015_06.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Quantum Filmmaking at Sao Paulo Tech Week 2015 (Brazil). Photo by Jussara Felix Figueredo.</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3cq9sQHYvnkah5QhmreBK7rWUpl0gCfT_N3AQIWSbB3Ki7uxEmxtPQlInx_sE4ollgPlZEoYsTcwNtJg8IczQF4JjX-iIPuBu6JVkcJa8e6JTNKXVARwp8hTacb1K4oWwEfaG525uRAQ/s1600/Sao+Paulo+2015_03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<span style="font-size: x-large;"> [ For + info, please visit:</span></div>
<div style="text-align: center;">
<span style="font-size: x-large;"> <a href="http://www.quantum-filmmaking.org.uk/" rel="nofollow" target="_blank">www.quantum-filmmaking.org.uk</a></span></div>
<div style="text-align: center;">
<span style="font-size: x-large;"><a href="http://mobilab.prefeitura.sp.gov.br/" rel="nofollow" target="_blank">http://mobilab.prefeitura.sp.gov.br/</a> ]</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-20981879710648858942015-10-11T09:25:00.000-07:002015-10-29T11:09:56.972-07:00Quantum Filmmaking at the 1st International Tech Week in Sao Paulo (Brazil) 2015<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="fsl" style="font-size: x-large;">We are delighful to announce that <b><span style="color: red;">Quantum Filmmaking</span></b> has been invited to participate in the <a href="http://www.saopaulotechweek.com/">First International Tech Week in Sao Paulo</a> (Brazil), that will be held during the first week of November 2015.</span><br />
<span class="fsl" style="font-size: x-large;"><br /></span>
<span class="fsl" style="font-size: x-large;"><span class="fsl">As part of the <a href="http://mobilab.prefeitura.sp.gov.br/">Mobilab</a> program coordinat<span class="text_exposed_show">ed by Ciro Biderman, </span></span>we will be performing the <span style="color: red;"><b>MOMENT 16 </b></span> for the project </span><span class="fsl" style="font-size: x-large;"><span class="fsl"><a href="http://www.now-here-everywhere.org.uk/">NOW&HERE = EVERYWHERE</a>, </span>entangling people internationally into co-creation through their
camera-phones <b><span style="color: red;"><i>For the Arts’ Sake</i></span></b>! In the project we co-create
and re-create simultaneous moments happening in different points of
Planet Earth, while celebrating and inter-connecting cultural diversity.<br /> <span class="text_exposed_show"> </span></span><br />
<span class="fsl" style="font-size: x-large;"><span class="text_exposed_show">We will be co-creating <span style="color: red;"><b>MOMENT 16</b></span> on:<br /> <b><span style="color: red;"><br /> FRIDAY 6TH NOVEMBER 2015 at 4pm DST Sao Paulo (Brazil) / 6 pm GMT (UK)</span></b>.<br /> <br /> Please convert the time to your Local Time Zone. <br /> <br />
<b><span style="color: red;">MOMENT 16</span> </b>will be shown on 9th November at the <b><span style="color: red;">Mobilab
exhibition</span></b>, curated by Jussara Felix Figueredo. As usual, all the
participating artists will be credited in the artwork.<br /> <br /> <span style="color: red;"><b>Mobilab address</b></span>: Rua Boa Vista </span></span><span class="fsl" style="font-size: x-large;"><span class="text_exposed_show"><span class="fsl" style="font-size: x-large;"><span class="text_exposed_show">136</span></span>, Sao Paulo 01014-000<br /> <br />
Be original! ♥ To participate you just need to make a 30 second film
with your camera-phone of <b><span style="color: red;">YOUR CHOICE</span></b> in the PLACE you are at that
precise date and time. Then, send it straight away, along with the name
of the CITY, by e-mail to:<br /> <br /> info@now-here-everywhere.o<wbr></wbr><span class="word_break"></span>rg.uk<br /> <br />
If you prefer to send your videos via WhatsApp, please text the word
'NOW' with your name to this number +447449494812, and you will be added
to the group we have created. Your number will not be shared with third
parties or used for commercial purposes.<br /> <br /> </span></span><br />
<span class="fsl" style="font-size: x-large;"><span class="text_exposed_show">[ <b><span style="color: red;">Disclaimer:</span></b> All the participating artists will be credited on the project. Only the video-clips produced at the announced date and time
will be considered.<br /> <br /> By participating in the project you are
confirming that you have all the rights to publish the videos and you
are allowing us their exhibition.</span></span><br />
<span style="font-size: x-large;"><br /></span>
<span class="fsl" style="font-size: x-large;"><span class="text_exposed_show">For + info: <a href="http://www.quantum-filmmaking.org.uk/">www.quantum-filmmaking.org.uk </a>] </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNaYMlY-vD_BO0c9pJf-bXK-y9GWbmvG7bgFWVrSVkYPklu6ubrWyYKlyAi1Ec9YaNb-lVvK70W76ercW3P8OsXyGIHmh9WrNRMuDbMZIP_F655TtMJ_JhPrxx_kfmYBIJJhhDDT0MRDI/s1600/SPTW_still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNaYMlY-vD_BO0c9pJf-bXK-y9GWbmvG7bgFWVrSVkYPklu6ubrWyYKlyAi1Ec9YaNb-lVvK70W76ercW3P8OsXyGIHmh9WrNRMuDbMZIP_F655TtMJ_JhPrxx_kfmYBIJJhhDDT0MRDI/s640/SPTW_still.jpg" width="640" /></a></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-60479875608099774502015-07-15T15:56:00.000-07:002017-04-07T17:52:28.364-07:00NOW&HERE = EVERYWHERE > MOMENT 10 at the National Gallery of Macedonia (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span style="color: black;"><span style="font-size: x-large;"><span style="font-family: "helvetica";"><a href="http://www.now-here-everywhere.org.uk/">NOW&HERE = EVERYWHERE > MOMENT 10</a> </span></span></span></b><span style="font-size: x-large;"><span style="font-family: "helvetica"; font-style: normal;">has participated</span><i><span style="font-family: "helvetica"; font-style: normal;"> in the </span></i><i><span style="font-family: "helvetica"; font-style: normal;"><a href="http://issuu.com/skleto/docs/katalog-final/22">Triennial of Skopje </a>at the <span style="color: #cc0000;"><b>National Gallery of Macedonia- Mala Stanica Multimedia Centre </b><span style="color: black;">from </span><b>21 to 28 June 2015</b><span style="color: black;">, curated by Ana Frangovska (National Gallery of Macedonia).</span></span></span></i></span><br />
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<span style="font-size: x-large;"><br /></span></div>
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<span style="font-size: x-large;"><b><span style="font-family: "helvetica"; font-weight: normal;"><span style="color: #cc0000;"><i><b><span lang="EN-US" style="font-family: "helvetica";"><a href="http://www.now-here-everywhere.org.uk/"><span style="color: black;"><i><span class="MsoHyperlink"><b><span style="text-decoration: none;"><b><span style="font-family: "helvetica";">Now&Here=Everywhere</span></b></span></b></span></i></span></a><b> </b></span></b></i></span></span></b><span style="font-family: "helvetica"; font-weight: normal;"><span lang="EN-US" style="font-family: "helvetica";">is
the shortest </span></span><span style="font-family: "helvetica"; font-weight: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="font-family: "helvetica";"><span style="color: black;">international art collaboration in the History of Humanity,
lasting just for 30 seconds, </span></span><span style="color: black;"><span class="completetext"><span lang="EN-US" style="font-family: "helvetica";">co-creating
and re-creating simultaneous moments while celebrating cultural diversity, in
which everybody is invited to collaborate with their mobile phones. </span></span><span lang="EN-US" style="font-family: "helvetica";"> </span><span class="completetext"><span lang="EN-US" style="font-family: "helvetica";">The documentary art project invites participants to
make a thirty-second film with their smart phones at a certain date and time,
and send them back straight away to us via e-mail and WhatsApp, to be published onto the <i><span style="color: #cc0000;"><b>Gallery of Moments</b></span></i> of the website. </span></span><span lang="EN-US" style="font-family: "helvetica";"> The collage-moments are randomly generated every
time the observers interact with them, collapsing into one of the possibilities co-existing in quantum superposition.</span></span></span></span></span></div>
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<span style="color: #cc0000; font-size: x-large;"><span style="font-family: "helvetica"; font-weight: normal;"><span style="color: #cc0000;"><span style="color: black;"><span lang="EN-US" style="font-family: "helvetica";">
</span></span></span></span><span style="font-family: "helvetica";"><b><a href="http://www.now-here-everywhere.org.uk/index.php?page=gallery&show=58dce7bf17aeb">MOMENT 10</a> </b><span style="color: black;">was
co-created on 15 August 2014 at 2pm (BST) by 35 artists filming
simultaneously and choreographically with the camera-phones in different
points of the Planet, such as, Japan, New York, North Carolina, Africa,
Ireland, UK and Spain, in collaboration with the artists in residence
at the <i><b><span style="color: #cc0000;">Art Colony Galichnik 2014.</span></b></i></span><b><br /></b></span></span><br />
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<span style="color: #cc0000; font-size: x-large;"><b><span lang="EN-US" style="font-family: "helvetica";">Participating artists:</span></b><span lang="EN-US" style="font-family: "helvetica";"> </span></span></div>
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<span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;">NICKY
HAMLYN, JETON MUJA, BEKIM KORCA, PATRICIA PRIETO BLANCO, MARTA ALVAREZ, MARIO
MARTINEZ, MARIANO MELMAN, CAROLINE KAHN, AITOR ALBO, BUHLE NDAMASE, ICEBERG
FERNANDEZ , KATARINA BUNUSEVAC, JOHN LEE BIRD, ALBERTO GARCíA, MONIKA TOBEL,
KATERINA (4 YR) & NATALYA (8 YR) CODY-RAPPORT, SILVIA GRIMALDI, </span><span style="font-family: "helvetica"; font-size: x-large;">CLAUDIA JACQUES
, MAUREEN BACHAUS, ELISABET FASANO, FEDERICO GALLO , ELENA UGARTE, TERE MENDEZ,
ABI FRENCH, JOZEF ONDKO, IOANA PIOARU, BRIGITA ANTONI, JON KOLDO VAZQUEZ, J.
RAMON FERNANDEZ, SUSANA FERNANDEZ, FRANCISCO GOMEZ DE VILLABOA, GRACE EAGLE,
JAN NIEMAND and WENDYL HARRIS</span><span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;">.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVf3ZUnhitWtZYWAsJeIoAIlWzBA-dgjZek-7BPeEYdqXnFlBPnZ0rAnlyw6EyTY7D9DiaeTtF2Ipd5S4sEPYStofLt3yV89-1bLP1sm1LcAGbvbp13jd_rzuGEPo150UzeE3Xw_wYFgk/s1600/Macedonia+2015_03.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVf3ZUnhitWtZYWAsJeIoAIlWzBA-dgjZek-7BPeEYdqXnFlBPnZ0rAnlyw6EyTY7D9DiaeTtF2Ipd5S4sEPYStofLt3yV89-1bLP1sm1LcAGbvbp13jd_rzuGEPo150UzeE3Xw_wYFgk/s640/Macedonia+2015_03.jpg" width="640" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: small;">NOW&HERE = EVERYWHERE > MOMENT 10</span><br />
<span style="font-size: small;">National Gallery of Macedonia- Mala Stanica Multimedia Centre (2015). Photo by Igor Sekovski.</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHbw58GQ8vTcgt_kjtOQYwEbIdGIVzKRoYyTBjdVFAnQe-mxtEWEoCpHL5HXWjhzsGSuQKC8l5SJVLajfgmIHEuKcAcOFsoJTWKyfxJiiOKq0B86vAMu0VJokXEF6Baei7ZWSnW_5yIAg/s640/Macedonia+2015_04.jpg" style="margin-left: auto; margin-right: auto;" width="640" /></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: small;">NOW&HERE = EVERYWHERE > MOMENT 10</span><br />
<span style="font-size: small;">National
Gallery of Macedonia- Mala Stanica Multimedia Centre (2015). Photo
by Igor Sekovski.</span></td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHbw58GQ8vTcgt_kjtOQYwEbIdGIVzKRoYyTBjdVFAnQe-mxtEWEoCpHL5HXWjhzsGSuQKC8l5SJVLajfgmIHEuKcAcOFsoJTWKyfxJiiOKq0B86vAMu0VJokXEF6Baei7ZWSnW_5yIAg/s1600/Macedonia+2015_04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"> </a> </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICGW9mrduX2VI4j_fI9S4xMynvEXjNOa7uHTTCV8xgIDAbQPmM7KDsmyX7oLb9y1RzCdjPxjayOJGKL2BDDtmJ-EWU0UPtzjf9XYzO2fzKBMbh5h7RrMJwO-JzXAS_kwLoH_JnXIPWgo/s1600/Macedonia+2015_02.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgICGW9mrduX2VI4j_fI9S4xMynvEXjNOa7uHTTCV8xgIDAbQPmM7KDsmyX7oLb9y1RzCdjPxjayOJGKL2BDDtmJ-EWU0UPtzjf9XYzO2fzKBMbh5h7RrMJwO-JzXAS_kwLoH_JnXIPWgo/s640/Macedonia+2015_02.jpg" width="640" /></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: small;">NOW&HERE = EVERYWHERE > MOMENT 10</span><br />
<span style="font-size: small;">National
Gallery of Macedonia- Mala Stanica Multimedia Centre (2015). Photo
by Igor Sekovski.</span></td></tr>
</tbody></table>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-42149793692386008522015-05-14T01:26:00.000-07:002017-03-27T12:36:35.964-07:00Quantum Filmmaking at the National Gallery of Macedonia in June 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-large;"><i><span style="font-family: "helvetica"; font-style: normal;"><span style="color: #cc0000;"><b><i>Quantum Filmmaking</i></b></span> will be taking part in the </span></i><span style="font-family: "helvetica"; font-style: normal;">Triennial </span><i><span style="font-family: "helvetica"; font-style: normal;">of Skopje at the <span style="color: #cc0000;"><b>National Gallery of Macedonia- Mala Stanica Multimedia Centre </b><span style="color: black;">from </span><b>21 to 28 June 2015</b><span style="color: black;">, curated by Ana Frangovska (National Gallery of Macedonia).</span></span></span></i></span></div>
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<span style="font-size: x-large;"><i><span style="font-family: "helvetica"; font-style: normal;">In the exhibition there will be shown the Quantum project developed during the residency at the <b><span style="color: #cc0000;"><a href="http://www.makdenes.org/content/article/26541430.html" target="_blank">Art Colony Galichnik 2014</a>:</span> </b></span></i><b><span style="font-family: "helvetica";"><span style="color: #cc0000;">Now&Here=Everywhere > Moment 10</span> </span></b></span></div>
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<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;"><b><span style="font-family: "helvetica"; font-weight: normal;"><span style="color: #cc0000;"><i><b><span lang="EN-US" style="font-family: "helvetica";"><a href="http://www.now-here-everywhere.org.uk/"><span style="color: black;"><i><span class="MsoHyperlink"><b><span style="text-decoration: none;"><b><span style="font-family: "helvetica";">Now&Here=Everywhere</span></b></span></b></span></i></span></a><b> </b></span></b></i></span></span></b><span style="font-family: "helvetica"; font-weight: normal;"><span lang="EN-US" style="font-family: "helvetica";">is
the shortest </span></span><span style="font-family: "helvetica"; font-weight: normal;"><span style="color: #cc0000;"><span lang="EN-US" style="font-family: "helvetica";"><span style="color: black;">international art collaboration in the History of Humanity,
lasting just for 30 seconds, </span></span><span style="color: black;"><span class="completetext"><span lang="EN-US" style="font-family: "helvetica";">co-creating
and re-creating simultaneous moments while celebrating cultural diversity, in
which everybody is invited to collaborate with their mobile phones. </span></span><span lang="EN-US" style="font-family: "helvetica";"> </span><span class="completetext"><span lang="EN-US" style="font-family: "helvetica";">The documentary art project invites participants to
make a thirty-second film with their smart phones at a certain date and time,
and send them back straight away to us via e-mail and WhatsApp, to be published onto the <i><span style="color: #cc0000;"><b>Gallery of Moments</b></span></i> of the website. </span></span><span lang="EN-US" style="font-family: "helvetica";"> The collage-moments are randomly generated every
time the observers interact with them, collapsing into one of the possibilities co-existing in quantum superposition.</span></span></span></span></span><br />
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<span style="color: #cc0000; font-size: x-large;"><span style="font-family: "helvetica"; font-weight: normal;"><span style="color: #cc0000;"><span style="color: black;"><span lang="EN-US" style="font-family: "helvetica";">
</span></span></span></span><span style="font-family: "helvetica";"><b><a href="http://now-here-everywhere.org.uk/index.php?page=gallery&show=53fcef1d9b017">MOMENT 10</a> </b><span style="color: black;">was
co-created on 15 August 2014 at 2pm (BST) by 35 artists filming
simultaneously and choreographically with the camera-phones in different
points of the Planet, such as, Japan, New York, North Carolina, Africa,
Ireland, UK and Spain, in collaboration with the artists in residence
at the <i><b><span style="color: #cc0000;">Art Colony Galichnik 2014.</span></b></i></span><b><br /></b></span></span><br />
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<span style="color: #cc0000; font-size: x-large;"><b><span lang="EN-US" style="font-family: "helvetica";">Participating artists:</span></b><span lang="EN-US" style="font-family: "helvetica";"> </span></span></div>
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<span style="font-size: x-large;"><br /></span></div>
<div style="text-align: justify;">
<span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;">NICKY
HAMLYN, JETON MUJA, BEKIM KORCA, PATRICIA PRIETO BLANCO, MARTA ALVAREZ, MARIO
MARTINEZ, MARIANO MELMAN, CAROLINE KAHN, AITOR ALBO, BUHLE NDAMASE, ICEBERG
FERNANDEZ , KATARINA BUNUSEVAC, JOHN LEE BIRD, ALBERTO GARCíA, MONIKA TOBEL,
KATERINA (4 YR) & NATALYA (8 YR) CODY-RAPPORT, SILVIA GRIMALDI, </span><span style="font-family: "helvetica"; font-size: x-large;">CLAUDIA JACQUES
, MAUREEN BACHAUS, ELISABET FASANO, FEDERICO GALLO , ELENA UGARTE, TERE MENDEZ,
ABI FRENCH, JOZEF ONDKO, IOANA PIOARU, BRIGITA ANTONI, JON KOLDO VAZQUEZ, J.
RAMON FERNANDEZ, SUSANA FERNANDEZ, FRANCISCO GOMEZ DE VILLABOA, GRACE EAGLE,
JAN NIEMAND and WENDYL HARRIS</span><span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;">.</span><br />
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<span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6cqAPxH4aruzV7kV2QaGg-AnuTuZT90pyo9-BEUYl1JwAtGy3U3l9cPJbqFHlOxUCJNKmIGmiE9KZ795dSnTqjlLjynJ0d1SITaDuJzsWlOyPUHfni6D4TSvh9Yj5Qp6fwoU5zQu9y28/s1600/MOment10a_green.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6cqAPxH4aruzV7kV2QaGg-AnuTuZT90pyo9-BEUYl1JwAtGy3U3l9cPJbqFHlOxUCJNKmIGmiE9KZ795dSnTqjlLjynJ0d1SITaDuJzsWlOyPUHfni6D4TSvh9Yj5Qp6fwoU5zQu9y28/s640/MOment10a_green.jpg" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz7rvWsJdBoqGFYIkGD07h008_6_XOMO-qcJ5Q5XDgzPs0zoZlpCSzTX4iMUh6GolDUzv3pEx9yuosNlgKuSGGzIljK5q_vuGiWPRIuz5WYPj1kw21hozBlxeLIAw2R3ISRGJH_FTO-HU/s1600/MOMENT10B_YELLOW.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz7rvWsJdBoqGFYIkGD07h008_6_XOMO-qcJ5Q5XDgzPs0zoZlpCSzTX4iMUh6GolDUzv3pEx9yuosNlgKuSGGzIljK5q_vuGiWPRIuz5WYPj1kw21hozBlxeLIAw2R3ISRGJH_FTO-HU/s640/MOMENT10B_YELLOW.jpg" width="640" /></a></span></div>
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<span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;">During the residency at the Colony we also co-created </span><span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;"><span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;"><b><span style="color: magenta;"><a href="http://www.re-constructing-the-x.org.uk/index.php?page=gallery&show=58d9550067675" target="_blank">X2</a></span></b></span> for the project <a href="http://www.re-constructing-the-x.org.uk/index.php?page=home"><b><i>Re-constructing the X</i></b>.</a>
The piece re-constructs a pre-dinner <i><b><span style="color: #cc0000;">momentum</span></b></i> with all the points of view
of the artists in residence, while registering the cheerful atmosphere of the Colony.
The artists performed during the interval of thirty seconds a variety of
choreographical camera movements filming each others, and thus, merging the
roles of artists, performers and artworks, firstly during the Off line
performance, and after, in the online re-constructed multi-perspective scene. </span><span lang="EN-US" style="font-family: "helvetica"; font-size: x-large;">All the possible compositions of the video
collage render into one when the <i>collapse</i>
<i>button</i> is pressed, transporting the <i>momentum</i> in space and time, in the
present tense of the observer: from the past perfect of the Art Colony
Galichnik into the past imperfect of other places geographically indeterminate,
with the future tense co-existing in superposition, as the possibility that
the observers have to <i>collapse</i> the
website again, anytime, in their present tense.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-large;"><b><span style="color: #cc0000;"> X 2:</span> Art Colony Galichnik (Macedonia) 21 August 2014 @
23:10 pm (Local Time)</b></span></div>
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<span style="color: #cc0000; font-size: x-large;"><b><span style="font-family: "helvetica";">Participating
Artists: </span></b></span><span style="font-family: "helvetica"; font-size: x-large;">JETON MUJA,
BEKIM KORCA, BRIGITA ANTONI, IOANA PIOARU, BOJANA JANEVA, ANA FRANGOVSKA,
KATARINA BUNUSEVAC, DAVID GOLDENBERG, MAUREEN BACHAUS, ANA LAZAREVSKA and
ICEBERG FERNANDEZ.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4YO0wLwWNUeOlj3sGNu3_ZvTYEQLH_LpGGyiBBcuDrGIdRaCibCIa-95R8WUsTqFOEOo0UrceNy5Xet1BnVRAJwMXDoxIKLMqH0mhmv7BK0uh-gIfLViTI3C7QwImf3hyphenhyphenexS-Xfmhms8/s1600/X2_still.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4YO0wLwWNUeOlj3sGNu3_ZvTYEQLH_LpGGyiBBcuDrGIdRaCibCIa-95R8WUsTqFOEOo0UrceNy5Xet1BnVRAJwMXDoxIKLMqH0mhmv7BK0uh-gIfLViTI3C7QwImf3hyphenhyphenexS-Xfmhms8/s640/X2_still.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Re-constructing the X:</i> X2 at the Art Colony Galichnik 2014 (Macedonia)</td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-23145126563394323262015-05-12T09:29:00.003-07:002018-05-19T03:52:38.356-07:00Quantum Film Theory at The Journal of Creative Technologies<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #cc0000; font-size: x-large;"><b>Abstract:</b></span></div>
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<span style="font-size: x-large;">The recent development and implementation of multi-directional mobile
social media in Post-industrial societies has dissolved the ontological
binary opposition between film producers and audiences. In this
context, cinematic narrative as an art form needs to be re-appraised.
The convention is to study the form as a linear method of one-way
communication, and an audio-visual semiotic system derived from
Linguistics.</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;">This paper is an introduction to <a href="http://www.quantum-filmmaking.org.uk/">Quantum Filmmaking</a>, a new interdisciplinary participatory art practice composed by <a href="http://www.kino-present.org.uk/"><i>Kino-Present</i></a> and <a href="http://www.now-here-everywhere.org.uk/"><i>Now&Here=Everywhere</i></a>.
It provides a framework to analyse the Physics of cinematic narrative.
That is, understanding narrative as an artistic process of producing
and receiving participatory video-collages created with camera-phones.
It also draws attention to transformations in reality generated during
the ON/OFF line cause and effect chain.</span></div>
<div style="text-align: justify;">
<span style="font-size: x-large;">This article develops an interdisciplinary theory of Quantum Film,
merging subatomic Physics with Expanded Cinema theories. It explores
the under-researched influence of developments in Quantum Physics during
the evolution of American avant-gardes in the 1960s and the ontology of
Expanded Cinema. A synthesis of the two is emergent through the
practice of Quantum Filmmaking as participatory video-collage produced
through mobile social media.</span></div>
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<span style="font-size: x-large;">
<b> </b></span></div>
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<span style="color: #cc0000; font-size: x-large;"><b>Keywords:</b></span><span style="font-size: x-large;"> Quantum Filmmaking, Quantum Film Theory,
Physics of Narrative, Participatory mobile phone cinema, collage
narrative, eutopian discourse.</span></div>
<div style="text-align: justify;">
<br />
<span style="font-size: x-large;">To read the full article, please, click <span style="color: #cc0000;"><b><a href="https://ojs.aut.ac.nz/journal-of-creative-technologies/index.php/JCT/article/view/23" target="_blank">HERE</a></b></span></span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-12138953063474848072014-11-24T07:32:00.002-08:002018-05-19T04:10:17.358-07:00 Quantum Filmmaking: Appraising the 21st Century Modernist Neo-autonomy of Art <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #cc0000; font-size: x-large;"><b>[Paper presented at <a href="http://www.mina.pro/" target="_blank">MINA 2014</a>, 4th International Mobile Creativity and Innovation Symposium. Auckland, New Zealand, 21 November 2014]</b></span></span></h2>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #cc0000; font-size: x-large;"><b>Abstract:<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: x-large;">The practice of collage is the
art form and technique that incorporating the use of pre-existing materials as
part of a two-dimensional surface stimulated the beginning of progressive
Modernism and the decadent Postmodernism. In the former, collage flourished as
an innovative technique introducing elements of everyday life, whereas in the
latter, it was criticized as the inability of art of renewing itself recycling
past forms, which led to the enunciation of the end of art. Therefore, during
this paper I will be exposing how through <a href="http://www.quantum-filmmaking.org.uk/" target="_blank"><i>Quantum Filmmaking</i></a><i>, </i>which is the practice of participatory video-collage building
upon the contemporary mobile media, we are entering in a new cultural epoch
with the innovative avant-garde spirit of the progressive Modernism, which
entails the beginning <i>of art for the
arts’ sake</i> and its Neo-Autonomy from the ideological strings of the market
and institutions. For this, firstly, I will be introducing the </span><span style="font-size: x-large;"><i><span lang="EN-US">Quantum Filmmaking </span></i><span lang="EN-US">projects. After, I will be discussing the theories in
regards the autonomy of art, as well, as the role of the practice of collage
along Art History. And finally, I will be analyzing the paradigm shift provoked
by the introduction of the mobile social media in Contemporary Art, such as,
the eutopian aesthetics inherent to the projects, which gives rise to the
Neo-Autonomy of Art during the 21st Century progressive Modernist era.</span></span></span></blockquote>
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<blockquote class="tr_bq">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;"><span style="color: #cc0000;"><b>Keywords:</b></span> Quantum Filmmaking, Collage, 21st Century Progressive Modernism, Avant-Garde, net art, Neo-Autonomy of Art, Eutopian Aesthetics, participatory mobile phone cinema.</span></span></blockquote>
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<blockquote class="tr_bq">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;">[ <a href="https://ojs.aut.ac.nz/journal-of-creative-technologies/index.php/JCT/article/view/34">Download paper </a>]</span></span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Quantum Filmmaking at MINA 2014, Auc<span style="font-family: "arial" , "helvetica" , sans-serif;">kland (NZ)</span>. Photo by Laurent Antonzca<span style="font-family: "arial" , "helvetica" , sans-serif;">k.</span></span></span></span></td></tr>
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<span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Quantum Filmmaking at MINA 2014, Auc<span style="font-family: "arial" , "helvetica" , sans-serif;">kland (NZ)</span>.</span></span></span><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-large;"><span style="font-size: small;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ce389028-d1cc-47f4-b138-44703bfde0d9" ginger_sofatware_uiphraseguid="f2e29aeb-d884-447a-a71c-a372b2f8b0a3" grcontextid=" .:0"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="9cdee92b-67b6-4c94-88dc-70d0c060605d" ginger_sofatware_uiphraseguid="d6d47df8-318c-4547-97bb-4c20fe046b5f" grcontextid=" .:0"> </span></span></span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Photo By Max Schleser.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Quantum Filmmaking at MINA 2014, Auc<span style="font-family: "arial" , "helvetica" , sans-serif;">kland (NZ)</span>. Photo by Laurent Antonzca<span style="font-family: "arial" , "helvetica" , sans-serif;">k.</span></span></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Quantum Filmmaking at MINA 2014, Auc<span style="font-family: "arial" , "helvetica" , sans-serif;">kland (NZ)</span>. Photo by Laurent Antonzca<span style="font-family: "arial" , "helvetica" , sans-serif;">k.</span></span></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-large;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">Quantum Filmmaking at MINA 2014, Auc<span style="font-family: "arial" , "helvetica" , sans-serif;">kland (NZ)</span>. Photo by Laurent Antonzca<span style="font-family: "arial" , "helvetica" , sans-serif;">k.</span></span></span></span></td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-11946586867916908572014-09-15T07:05:00.000-07:002015-05-14T01:30:50.448-07:00From Utopia to Eutopia<div dir="ltr" style="text-align: left;" trbidi="on">
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-86813166170104301932014-08-24T06:25:00.000-07:002014-11-24T07:03:28.590-08:00NOW&HERE = EVERYWHERE > MOMENT 10 at Art Colony Galichnik (Macedonia)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-US" style="font-family: Helvetica; font-size: large;"><a href="http://www.now-here-everywhere.org.uk/" target="_blank"><b>NOW&HERE = EVERYWHERE</b></a><b> </b>is the shortest international art collaboration in the History of Humanity, lasting just for 30 seconds.</span><br />
<span lang="EN-US" style="font-family: Helvetica; font-size: large;"><br /></span>
<span lang="EN-US" style="font-family: Helvetica; font-size: large;">We are delighted to announce that </span><br />
<span lang="EN-US" style="font-family: Helvetica; font-size: large;"> </span><br />
<span lang="EN-US" style="font-family: Helvetica; font-size: large;"><b>MOMENT 10 </b> is online….NOW! </span></div>
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<span lang="EN-US" style="font-family: Helvetica; font-size: large;">Thank you very much to all the participating
artists for sharing your art of everyday life. It has been a real pleasure collaborating with you!!!</span></div>
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<span class="null" style="font-size: large;"><span lang="EN-US" style="font-family: Helvetica;">This moment is composed by 35 contributions
provided by artists filming simultaneously and choreographically with the
camera-phones in different points of the Globe, such as, Japan, N.Y, North
Carolina, Italy, South Africa, Ireland, UK and Spain, in collaboration with the
artists in residence at the Art Colony Galichnik (Macedonia) 2014. In this
piece, we have had the pleasure of collaborating with the young artists Katerina
and Natalya Cody-Rapport, who are 4 and 8 years old respectively. Let’s keep
fostering creativity in the young generations!</span></span></div>
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<span class="null" style="font-size: large;"><span lang="EN-US" style="font-family: Helvetica;"><b>MOMENT 10</b> has been co-created by:</span></span></div>
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<span lang="EN-US" style="font-family: Helvetica; font-size: large;">NICKY HAMLYN, JETON MUJA, BEKIM KORCA,
PATRICIA PRIETO BLANCO, MARTA ALVAREZ, MARIO MARTINEZ, MARIANO MELMAN, CAROLINE
KAHN, AITOR ALBO, BUHLE NDAMASE, ICEBERG FERNANDEZ , KATARINA BUNUSEVAC, JOHN
LEE BIRD, ALBERTO GARCíA, MONIKA TOBEL, KATERINA (4 YR) & NATALYA (8 YR)
CODY-RAPPORT, SILVIA GRIMALDI, </span><span style="font-family: Helvetica; font-size: large;">CLAUDIA JACQUES , MAUREEN BACHAUS, ELISABET FASANO,
FEDERICO GALLO , ELENA UGARTE, TERE MENDEZ, ABI FRENCH, JOZEF ONDKO, IOANA
PIOARU, BRIGITA ANTONI, JON KOLDO VAZQUEZ, J. RAMON FERNANDEZ, SUSANA
FERNANDEZ, FRANCISCO GOMEZ DE VILLABOA, GRACE EAGLE, JAN NIEMAND and WENDYL
HARRIS.</span></div>
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<span class="null" style="font-size: large;"><span lang="EN-US" style="font-family: Helvetica;"><b>MOMENT 10</b> is a diptych, structured in
10A and 10B, which can be experienced sequentially, opening them one by one, or
simultaneously by opening both windows at the time. This moment will be shown next
year at the Biennale of Skopje (Macedonia), curated by Ana Frangovska (National
Gallery of Macedonia) with the collaboration of the independent curator Bojana
Janeva. Further news about the exhibition will be posted soon!</span></span></div>
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<span class="null" style="font-size: large;"><span lang="EN-US" style="font-family: Helvetica;">If you did not have the chance to
participate this time, <b>MOMENT 11</b> will be happening on:</span></span></div>
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<span class="null" style="font-size: large;"><span lang="EN-US" style="font-family: Helvetica;"><b>SATURDAY 20 SEPTEMBER 2014 at 2pm </b>BST (London Time) {Set your alarms!!!}</span></span></div>
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<span lang="EN-US" style="color: #10131a; font-family: Helvetica; font-size: large;">Be creative! To participate you
just need to make a 30 second film of your choice with your camera-phone of the
situation, a detail or place you are at that precise date and time, and send it
straight away, along with the name of the city, by e-mail to:</span></div>
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<b><span lang="EN-US" style="color: #10131a; font-family: Helvetica; font-size: large;">info@now-here-everywhere.org.uk.</span></b><br />
<br />
<span lang="EN-US" style="color: #10131a; font-family: Helvetica; font-size: large;"><span class="fsl"><span class="text_exposed_show">If you prefer to send
your videos via <b>WhatsApp</b>, please text the word <b>'NOW'</b> with your name to
this number +447449494812, and you will be added to the group we have
created. Your number will not be shared with third parties or used for
commercial purposes.<br /> <br /> Set your Alarms! Spread the word, invite your friends..... <br /> <br /> The more we are, the greater the <b>SURPRISE</b>!<br /> <br /> Best wishes,<br /> <br /> The N&H=E Team.<br /> <br />
[Disclaimer: All the participating artists will be acknowledged on the
website. Only the video-clips produced at the announced date and time
will be considered.<br /> <br /> By participating in the project you are
confirming that you have all the rights to publish the videos and you
are allowing us their exhibition.<br /> <br /> This is a non-profit research art project conducted by iceberg Fernandez, with the collaboration of the web developer Jon Diez, at Central Saint Martins, University of the Arts London (UK)].</span></span> </span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-29398254189716117442014-08-23T07:37:00.000-07:002015-05-14T00:58:44.827-07:00Quantum Filmmaking at Art Colony Galichnik (Macedonia)<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Art Colony Galichnik 2014 (Macedonia). Photo by Bojana Janeva.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWGucMhR2koLojEyBUisGrepA_-KEX2vg82WjBIAkIj0pxuw3uTOkJF98HraW0drTQrmwEwaT6iPZFKsW4JMGkK5QLqafa3BX0ZUHs4ufWOT055cmf5iyZSNOShkKTGPVNOLoX-Q9DZfg/s1600/presentation05.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWGucMhR2koLojEyBUisGrepA_-KEX2vg82WjBIAkIj0pxuw3uTOkJF98HraW0drTQrmwEwaT6iPZFKsW4JMGkK5QLqafa3BX0ZUHs4ufWOT055cmf5iyZSNOShkKTGPVNOLoX-Q9DZfg/s1600/presentation05.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Quantum Filmmaking presentation at Art Colony Galichnik (Macedonia). Photo <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="5618da3d-2a4c-445b-972d-e478e5bad590" ginger_sofatware_uiphraseguid="90e6f6ad-0fb0-430d-ab56-090566320c9a" grcontextid="by:0">by</span> Ioana <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d65a86bf-5e24-4f4e-911a-1e1e17709d6b" ginger_sofatware_uiphraseguid="90e6f6ad-0fb0-430d-ab56-090566320c9a" grcontextid="Pioaru:1">Pioaru</span>.</td></tr>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-19913330517551052602014-07-31T07:20:00.002-07:002014-07-31T07:29:32.270-07:00 Re-constructing the X<div dir="ltr" style="text-align: left;" trbidi="on">
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We are delighted to announce the official launching of the project <a href="http://www.re-constructing-the-x.org.uk/"><span style="font-style: italic;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ad67d018-4341-4d41-8edf-96a85ae205f3" ginger_sofatware_uiphraseguid="f6164007-7663-4921-b2f6-0397214f2e1d" grcontextid="Re-constructing:0">Re-constructing</span></span> the<i> X</i></a><i>. </i>In this <a href="http://www.quantum-filmmaking.org.uk/">quantum <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4359a1ea-0b4b-44e9-a2ab-a6125d7fce03" ginger_sofatware_uiphraseguid="a3b9b22d-537c-47cb-8617-0022fef3dd59" grcontextid="filmmaking:0">filmmaking</span> </a>project, the participating artists can perform their own multi-camera mobile phone shootings, in which they draw an X in space and time, re-constructing a situation of their choice. On the other hand, we will be organizing special events in the public domain inviting everyone to participate.</span></h4>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5062464778170941262.post-89514326294806803772013-11-26T01:36:00.001-08:002014-02-11T22:40:12.624-08:00Quantum Filmmaking: The Cinema that Transforms Reality. <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: #cc0000; font-size: x-large;"><span style="font-family: 'Helvetica'; font-weight: 700;">Quantum Filmmaking: The Cinema that Transforms Reality.</span></span><br />
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<h2 style="text-align: left;">
<span style="color: #cc0000;"><span style="font-size: large;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-weight: 700;">[Pape</span><span style="font-family: 'Helvetica'; font-weight: 700;">r presented at <a href="http://www.mina.pro/">MINA 2013 </a>> </span><b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">3<sup><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6f3581e8-3a16-4a64-8080-b71a7cf910b8" ginger_sofatware_uiphraseguid="cdd35202-5a9a-4548-b85b-8979e7c30275" grcontextid="rd:0">rd</span></sup> International Creativity and Innovation Mobile Symposium</span> </b></span><span style="font-size: large;"><span style="font-family: 'Helvetica'; font-weight: 700;">(Auckland, New Zealand) on 22 November 2013]. </span></span></span></h2>
<br />
<span style="color: #cc0000; font-size: large;"><span style="font-family: 'Helvetica'; font-weight: 700;">Abstract:
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> According to the Oxford English Online Thesaurus, the <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a8bdac9f-9fe4-46e6-9edc-de96b8ddc893" ginger_sofatware_uiphraseguid="d2cf23e8-888d-4005-bddc-4738aa5a7c6b" grcontextid="terms:0">terms</span> ‘observer’ and ‘participant’ are antonyms. </span></span><br />
<br />
<span style="font-size: large;"><span style="font-family: 'Helvetica';"> Through her experimental research projects </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Kino-Present </span><span style="font-family: 'Helvetica';"><<a href="http://www.kino-present.org.uk/">www.kino-present.org.uk</a>> and
</span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Now&Here=Everywhere </span><span style="font-family: 'Helvetica';"><<a href="http://www.now-here-everywhere.org.uk/">www.now-here-everywhere.org.uk</a><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="11e05518-2ad0-4568-acf1-14972b234670" ginger_sofatware_uiphraseguid="1c4baf8f-08cc-4455-89f7-867637feaa9e" grcontextid=" ,:0">>,</span> the researcher explores the role of the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="0eee3029-ff5a-4773-80b8-d45c6cc0d43f" ginger_sofatware_uiphraseguid="9be0b027-ceca-42ae-a268-4738a6b27124" grcontextid="observer:0">observer</span> as <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ea75b163-2947-4d06-b85c-0873624636df" ginger_sofatware_uiphraseguid="9be0b027-ceca-42ae-a268-4738a6b27124" grcontextid="active agent:1">active agent</span> in the construction of participatory video-collages building upon the medium
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="25024f27-d450-41f7-a235-845ec8980578" ginger_sofatware_uiphraseguid="190ab841-1c1a-4c21-be89-8dfd5e48bfd9" grcontextid="specificity:0">specificity</span> of contemporary <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ae0a3b25-4f93-48b8-b21a-bd015ddc17d9" ginger_sofatware_uiphraseguid="190ab841-1c1a-4c21-be89-8dfd5e48bfd9" grcontextid="mobile social:1">mobile social</span> media, such as, ubiquity, connectivity, and mobility, which enables
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e21c484e-7537-4342-9c35-bd6700300ec7" ginger_sofatware_uiphraseguid="e696c418-ab6b-4b0f-b350-2c57a4a9bc71" grcontextid="the:0">the</span> participation of anyone, anywhere, anytime in the present tense, and whose outcomes are unpredictable.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> When approaching the analysis of participatory video-collage happening <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="5175b23c-ee56-4ffa-b71d-ec78f92d1a54" ginger_sofatware_uiphraseguid="1f5735ea-fa18-4253-b755-eac4cd33528f" grcontextid="dialectically:0">dialectically</span> between the ON and
OFF line realms, we are facing the epistemological problem of having to find a suitable methodology. For this
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="529fef60-0ac8-41bb-aa72-ae22ed82bd82" ginger_sofatware_uiphraseguid="1d02c45b-800f-4ebe-9012-a2f89bba4d7b" grcontextid="reason:0">reason</span>, the researcher uses an interdisciplinary approach focused from the Quantum Mechanics perspective,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="97a43a30-f44d-4b98-832d-87c8f2cb23ec" ginger_sofatware_uiphraseguid="2a9f5a40-b78f-4c1a-90e1-5f66df5cd1ca" grcontextid="theory:0">theory</span> inspired by Cubist Collage itself (Miller 2000), which for the first time in History includes the subjectivity
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="576e5e14-fa12-4b2e-a3d1-ff22218ac24d" ginger_sofatware_uiphraseguid="0ff85c9a-a6c9-4fcf-badc-37bc24d34cf1" grcontextid="of:0">of</span> the experimenter within the experiment, claiming that “the reality varies, depending upon whether we
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7f9822e7-88f0-4a90-8262-7b4ee6100d46" ginger_sofatware_uiphraseguid="52c5b0cd-6a92-46dd-8bae-9bab798ef760" grcontextid="observe:0">observe</span> it or not” (Heisenberg, 1958), with the consequent connotation that the <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6e9b7537-b5a0-4ea8-a87a-b1baeb6d7d4d" ginger_sofatware_uiphraseguid="52c5b0cd-6a92-46dd-8bae-9bab798ef760" grcontextid="observer:1">observer</span> </span><span style="font-family: 'Helvetica'; font-style: oblique;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d91dbc1c-297e-4454-9db7-29375eee8c7d" ginger_sofatware_uiphraseguid="52c5b0cd-6a92-46dd-8bae-9bab798ef760" grcontextid="changes:2">changes</span> </span><span style="font-family: 'Helvetica';">reality.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> These revolutionary scientific theories provoked a paradigm shift that would influence politically the American
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="22501fc2-309e-45ee-8857-d0354c17071f" ginger_sofatware_uiphraseguid="974ebea4-efd9-4b3e-bae0-736c9adf8053" grcontextid="post:0">post</span> World War II society and, therefore, the evolution of the avant-gardes and the ontology of Expanded
Cinema, manifested in the production of multi-screen collages (VanDerBeek 1963) and participatory
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="72f9cbf2-2abd-4647-b797-9f4d5d89fb06" ginger_sofatware_uiphraseguid="cefe2272-6c6b-4a3a-a99c-478d315c9da0" grcontextid="telecommunication:0">telecommunication</span> projects (Whitman 1972), engaging observers in the process of production of the artworks,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="309fc248-6897-4624-b565-15031f1bf13e" ginger_sofatware_uiphraseguid="c926e689-25e1-40fd-90e8-e5c41aa7bb4f" grcontextid="in:0">in</span> order to produce critical awareness and “expand consciousness” (Youngblood 1970).
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> The previous historical, theoretical and empirical premises synthesize into </span><span style="font-family: 'Helvetica'; font-style: oblique;"><b>Quantum Filmmaking</b>, </span><span style="font-family: 'Helvetica';">which
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e576be8d-6540-49ef-bdf8-f430cb4976ba" ginger_sofatware_uiphraseguid="20eea626-25bc-46eb-a7ac-563abea0a49c" grcontextid="remarks:0">remarks</span> the </span><span style="font-family: 'Helvetica'; font-style: oblique;">action </span><span style="font-family: 'Helvetica';">of making films in the present tense, highlighting the <span class="GINGER_SOFATWARE_spelling" ginger_sofatware_markguid="be23a74d-e80d-4b99-b80c-712b89cd87b8" ginger_sofatware_uiphraseguid="20eea626-25bc-46eb-a7ac-563abea0a49c" grcontextid="performativity:1">performativity</span> aspect of the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="520f14df-e8f5-466e-9aad-e83700d42fd9" ginger_sofatware_uiphraseguid="26acd745-c52a-4001-89fa-e8cd09b8838f" grcontextid="role:0">role</span> of the observer during the process of constructing the video-collages, interacting with the OFF and ON line
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4a1c04ed-ee48-468f-99c0-2e9cb47405fa" ginger_sofatware_uiphraseguid="b7b43e34-24d3-4ed7-bc10-a0e1927cc5cb" grcontextid="realms:0">realms</span>: with the micro cameras incorporated in the <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="b7fba482-b1e9-4108-a776-1c13a64d5181" ginger_sofatware_uiphraseguid="b7b43e34-24d3-4ed7-bc10-a0e1927cc5cb" grcontextid="smartphones:1">smartphones</span> they articulate while filming the flowing of
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="de61a46a-e9bc-4d80-8871-77eb0a3900a1" ginger_sofatware_uiphraseguid="6ca899c2-014c-4740-bd9a-32baafcc7993" grcontextid="events:0">events</span>, creating situations in the everyday life, and on the other hand, physically editing the videos online.
</span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-family: 'Helvetica'; font-size: large;"> On the other hand, in participatory and behaviorist art a feedback loop is established, that acts as “a catalyst
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7e5dd9d4-8512-4aef-a279-041a17aaeca5" ginger_sofatware_uiphraseguid="4aab6e50-6c03-4849-973c-bc1a5701cbee" grcontextid="which:0">which</span> sets up [new] patterns of behavior”, that eventually would be reflected in the interaction of the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e3e3c654-a1c7-4709-9be8-105b89eb20bf" ginger_sofatware_uiphraseguid="29c10749-215a-4cd8-97f8-e9daf8346f86" grcontextid="participants:0">participants</span> with their environments (Ascott 1967).
</span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> These arguments lead us to conclude that if Expanded Cinema in the 1960-70s was intended to expand
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="56efd92e-6c87-4f05-86cd-bdcb883a3346" ginger_sofatware_uiphraseguid="69c2cdd7-888a-4b27-ba23-2e1dfc43987d" grcontextid="consciousness:0">consciousness</span> in society, within the context of contemporary <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d398b72b-205f-415d-a464-b61f27629e97" ginger_sofatware_uiphraseguid="69c2cdd7-888a-4b27-ba23-2e1dfc43987d" grcontextid="mobile social:1">mobile social</span> media, due to their ubiquity,
</span><b><span style="font-family: 'Helvetica'; font-style: oblique;">Quantum Filmmaking </span></b><span style="font-family: 'Helvetica';">stresses the agency of the observers to transform it.
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<span style="color: #cc0000; font-size: large;"><br /></span>
<span style="color: #cc0000; font-size: large;"><span style="font-family: 'Helvetica'; font-weight: 700;">Quantum Filmmaking: The Cinema that Transforms Reality.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> During the course of this paper we will be exposing the ontological, epistemological and empirical
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="fca4c67d-5343-422c-a1be-a6d7c2e02ede" ginger_sofatware_uiphraseguid="e9175261-d87c-43d8-8bbb-dd6e90cd6f28" grcontextid="premises:0">premises</span> that have given rise to the <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a36c2491-dd80-4eae-8f1b-f31eca0b3d01" ginger_sofatware_uiphraseguid="e9175261-d87c-43d8-8bbb-dd6e90cd6f28" grcontextid="interdisciplinary participatory:1">interdisciplinary participatory</span> practice </span><b><span style="font-family: 'Helvetica'; font-style: oblique;">Quantum Filmmaking</span></b><span style="font-family: 'Helvetica';">, which
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="31805ca0-9ad9-4525-ba4f-c6cea8c59a95" ginger_sofatware_uiphraseguid="22f16d53-e23f-490f-aa94-85e51c48cb7a" grcontextid="stands:0">stands</span> for the production of participatory video-collages building upon the medium specificity of
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="2c72902f-5758-47f2-9f36-565df73ecec8" ginger_sofatware_uiphraseguid="00215682-4586-4f1a-a16c-8dd7fbcaf2bd" grcontextid="contemporary:0">contemporary</span> video mobile phones and mobile social media, such as, ubiquity, connectivity, and
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d1ffc98b-d75d-4847-8515-6511bd3b99a4" ginger_sofatware_uiphraseguid="1408675f-dc77-4a46-b3ee-80a7f5c39e72" grcontextid="mobility:0">mobility</span>, which enables the participation of anyone, anywhere, anytime, in the present tense, and whose
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="445272e4-f8a3-463c-8d66-793b3e8f0dec" ginger_sofatware_uiphraseguid="a09ae7d8-f3cd-44f0-a420-fec545a9585f" grcontextid="outcomes:0">outcomes</span> are unpredictable.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> First of all, we will be introducing the experimental projects </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Kino-Present </span><span style="font-family: 'Helvetica';"><<a href="http://www.kino-present.org.uk/">www.kino-present.org.uk</a>> and </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Now&Here=Everywhere </span><span style="font-family: 'Helvetica';"><</span><a href="http://www.now-here-everywhere.org.uk/"><span style="color: rgb(0.000000%, 0.000000%, 100.000000%); font-family: 'Helvetica';">www.now-here-everywhere.org.uk</span></a><span style="font-family: 'Helvetica';"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bbb279c2-7dc7-4e0f-b60e-7ef3d4bd2eb6" ginger_sofatware_uiphraseguid="8eeccfd4-91e9-416e-a731-4188ab3c525c" grcontextid=" ,:0">>,</span> which provide the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8cdfc338-c84c-4aed-a3c9-48a4c8b8495e" ginger_sofatware_uiphraseguid="f72b76ac-57da-4149-915a-c35f864ebc3f" grcontextid="framework:0">framework</span> to analyze the quantum ontology of the ON/OFF line production of participatory video-
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="929f78c7-17d1-446a-bab5-ce8210483d15" ginger_sofatware_uiphraseguid="d2e3456e-8bf9-4770-a571-20a3f441379e" grcontextid="collages:0">collages</span>. After, we will be exposing the main theories in Quantum Physics that inform <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="b9ea02d5-5bd4-49b7-82b3-f7594f2e2320" ginger_sofatware_uiphraseguid="d6c05002-7615-4496-88b4-7d56f02907ae" grcontextid="ontologically:0">ontologically</span> and
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6b48141f-c5e2-4953-bc2b-25ff35c924fc" ginger_sofatware_uiphraseguid="2dce5ccf-b9f2-4e37-8294-19ff845e71cd" grcontextid="epistemologically:0">epistemologically</span> the experimental research, such as, the outcomes of the </span><span style="font-family: 'Helvetica'; font-style: oblique;">Double Slit Experiment </span><span style="font-family: 'Helvetica';">and
</span><span style="font-family: 'Helvetica'; font-style: oblique;">The Copenhagen Interpretation </span><span style="font-family: 'Helvetica';">of Quantum Mechanics (1924-7). And finally, we will analyze the impact
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f1999ae4-e003-45b3-afc6-3f8fc533b1ff" ginger_sofatware_uiphraseguid="9368b503-d1a5-4504-b0df-7ac809423b8c" grcontextid="of:0">of</span> Quantum Physics in American Post World War II avant-gardes that shed light to Expanded Cinema
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="67353d8a-e7ac-4c63-9a9f-63da348176d6" ginger_sofatware_uiphraseguid="1152f466-d8a1-4f7e-97a6-cb663fe70c6b" grcontextid="as:0">as</span> collage practice, and subsequently</span><span style="font-family: 'Helvetica'; font-style: oblique;">, </span><span style="font-family: 'Helvetica';">would synthesize into </span><span style="font-family: 'Helvetica'; font-style: oblique;"><b>Quantum Filmmaking</b> </span><span style="font-family: 'Helvetica';">within the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c2a5f394-ff97-4fd3-9d90-3fdb29d81a4c" ginger_sofatware_uiphraseguid="9a5f3522-b8e6-4f29-b0be-20565959f6ac" grcontextid="contemporary:0">contemporary</span> mobile social media context.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> Dziga Vertov, <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c68127de-19a8-4026-8dac-318b1c0c9b81" ginger_sofatware_uiphraseguid="3273b1af-4c51-4b05-90d0-751f65350102" grcontextid="soviet:0">soviet</span> filmmaker from the 1920s, pioneer in avant-garde cinema, in the </span><span style="font-family: 'Helvetica'; font-style: oblique;">Provisional
Instructions to Kino-Eye Groups </span><span style="font-family: 'Helvetica';">(1926) establishes an interesting analogy between the film camera and
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c2a7bb1e-9dda-4cf4-a572-a53e2674072d" ginger_sofatware_uiphraseguid="258f83cb-d73a-4fba-be4b-0da951944121" grcontextid="the:0">the</span> microscope, stating that if the microscope was invented to see invisible phenomena, “the <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1ace6194-8af2-49c9-bf8c-08920b16ff88" ginger_sofatware_uiphraseguid="258f83cb-d73a-4fba-be4b-0da951944121" grcontextid="cine:1">cine</span>
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8f5c0c44-68fc-4ad1-aced-d0881dcd6f65" ginger_sofatware_uiphraseguid="db3edced-c205-4554-a346-1022aa00521b" grcontextid="camera:0">camera</span> serves to penetrate more deeply into the visible world”. (Vertov in Fowler, 2002:34). </span></span><br />
<span style="font-size: large;"><br /></span>
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<span style="font-size: large;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJx3ddxYDbNmKZ_OLsfmEgA13SCBqtjBXPgALhbe1e2aaHQGRDvmNsfRP_-7v9c28ltRsy9-BTEBpASf6zRq2t_k0Oqynmf1BKRHf63YQ-D-7UX4SckqTVHvukCPn_x7b_oJQ1IC2EaQ/s1600/Slide06.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCJx3ddxYDbNmKZ_OLsfmEgA13SCBqtjBXPgALhbe1e2aaHQGRDvmNsfRP_-7v9c28ltRsy9-BTEBpASf6zRq2t_k0Oqynmf1BKRHf63YQ-D-7UX4SckqTVHvukCPn_x7b_oJQ1IC2EaQ/s640/Slide06.jpg" height="480" width="640" /></a></div>
<span style="font-family: 'Helvetica'; font-size: large;"> In 1929</span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">, </span><span style="font-family: 'Helvetica'; font-size: large;">Vertov directed </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">The Man With the Movie Camera</span><span style="font-family: 'Helvetica'; font-size: large;">, presenting a day in the life of the proletarians
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c888b5a7-e0b5-47a5-ac3f-97d21bed8e8a" ginger_sofatware_uiphraseguid="0ead6e44-d2ba-4d2d-b1aa-59ebc80e8fc9" grcontextid="from:0">from</span> the Ukrainian <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8a21a38d-7755-41f7-ba00-7d00bfcacd32" ginger_sofatware_uiphraseguid="0ead6e44-d2ba-4d2d-b1aa-59ebc80e8fc9" grcontextid="cities Odessa:1">cities Odessa</span>, Kharkiv and Kiev. In this documentary the director experiments with a
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="917cdfd4-5d37-4c68-8ce0-5f76529dca05" ginger_sofatware_uiphraseguid="740e8500-9066-4771-bfef-7db53dac6601" grcontextid="range:0">range</span> of cinematic techniques, such as, double exposure and fast/slow motion. Throughout the film,
Vertov explores the Film-within-Film structure, linking the actual screen action of the documentary with
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7f7df8d0-71e6-4c2e-b0f6-0bf4d6b72ae3" ginger_sofatware_uiphraseguid="b159734c-0cc0-48bd-a281-8c594355394b" grcontextid="its:0">its</span> own film strip in the cutting room, where the editor, Vertov’s wife Elizaveta Svilova, is editing it. At the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="569ea355-8430-46b4-b4a4-874d1515957b" ginger_sofatware_uiphraseguid="c4b41d00-bc31-4969-8e89-8f502aeb3316" grcontextid="end:0">end</span> of the day, the proletarians go to <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="3993238e-479a-4518-bed1-0c7ce59c855d" ginger_sofatware_uiphraseguid="c4b41d00-bc31-4969-8e89-8f502aeb3316" grcontextid="cinema:1">cinema</span> to watch the <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f2674090-5e20-483a-87c3-0b4681191a64" ginger_sofatware_uiphraseguid="c4b41d00-bc31-4969-8e89-8f502aeb3316" grcontextid="film we:2">film we</span> are currently viewing, in which they
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="995e1df7-e6b2-43c2-a35b-be980f88ccd8" ginger_sofatware_uiphraseguid="971ffe05-12fe-42db-a327-baa94a8f1b5d" grcontextid="are:0">are</span> also the ‘leading characters’.
</span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;"> <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="5851ebd9-070f-408d-ae99-3443c6e11238" ginger_sofatware_uiphraseguid="27cf96be-a785-499d-b7cd-b8f31e2c5271" grcontextid="Kino:0">Kino</span>-Present </span></span><span style="font-size: large;"><span style="font-family: 'Helvetica';"><span style="font-size: large;"><span style="font-family: 'Helvetica';"><<a href="http://www.kino-present.org.uk/">www.kino-present.org.uk</a>> </span></span>is a XXI Century digital interpretation of </span><b><span style="font-family: 'Helvetica'; font-style: oblique;">The Man With The Movie Camera</span></b><span style="font-family: 'Helvetica';"><b>,</b> reversing
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="04a1ffa1-3e2c-475d-b379-12b1229d68de" ginger_sofatware_uiphraseguid="1549a693-65a6-45e8-9bc8-101d3b4e16af" grcontextid="and:0">and</span> synthesizing the ontological order of production and reception of traditional cinema, in which
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a15ae3d0-2f29-400b-b36b-77ec5b349be6" ginger_sofatware_uiphraseguid="7e43a282-0423-454c-abae-4172bf31cd77" grcontextid="participants:0">participants</span> co-create film collages building upon contemporary domestic social media, Bluetooth and
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bfa5c1f3-9bb9-455c-9d4a-1affc8a42315" ginger_sofatware_uiphraseguid="01b42e0f-95c9-466b-b206-a3557334ac7e" grcontextid="mobile:0">mobile</span> technologies. </span></span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZM6JYqWLcKrNmluRloTXv-h4L6JWjIxW9YiqP7vctgrBa1io5dz_lpFkSM45Jt15xbBIUt0hMvLkKY6K1qn67QQGd8hV8vb1pj_0kst5ACtOvSiOgqiBaaNGa_U2VmO2peow88I5-1JE/s1600/Slide07.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZM6JYqWLcKrNmluRloTXv-h4L6JWjIxW9YiqP7vctgrBa1io5dz_lpFkSM45Jt15xbBIUt0hMvLkKY6K1qn67QQGd8hV8vb1pj_0kst5ACtOvSiOgqiBaaNGa_U2VmO2peow88I5-1JE/s640/Slide07.jpg" height="480" width="640" /></a></span></div>
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> The single-screen video collages created throughout the </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Kino-Present </span><span style="font-family: 'Helvetica';">process <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="9bef6125-1551-4b6d-b3c3-6702e2c7a253" ginger_sofatware_uiphraseguid="2873e8db-da73-4589-80f9-4347e25aed62" grcontextid="are:0">are</span> the final <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c4d95e50-c860-4eda-b382-4292abf93949" ginger_sofatware_uiphraseguid="2873e8db-da73-4589-80f9-4347e25aed62" grcontextid="trace:1">trace</span>, the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d3093abf-a2cc-4b01-9d7d-44c29640d7e8" ginger_sofatware_uiphraseguid="3067a6c4-74cd-40a2-8c1b-6c85f9d4c55e" grcontextid="documentary:0">documentary</span> record of the dialectics between the different levels of participation in the OFF and ON line
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="330d0c17-04bc-44be-a82b-7adf6eff6c40" ginger_sofatware_uiphraseguid="a95ad239-e58d-4a23-867f-f304d9feb398" grcontextid="realms:0">realms</span>: Firstly, participants send the researcher fifteen-second video clips. These, are broadcasted in
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f0846e63-8173-4bb7-aaba-e4738daaffb2" ginger_sofatware_uiphraseguid="5373e6c3-9d3c-4adc-8fb8-407e4bb70d1c" grcontextid="the:0">the</span> public domain via Bluetooth to the mobile phones of the general public, creating ephemeral mobile
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d4dc701b-eb64-4512-867c-e9389edfc6ea" ginger_sofatware_uiphraseguid="a95af0d9-930a-421b-8223-66ee9310ad80" grcontextid="cinemas:0">cinemas</span>. After, they are uploaded onto the website from their mobile phones, so they can be edited
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="93ea67df-51cd-49f4-a2e8-bbe954b98ffa" ginger_sofatware_uiphraseguid="94e96ae3-ed1b-47c2-8db3-0ec54be66920" grcontextid="online:0">online</span>, in order to create new video collages. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZSpNJUklwUgZzdoseemePgqYvgrPi4J_nBSvG6cwzjCdpBrq3KD7cM4rvgqTn4JNWgn_fd3JMBRVe50kx12sPORXouJcHfzY_YKiawlcP7EAecRNqEv8Adqyt6nZsTPW3eiH24jkYNGg/s1600/Slide08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZSpNJUklwUgZzdoseemePgqYvgrPi4J_nBSvG6cwzjCdpBrq3KD7cM4rvgqTn4JNWgn_fd3JMBRVe50kx12sPORXouJcHfzY_YKiawlcP7EAecRNqEv8Adqyt6nZsTPW3eiH24jkYNGg/s640/Slide08.jpg" height="480" width="640" /></a></div>
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<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> On the other hand, </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Now&Here=Everywhere </span><span style="font-family: 'Helvetica';"><<a href="http://www.now-here-everywhere.org.uk/">www.now-here-everywhere.org.uk</a>> is an
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="9fc03dcb-167b-40d8-855c-746deb94c9e8" ginger_sofatware_uiphraseguid="608db28c-5eb2-402e-abd4-ac78161812c1" grcontextid="international:0">international</span> participatory multi-screen video collage project, co-creating and re-creating simultaneous
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="2a58659b-cd6c-4544-a40d-1ce0ea8ad54a" ginger_sofatware_uiphraseguid="13413492-cd46-4bfd-a28d-9e96defb20c9" grcontextid="moments:0">moments</span> while celebrating cultural diversity, in which everybody is invited to collaborate with <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="aa377ecf-98a8-493a-8703-4fcf83297928" ginger_sofatware_uiphraseguid="13413492-cd46-4bfd-a28d-9e96defb20c9" grcontextid="their:1">their</span>
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="dd366db8-a95b-4575-8235-a4fc6c4df4e8" ginger_sofatware_uiphraseguid="6c8204a9-2388-44c7-9efe-1eddd083c181" grcontextid="mobile:0">mobile</span> phones. The documentary art project invites participants to make a thirty-second film with <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f17f24c4-52d9-4f63-81e6-e526995948d6" ginger_sofatware_uiphraseguid="c2762045-f153-4889-b4b9-aef16477b305" grcontextid="their:0">their</span>
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="92dc322e-a53f-4b1e-ab45-772fc3d02d8b" ginger_sofatware_uiphraseguid="7a3b72d4-9167-4508-bab4-a34b77378e36" grcontextid="smart:0">smart</span> phones at <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="41ae413f-1c5a-40f6-99e2-b3325ec4887f" ginger_sofatware_uiphraseguid="7a3b72d4-9167-4508-bab4-a34b77378e36" grcontextid="certain date:1">certain date</span> and time, which are sent back <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e6fb79cc-5ef2-4a09-9c99-8c71bc5de04c" ginger_sofatware_uiphraseguid="7a3b72d4-9167-4508-bab4-a34b77378e36" grcontextid="straight away:2">straight away</span> to the researcher via e-mail
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4649a77a-c818-48e4-9725-adbe21809d4a" ginger_sofatware_uiphraseguid="1c5f237b-7669-4728-af84-5b32f040d9b3" grcontextid="and:0">and</span> WhatsApp, and then published onto the </span><span style="font-family: 'Helvetica'; font-style: oblique;"><b>Gallery of Moments</b> </span><span style="font-family: 'Helvetica';">of the website. These <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="3e8413cd-fabb-415b-8068-c8227fdc69a6" ginger_sofatware_uiphraseguid="88094ed2-564d-4730-a4d0-802abc9b0599" grcontextid="collage:0">collage</span>-moments are <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4d2b17ac-c54d-4fce-b790-03e31d3254d1" ginger_sofatware_uiphraseguid="88094ed2-564d-4730-a4d0-802abc9b0599" grcontextid="random:1">random</span> generated every time the observers <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bc64424e-557d-468d-8d74-66be68459f09" ginger_sofatware_uiphraseguid="88094ed2-564d-4730-a4d0-802abc9b0599" grcontextid="interact:2">interact</span> with them. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisTcixEZFPFc5iZeGZPf5UMWdzx9IOy24Kv2eXOaCoL5VsZP43he-Hk2XfI4wARS8K6sVQXQ88j6bVmUFYJGtx0C8JYe3M4l0A_LFZxMQlL04DXTikTP2XBpHmpOlVXAhIipqtFUlEMEY/s1600/Slide09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisTcixEZFPFc5iZeGZPf5UMWdzx9IOy24Kv2eXOaCoL5VsZP43he-Hk2XfI4wARS8K6sVQXQ88j6bVmUFYJGtx0C8JYe3M4l0A_LFZxMQlL04DXTikTP2XBpHmpOlVXAhIipqtFUlEMEY/s640/Slide09.jpg" height="480" width="640" /></a></div>
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<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> For the scope of this document, we are going to focus on the key concepts of Quantum Mechanics
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ad3a2333-010c-447f-aae8-0c44d9e205b1" ginger_sofatware_uiphraseguid="cc8355cd-2791-4d7c-a48d-9b72cda0689b" grcontextid="that:0">that</span> will be applied for the analysis of the experimental projects, such as quantum indeterminacy, </span><span style="font-family: 'Helvetica';">Ψ</span><span style="font-family: 'Helvetica';">-
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7acc9de5-1fa1-486b-b784-9db6825bef95" ginger_sofatware_uiphraseguid="5f67cdcf-ac14-4748-ae33-73f85db5f212" grcontextid="function:0">function</span> or wave-function, wave-particle duality, and wave-function collapse.
</span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-family: 'Helvetica'; font-size: large;">Quantum Mechanics is a science that a priori can sound counterintuitive. The </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">Double-Slit Experiment,
</span><span style="font-family: 'Helvetica'; font-size: large;">Young 1802 & Jönsson 1961, was analyzed by Bohr assisted by Heisenberg in </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">The Copenhagen
Interpretation of Quantum Mechanics </span><span style="font-family: 'Helvetica'; font-size: large;">(1924-7).
</span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> <span style="font-family: "Trebuchet MS",sans-serif;">A<span style="font-family: Arial,Helvetica,sans-serif;">t that time, Bohr was very impressed about the multi-<span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="89477913-78c3-4a2f-8e66-d020e4a0afe4" ginger_sofatware_uiphraseguid="5ac7c91b-075f-482c-b1b9-f195b44796a5" grcontextid="perspectivism:0">perspectivism</span> of Cubist Art, because it represents
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ae2f3b6d-e499-45ba-9acc-4afb15f389cc" ginger_sofatware_uiphraseguid="51fde7cd-d524-466e-a126-0652e8ccd889" grcontextid="a:0">a</span> scene as if the </span></span></span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-style: oblique;">observer </span>is “moving around an object [in order to] seize it from several successive
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="aa711a4a-cb5a-49fb-b0d2-a5afc63b7107" ginger_sofatware_uiphraseguid="6358ca39-7187-48f4-ad1e-bc36a86b7323" grcontextid="appearances:0">appearances</span>...” freeing the artist from a single perspective point in favor of multiple viewpoints. (Miller,
2000:396). Thus, he developed the <span style="font-style: oblique;">Principle of Complementarity </span>in Quantum Mechanics (1927) in
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1948121f-71af-4038-ad20-b09ac638932e" ginger_sofatware_uiphraseguid="b45df5fc-07f3-476e-9199-7889d319bbfe" grcontextid="which:0">which</span> he establishes the principle of <span style="font-style: oblique;">wave-particle duality</span>, as an electron can behave both as a wave
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8494a4d9-6981-4036-9bbd-79476636c8e4" ginger_sofatware_uiphraseguid="f9c2fe01-26df-4a56-91f0-099f704e1b01" grcontextid="and:0">and</span> as a particle, but not both at the same time, asserting they are complementary faces of a single
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d001b09f-2c42-435b-bbc9-4503a51adfbb" ginger_sofatware_uiphraseguid="be2dbad8-f11d-43aa-be5d-0af9b7ba36e2" grcontextid="reality:0">reality</span>, in which the observer needs to choose which quality to observe. </span></span><br />
<span style="font-family: 'Helvetica'; font-size: large;"> </span><br />
<span style="font-family: 'Helvetica'; font-size: large;"> The </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">Double Slit Experiment </span><span style="font-family: 'Helvetica'; font-size: large;">demonstrates physically, the phenomenon of </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">wave-function collapse </span><span style="font-family: 'Helvetica'; font-size: large;">in
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ab8dfdb5-c054-4d97-9caf-6d901b85e25e" ginger_sofatware_uiphraseguid="df74a1fd-eea0-4f5e-b25d-c20991baa538" grcontextid="which:0">which</span> the wave-function (</span><span style="font-family: 'Cambria'; font-size: large;">Ψ </span><span style="font-family: 'Helvetica'; font-size: large;">= psi) or the probability of a photon/electron of being <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d7fcc704-a9ca-4ebd-9da1-b16f642da554" ginger_sofatware_uiphraseguid="df74a1fd-eea0-4f5e-b25d-c20991baa538" grcontextid="at:1">at</span> any particular place, is in </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">quantum superposition </span><span style="font-family: 'Helvetica'; font-size: large;">collapsing through the action of measuring by the observer, which
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8497aa96-1fd3-46d2-94c5-89d2d3d9fc07" ginger_sofatware_uiphraseguid="6599b261-3c20-4986-a952-a70f68b8ed69" grcontextid="transforms:0">transforms</span> the quantum wave into <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="00057ce2-9816-4a49-a6f4-1d8e1a212873" ginger_sofatware_uiphraseguid="6599b261-3c20-4986-a952-a70f68b8ed69" grcontextid="particle:1">particle</span>, and thus takes </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">randomly </span><span style="font-family: 'Helvetica'; font-size: large;">a definite position within the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="2a66b568-92c1-4cbc-bbd0-60a61332daa8" ginger_sofatware_uiphraseguid="4057757d-0fdc-4946-90ed-a316687203ed" grcontextid="system:0">system</span>. </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;"> </span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV0CHY8svz-DCkmnNgypK-WIb8hZqkB9lIVWQkO8sZpGBpPa6azAf7t3iYcfAYRN1f3IEBgh73OuiyaetCnyS12tzC8i3vQE01727RxvSgF8YqAJHOYbT2PGgmz0wnF9Qu3vpnO5nV-OA/s1600/Slide13.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV0CHY8svz-DCkmnNgypK-WIb8hZqkB9lIVWQkO8sZpGBpPa6azAf7t3iYcfAYRN1f3IEBgh73OuiyaetCnyS12tzC8i3vQE01727RxvSgF8YqAJHOYbT2PGgmz0wnF9Qu3vpnO5nV-OA/s640/Slide13.jpg" height="480" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDGDueYo59S79APL_Iu0rg-4Ky-iBqDG7FbXmM4D5CLzBBlUqrcGowp9wBax4gqBWddvCGn03dz6sQ-8sayLAMAnC3B416-kSZvO-sqwR-QayYtA6-ZOuqW0Pp697dEZxWailkLVALY68/s1600/Slide14.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDGDueYo59S79APL_Iu0rg-4Ky-iBqDG7FbXmM4D5CLzBBlUqrcGowp9wBax4gqBWddvCGn03dz6sQ-8sayLAMAnC3B416-kSZvO-sqwR-QayYtA6-ZOuqW0Pp697dEZxWailkLVALY68/s640/Slide14.jpg" height="480" width="640" /></a></span></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjebbYDJZY_n5ci2_u6vARzznlaRsxhk_UUOxLmkpvu55EwgfEV6KTww1Aw2hj8qaroelH9JyHq007FkTe9HeBV7_XnNzD1SQkmXfg0POL8xKhk7vYlSPM8Nrj2wNt4Us5An24ol0QFMMo/s1600/Slide35.jpg" style="margin-left: 1em; margin-right: 1em;"><br /></a></span></div>
<span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;"> </span><span style="font-family: 'Helvetica'; font-size: large;">The </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">Copenhagen Interpretation of Quantum Mechanics </span><span style="font-family: 'Helvetica'; font-size: large;">is a very revolutionary shift in Physics and sciences in general: it is the first time that the scientist <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="625d9e5b-5563-4969-8c1a-4a092b3011cd" ginger_sofatware_uiphraseguid="837c770d-ec25-4e68-a2d8-b3d5d36ea2fb" grcontextid="is taken:0">is taken</span> into account within a scientific
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="55e7ecb4-6f03-450f-a7ef-039e815be8ac" ginger_sofatware_uiphraseguid="ad7d06a1-7518-417a-9730-e83e3b8b34aa" grcontextid="experiment:0">experiment</span>: “The reality is in the observations, not in the electron”. (Heisenberg, 1958:XII).
</span></div>
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<span style="font-family: 'Helvetica'; font-size: large;">The act observation in Quantum Physics plays a decisive role in the experiment as “the reality varies,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c3e7d515-f15c-4504-baeb-1c4ce8e8c3aa" ginger_sofatware_uiphraseguid="778c72d5-d6fb-4f6e-8fa9-b90ef8bde7a2" grcontextid="depending:0">depending</span> upon whether we observe it or not” (Heisenberg, 1958:20), with the consequent connotation
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7fce48cf-9ef5-4b47-96e2-9fe017c8470c" ginger_sofatware_uiphraseguid="2d3e6638-d7a9-4497-843d-78327665f0a1" grcontextid="that:0">that</span> the observer </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">changes </span><span style="font-family: 'Helvetica'; font-size: large;">reality.
</span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> If during the 1920s the evolution of Surrealism was <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="17e2ae2d-f001-4ed6-b35a-d2413253e7cf" ginger_sofatware_uiphraseguid="77f9153d-d11f-474f-9668-3d28f62eccb0" grcontextid="epistemologically:0">epistemologically</span> influenced by Quantum
Physics, the Hiroshima and Nagasaki atomic bombing catastrophes (1945) generated a general
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="cfe91f6b-7042-4cc3-a6a2-a69739e6381d" ginger_sofatware_uiphraseguid="dffac802-44ce-49c9-a009-573adcc1bfb5" grcontextid="rejection:0">rejection</span> of the Surrealist group against nuclear physics, to such <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="deac36bc-33bd-4391-8fcf-b5c9eb206cda" ginger_sofatware_uiphraseguid="dffac802-44ce-49c9-a009-573adcc1bfb5" grcontextid="a:1">a</span> extent that in 1952, Breton during the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e3102c5e-73b1-48a6-9bc5-bfe58ae4bb35" ginger_sofatware_uiphraseguid="280ab151-385b-4b91-ac57-ac1d4fa11979" grcontextid="course:0">course</span> of an interview demonstrates his visceral rejection to atomic physics, asserting that artists had
“<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4a47b029-2350-484b-b62c-ba6302aa3d8b" ginger_sofatware_uiphraseguid="52d1c7df-78d8-4e1a-ab49-9a4cdec35f39" grcontextid="unanimously:0">unanimously</span>... <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="273abb17-deaa-4e39-9fdc-0f8d2765c338" ginger_sofatware_uiphraseguid="dfd92ba7-5f23-466e-8c8e-e900aee68612" grcontextid="been:0">been</span> uninterested in quantum mechanics and Heisenbergian physics”. Also, when
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1287f870-988b-4232-a43b-3c5039cddb80" ginger_sofatware_uiphraseguid="edde446b-1697-4a17-8027-8724fb557e73" grcontextid="referring:0">referring</span> to scientists, Breton quotes the German Romantic Georg Christoph Lichtenberg, claiming
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="0f3aae6b-bcbb-4b1b-b2cf-758867e094e2" ginger_sofatware_uiphraseguid="7d33969c-8f98-4b0b-9053-49030deb48ad" grcontextid="sardonically:0">sardonically</span> “what more could we say about atomic scientists? (...) Their heads are most often filled
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="44b6f32b-581f-44b1-9236-0ab08235bd13" ginger_sofatware_uiphraseguid="7123d2ba-6425-4432-b169-5e39fd161a27" grcontextid="with:0">with</span> junk”. (Parkinson, 2008:213-4).
</span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-family: 'Helvetica'; font-size: large;">This rejection would continue in posterior generations of avant-garde artists in the 1950-60s <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="326b14c2-8d9c-4f46-9db7-c39388366052" ginger_sofatware_uiphraseguid="6a490712-d6a2-4a28-818d-e15df6267f27" grcontextid="such:0">such</span>
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ac9afef5-52ed-48e1-a26c-c4e9e2b358c0" ginger_sofatware_uiphraseguid="e46ee800-4010-4d69-8f11-720f79407a9a" grcontextid="as:0">as</span> John Cage, whose Fluxus practice is conceptually influenced by Quantum Theory, but possibly due
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="fb7c7216-ab9f-4002-8c5d-43e352cf0a62" ginger_sofatware_uiphraseguid="ddd06209-7f92-4967-9812-104f6de99e0e" grcontextid="to:0">to</span> his <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f2c5f496-50f1-4fe6-b69e-e6d1b221f3db" ginger_sofatware_uiphraseguid="ddd06209-7f92-4967-9812-104f6de99e0e" grcontextid="dadaist:1">dadaist</span> rejection <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e2c78e07-5f4b-4097-8408-b83389c2f362" ginger_sofatware_uiphraseguid="ddd06209-7f92-4967-9812-104f6de99e0e" grcontextid="to:2">to</span> war and nuclear weapons, the artist eludes any kind of theoretical connection
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d5367d47-6b6d-4f5b-83ee-1fe21cf095ad" ginger_sofatware_uiphraseguid="bc0c7a10-c9d5-4d4b-b8f7-6eaeff9df516" grcontextid="to:0">to</span> it.
</span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> Danvers (2006:313) <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="be9ff3c0-0ebd-44e2-a872-54148c706360" ginger_sofatware_uiphraseguid="a005923d-8bbc-4acb-8439-9552395b0c2f" grcontextid="cites:0">cites</span> Cage making reference to Aquinas’ dictum claiming he is interested in
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="71691e13-9b13-42b4-bc18-fbb1d8856a7e" ginger_sofatware_uiphraseguid="4bf9c6fa-41e6-46bf-a3b2-a1b4ae424f1e" grcontextid="making:0">making</span> and discussing a kind of art “that imitates nature in her manner of operation”. This claim is very
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="84c44939-470b-4619-ae5e-394b6e1d0e38" ginger_sofatware_uiphraseguid="231b2203-b396-4efe-b90a-28bd6016d6f1" grcontextid="interesting:0">interesting</span> because albeit Cage does not make any direct reference to Quantum Theory, it resembles
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6a9cd894-6073-492b-91c5-0c953a6def7c" ginger_sofatware_uiphraseguid="925bd3f5-8e7d-422e-82e4-04718de75070" grcontextid="that:0">that</span> he is aware of the recent discoveries in regards of the unpredictable and uncontrollable behavior of
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1e6ed7f9-36ba-4557-b076-7f5fb393164d" ginger_sofatware_uiphraseguid="5dab8afa-719e-4a05-b3f2-53c9f923b97a" grcontextid="the:0">the</span> subatomic particles in the inner reality. Is he imitating sub-atomic nature in its manner of operation?
Cage follows the same procedure as Bohr and Heisenberg devised in the </span><span style="font-family: 'Helvetica'; font-style: oblique;">Copenhagen Interpretation </span><span style="font-family: 'Helvetica';">of
</span><span style="font-family: 'Helvetica'; font-style: oblique;">Quantum Mechanics</span><span style="font-family: 'Helvetica';">, letting chance to make the stylistic choices through the operations of the </span><span style="font-family: 'Helvetica'; font-style: oblique;">I Ching</span><span style="font-family: 'Helvetica';">,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="19198bb2-8544-4217-ba3e-3e609b6fbf90" ginger_sofatware_uiphraseguid="9fbd5ba8-320b-4df9-86b2-5c5c439dd0eb" grcontextid="in:0">in</span> such way that all the possibilities of the wave-function of the music score were randomly reduced to
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7ff0f4ca-3765-4282-95d5-ff2ef1e1ac44" ginger_sofatware_uiphraseguid="bc04d0fc-29cb-4282-b052-1dd578844693" grcontextid="one:0">one</span>.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> One of the major social changes introduced by the Sixties that contributed to expand cinema, was
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="47e83715-8f43-4213-9915-81099614976c" ginger_sofatware_uiphraseguid="1cd3a870-c5f0-47d3-8412-9d2b50286930" grcontextid="the:0">the</span> standardization of the TV in American homes, which mirrored the unfair state of the world. This
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="54f0a1de-596f-4c06-9277-c6edecbece1e" ginger_sofatware_uiphraseguid="104471bd-8d88-4f99-854d-61bca070e834" grcontextid="provoked:0">provoked</span> social upheavals in the American <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4bdc7204-ca5c-4aac-b874-cb4c0fbfd8e6" ginger_sofatware_uiphraseguid="104471bd-8d88-4f99-854d-61bca070e834" grcontextid="counter-cultures:1">counter-cultures</span>, generating a non-mimetic Cubist treatment
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="55d87544-200e-47e6-8c7d-3d245afcc5bb" ginger_sofatware_uiphraseguid="34368f18-0b42-45d6-b13f-55c505457be8" grcontextid="of:0">of</span> the medium, due to their rejection <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f2cd2839-cde2-46fe-a08c-1ab97b335bfb" ginger_sofatware_uiphraseguid="34368f18-0b42-45d6-b13f-55c505457be8" grcontextid="to:1">to</span> reality and mainstream cinema as a tool of Capitalism for mass
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="83feb0b6-e8cc-4d4e-9e25-7e690a932bfe" ginger_sofatware_uiphraseguid="7ad0a7d8-c1fc-4b38-b991-ac9f9048487e" grcontextid="deception:0">deception</span>.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> On the other hand, the latest discoveries in Quantum Physics emphasized the agency of the observers
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="17a09ddb-9d19-4cd6-9dd5-12ebd76b414e" ginger_sofatware_uiphraseguid="e38d45ee-44b9-479c-badb-e1f3a5317fcb" grcontextid="in:0">in</span> changing reality, while questioning its innermost nature in terms of matter, light, space and time, or in other words: the paradigms of cinema. This was manifested deconstructing the medium by expanding it
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c459e5b4-26fd-4318-b43a-f8c08a792aa4" ginger_sofatware_uiphraseguid="9f4d5ebd-58a1-44af-897a-59693087f3d8" grcontextid="in:0">in</span> space in the form of multiscreen collages, e.g. Stan VanDerBeek’s </span><span style="font-family: 'Helvetica'; font-style: oblique;">Movie-Drome </span><span style="font-family: 'Helvetica';">(1963-66),
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7d434ac4-f581-4af7-8111-84b3dfaeee6a" ginger_sofatware_uiphraseguid="98981b94-e0c1-4fc4-9360-c5a3cc5f9d06" grcontextid="expanding:0">expanding</span> it in time into the present tense through performance, and encouraging observer’s
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4f61f863-7803-49d3-9b33-6045d69221f6" ginger_sofatware_uiphraseguid="38d80b22-9874-4eb6-9e63-bd698688210c" grcontextid="participation:0">participation</span> in telecommunication projects, such as as Robert Whitman’s </span><span style="font-family: 'Helvetica'; font-style: oblique;">Telephony Performances
</span><span style="font-family: 'Helvetica';">(1972-2012).
</span></span></div>
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<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> Since its early days, Expanded Cinema as <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4d788017-b3db-4771-8638-9097c1599a74" ginger_sofatware_uiphraseguid="45dd3ae0-aee7-46e1-b77d-41fc509382ba" grcontextid="artistic phenomenon:0">artistic phenomenon</span> has been reluctant to be defined
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1de242e2-6758-48f9-82c3-cb79fa479dc1" ginger_sofatware_uiphraseguid="7ccefd02-65f1-4d24-927e-f91bd15b9934" grcontextid="under:0">under</span> the ontological spell and effects of quantum indeterminacy, with a </span><span style="font-family: 'Cambria';">Ψ</span><span style="font-family: 'Helvetica';">-function ranging from cinema, to performance, collage, participation, <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bb02dea5-a848-400d-ba5a-4eedb649142d" ginger_sofatware_uiphraseguid="7ccefd02-65f1-4d24-927e-f91bd15b9934" grcontextid="synaesthesia:1">synaesthesia</span>, semi-immersion, cybernetics and
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f7932606-ae91-401f-94d6-6863eb7d31e3" ginger_sofatware_uiphraseguid="149fcf78-d2ce-4460-adaa-25b0602f75f1" grcontextid="intercommunication:0">intercommunication</span>, coexisting in superposition.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> Expanded cinema artists defended the discourse of the autonomy of cinema as art rejecting
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bcbbe377-2c73-4964-aca5-cae88e2c25af" ginger_sofatware_uiphraseguid="c4cec4fc-600d-45ee-baba-2444a42cde6f" grcontextid="narrative:0">narrative</span> and exploring its medium specificity, recovering the values of Dziga Vertov who in 1922
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="aca9be56-3745-4416-af17-26351a6e0aa6" ginger_sofatware_uiphraseguid="da047188-03e8-46cc-8562-fd7a413bcf9e" grcontextid="claimed:0">claimed</span> “Film drama is the opium of the masses”. They rejected Aristotle’s cathartic linear narrative,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="0917f067-cf5f-4039-ad3a-718d4c811a6c" ginger_sofatware_uiphraseguid="5b5ef7d1-a1c7-4fe1-b3a3-8f375554fe2b" grcontextid="dominant:0">dominant</span> in mainstream cinema, because they found it “manipulatory, <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="32797820-807a-4743-b46f-576a434a872a" ginger_sofatware_uiphraseguid="5b5ef7d1-a1c7-4fe1-b3a3-8f375554fe2b" grcontextid="mystificatory:1">mystificatory</span>, repressive” (Gidal,
1976). It was a cinema intended to “expand consciousness” (Youngblood, 1970:75).
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> The first multiscreen film-collage was created by Stan VanDerbeek while living in the <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c1ba8cef-7ce4-4d6a-9453-2c88650ee360" ginger_sofatware_uiphraseguid="3e179b3a-ffb8-43ac-9c95-7d83d4a51e48" grcontextid="artistic:0">artistic</span>
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4a5f550a-e389-48c1-872f-b8c05439674f" ginger_sofatware_uiphraseguid="951a73fe-f36e-4af9-baf6-51291806f967" grcontextid="commune:0">commune</span> of Stony Point in New York with John Cage and Merce Cunnigham, his former tutors from
Black Mountain College in North Carolina. In this artistic environment and </span><span style="color: rgb(10.196080%, 9.411765%, 9.411765%); font-family: 'Helvetica';">influenced by the quantum
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="50b99148-87db-43d8-ba32-2f49cdcd359e" ginger_sofatware_uiphraseguid="13e10e4a-ca52-4116-b1f4-865c23650800" grcontextid="indeterminacy:0">indeterminacy</span> of his mentors, VanDerBeek starts working on his </span><span style="color: rgb(10.196080%, 9.411765%, 9.411765%); font-family: 'Helvetica'; font-style: oblique;">Movie-Drome </span><span style="color: rgb(10.196080%, 9.411765%, 9.411765%); font-family: 'Helvetica';">theater (1963-66),
</span><span style="color: rgb(10.196080%, 9.411765%, 9.411765%); font-family: 'Helvetica'; font-style: oblique;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e0ddfbb4-37c5-4184-921e-bd8f98fcaec7" ginger_sofatware_uiphraseguid="fc9f4115-3785-4d4d-b616-61c555d098c2" grcontextid="expanding:0">expanding</span> spatially </span><span style="color: rgb(10.196080%, 9.411765%, 9.411765%); font-family: 'Helvetica';">in multiple screens the iconoclast collage animations he had been working on up to
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="946d5f41-2ea6-4288-9299-8442785e1830" ginger_sofatware_uiphraseguid="a95f651e-0d27-47bf-8e3e-2adf7c09b608" grcontextid="that:0">that</span> moment at the Bells Labs. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzmLHd_xZY7y78HSj814OsM3yhAI8Q85X8QuiNP-6LXaJsKfAPpPEaXOnkR45gZ_aoo-1EuJCUiWGovGbVNZ-uBR0pBNXVL81nLGqxPma1KLOVk_MGkQG1xIWYATPs2bEfvKUUlYo9pjY/s1600/Slide22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzmLHd_xZY7y78HSj814OsM3yhAI8Q85X8QuiNP-6LXaJsKfAPpPEaXOnkR45gZ_aoo-1EuJCUiWGovGbVNZ-uBR0pBNXVL81nLGqxPma1KLOVk_MGkQG1xIWYATPs2bEfvKUUlYo9pjY/s640/Slide22.jpg" height="480" width="640" /></a></div>
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<span style="font-family: 'Helvetica';"> In 1965 VanDerBeek writes the </span><span style="font-family: 'Helvetica'; font-style: oblique;">Culture: Intercom and Expanded Cinema Manifesto</span><span style="font-family: 'Helvetica';">, in which he shares
“<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c015d4fd-c824-4aff-9bef-841846b23753" ginger_sofatware_uiphraseguid="20d2f2df-a7c4-42cb-865b-8cefe8aee88f" grcontextid="a:0">a</span> vision concerning the immediate use of motion pictures or expanded cinema as tool for world
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e4220d25-210d-4173-aa87-37918434263d" ginger_sofatware_uiphraseguid="515aa171-c3e4-4493-a63d-738690cf6296" grcontextid="communication:0">communication</span>”, devising the Internet as we know it nowadays. (Curtis et al. 2011:80-84).
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<span style="font-family: 'Helvetica'; font-size: large;">Other manifestations of the influence of Quantum Physics would be in participatory
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="9bb255fd-c908-4a75-9dcc-db43bc684809" ginger_sofatware_uiphraseguid="b1943c7a-e251-44de-936e-920e834bfbe3" grcontextid="telecommunication:0">telecommunication</span> projects, such as, the work of Robert Whitman </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">News </span><span style="font-family: 'Helvetica'; font-size: large;">(1972), in which participants
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="544717c6-621f-4edc-952a-b73d42ea363d" ginger_sofatware_uiphraseguid="f4c7f07f-9669-4e86-878d-dcc0571d4478" grcontextid="were:0">were</span> allocated a <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="3f9b9f58-e745-4236-ace8-21a729c205bf" ginger_sofatware_uiphraseguid="f4c7f07f-9669-4e86-878d-dcc0571d4478" grcontextid="payphone:1">payphone</span> in Manhattan and called him describing their location, while being
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="136c6f57-582e-440d-b66e-f6f08ad969da" ginger_sofatware_uiphraseguid="c267d111-5c34-459b-9c39-24207ce198be" grcontextid="broadcasted:0">broadcasted</span> live over the radio station WBAI in New York City.<br /> </span><br />
<span style="font-family: 'Helvetica'; font-size: large;">In 2012, Whitman performed </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">Local Report, </span><span style="font-family: 'Helvetica'; font-size: large;">which was an international media and telecommunications
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="39be0322-7084-43d2-8582-9ac6fe6a9d7f" ginger_sofatware_uiphraseguid="b2053acd-467f-447a-ad4b-16d8c7f2d03e" grcontextid="work:0">work</span> in which the artist mixed live video and audio reports from approximately ninety participants around
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a3cb1015-52de-41ab-b8cf-0c84898cedec" ginger_sofatware_uiphraseguid="b652740c-bf0c-49dd-b9c9-3a7e76c9efc4" grcontextid="the:0">the</span> world, composing what he calls “a cultural map of the world”.
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<span style="font-family: 'Helvetica';"> According to the </span><span style="font-family: 'Helvetica'; font-style: oblique;">International Telecommunications Union </span><span style="font-family: 'Helvetica';">in 2013 there is an estimated of 77% <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c4ec12c0-d244-4ee1-b548-0de82973a762" ginger_sofatware_uiphraseguid="bc2d15d6-ea1a-492c-9640-60ab9a7214fd" grcontextid="of:0">of</span>
Internet users in post-industrial societies that access the web through fixed and mobile broadband:
We are literally surrounded by sequential waveforms of <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a2809fe4-0b5e-48fc-a5db-a32007daf03c" ginger_sofatware_uiphraseguid="cf6f88f4-932d-4b8c-a677-49deff5eaf30" grcontextid="invisibles:0">invisibles</span> zeros and ones waiting to be
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a3cba5dd-db67-4ee8-97cf-7a8b299f3a9b" ginger_sofatware_uiphraseguid="ad0701aa-9462-47df-b2d3-a7c54713643f" grcontextid="collapsed:0">collapsed</span> and transformed into moving images by the observers with a mobile phone or a computer.
Then, they transform into multi-spatial, multi-temporal and multi-textual narratives, depending on the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="09b08310-33d3-4434-8749-58a4202e3522" ginger_sofatware_uiphraseguid="6c159002-f70f-41a8-a02f-bdafc7dfa5cd" grcontextid="space:0">space</span> and time of the production and reception, and as in the microscopic universe, they can </span><span style="font-family: 'Helvetica'; font-style: oblique;">be
</span><span style="font-family: 'Helvetica';"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ba58fc4e-f0af-4228-8cb1-f926ce5dff0c" ginger_sofatware_uiphraseguid="ec55ce23-c84f-4121-812a-fd6e4674e83e" grcontextid="simultaneously:0">simultaneously</span> in more than one place at the time. </span></span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDW_XKBdtWBq7kUHzcDSugj4ux-NyptG3rTRlF4BgpxJl7W9l63orBsF2_noKaQ9Bd-lEb9TWpTTnm9BB0Y00dD3Y9qupGkh0UUy8qjlqUhPA-2za49SZBnL5_4Kc5sQ32pT985CV6QR0/s1600/Slide25.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDW_XKBdtWBq7kUHzcDSugj4ux-NyptG3rTRlF4BgpxJl7W9l63orBsF2_noKaQ9Bd-lEb9TWpTTnm9BB0Y00dD3Y9qupGkh0UUy8qjlqUhPA-2za49SZBnL5_4Kc5sQ32pT985CV6QR0/s640/Slide25.jpg" height="480" width="640" /></a></span></div>
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<span style="font-family: 'Helvetica'; font-style: oblique;"> <b>Quantum Filmmaking </b></span><span style="font-family: 'Helvetica';">remarks the </span><span style="font-family: 'Helvetica'; font-style: oblique;">action </span><span style="font-family: 'Helvetica';">of making video-collages in the present tense,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bd4c6f76-0c32-4441-a3aa-d4993fc95882" ginger_sofatware_uiphraseguid="2a58e004-92fe-465e-8d28-bb47a9210572" grcontextid="highlighting:0">highlighting</span> the performative aspect of the role of the observer as live art during the process, interacting
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1eed8fa3-e884-47af-aacd-a2129b1218b2" ginger_sofatware_uiphraseguid="bf0e536a-e3ec-4528-9154-70b7801dbb33" grcontextid="with:0">with</span> the OFF and ON line realms, and duplicating the third region of time/space experience in Expanded
Cinema devised by Le Grice (Curtis, 2007:228), during the (<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="9a00d0c6-21fb-4b49-aed9-e82b06181a00" ginger_sofatware_uiphraseguid="22586670-e1f3-49e7-8b75-dad2cbf4d9be" grcontextid="im:0">im</span><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="25558a73-25eb-4dec-93eb-719a1f83de82" ginger_sofatware_uiphraseguid="22586670-e1f3-49e7-8b75-dad2cbf4d9be" grcontextid="):1">)</span>material processes of production </span><span style="font-family: 'Helvetica'; font-style: oblique;">and
</span><span style="font-family: 'Helvetica';"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="22e80e1e-ad03-486a-9125-18bd546c0b31" ginger_sofatware_uiphraseguid="87a752b7-fefc-4710-9d62-b10e8f4c9a35" grcontextid="reception:0">reception</span>.
</span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-family: 'Helvetica'; font-size: large;">“Each film is a record (not a representation, not a reproduction) of its own making” (Gidal 1976).
</span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica'; font-style: oblique;"> <b>Quantum Filmmaking</b> </span><span style="font-family: 'Helvetica';">is the art of the fact: the collages created through this process are the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1ad66515-efb9-4f3c-989d-2eb8b4dea835" ginger_sofatware_uiphraseguid="22dc00dd-6dde-4b34-bc8c-b73078676a3e" grcontextid="documentary:0">documentary</span> record, the <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="dbd27026-da2b-4f35-b543-3e136c9b342d" ginger_sofatware_uiphraseguid="22dc00dd-6dde-4b34-bc8c-b73078676a3e" grcontextid="trace:1">trace</span> of the activities that have taken place in the virtual, private and public
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4a8f2250-3344-499e-8e89-9e4044d313c3" ginger_sofatware_uiphraseguid="01b15614-f0e2-4ffb-ba80-e1dd7ae74abe" grcontextid="realms:0">realms</span>. It is the cinema that literally </span><span style="font-family: 'Helvetica'; font-style: oblique;">transforms reality</span><span style="font-family: 'Helvetica';">: while the observers interact physically with the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d92e1e60-d74d-4cf0-a0e4-a7906f8fe865" ginger_sofatware_uiphraseguid="f6a1abbc-aeec-4fdd-bf9b-cec2a16d2187" grcontextid="projects:0">projects</span> they generate new situations in reality, and on the other hand, the experience of participation
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8ad9b942-e4d8-4aa3-aa6b-0515271a6642" ginger_sofatware_uiphraseguid="2aba1c03-b0f0-4a59-b270-233f41ac81e4" grcontextid="may:0">may</span> generate new patterns of behavior in them (Ascott 1967).
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> As <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a57bec92-b5da-4848-84f8-af2803e0a43c" ginger_sofatware_uiphraseguid="a8a5c85a-8596-4792-b26c-5025d1a00d71" grcontextid="example:0">example</span>, during the interventions in the public domain of </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bab8f6ac-3c50-411c-95ce-1a5d9074ba00" ginger_sofatware_uiphraseguid="a8a5c85a-8596-4792-b26c-5025d1a00d71" grcontextid="Kino-Present:1">Kino-Present</span></span><span style="font-family: 'Helvetica';">, we create ephemeral
multi-screen mobile cinemas, while the observers receive the fifteen-second video-files <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="81d5d371-7e70-41fe-b1fe-7b4e194a2e7a" ginger_sofatware_uiphraseguid="94b7f696-0c90-4156-94d8-1709a2f7302a" grcontextid="via Bluetooth in:0">via Bluetooth in</span>
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d36c4e08-8f8d-4d69-9d11-48d2fc340c2b" ginger_sofatware_uiphraseguid="89ce7fb4-35e7-4e5d-bd82-c0e6d38cce35" grcontextid="their:0">their</span> mobile phones.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3RlvQc-BaRchlDv3ubir3LVaETkCSozskPvn-DiBd8rh0r6HVNRWmtAAp1LcsZB1-vl6zENCtwBt9PoXES3gjRXaYQxerpXta1RsZV0B-DiRRiZvNqFuc1XTe1Pn_oBqSyViXvTFCEQA/s1600/Slide27.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3RlvQc-BaRchlDv3ubir3LVaETkCSozskPvn-DiBd8rh0r6HVNRWmtAAp1LcsZB1-vl6zENCtwBt9PoXES3gjRXaYQxerpXta1RsZV0B-DiRRiZvNqFuc1XTe1Pn_oBqSyViXvTFCEQA/s640/Slide27.jpg" height="480" width="640" /></a></div>
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<br />
<span style="font-size: large;"><span style="font-family: 'Helvetica';"> On the other hand, in the project </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Now&Here=Everywhere </span><span style="font-family: 'Helvetica';">the observers perform
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8fb744f4-7121-474b-95c0-bfe833d35813" ginger_sofatware_uiphraseguid="4772e314-e661-4acc-8d01-b8319c77486c" grcontextid="in:0">in</span> <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d619d898-af79-43e1-a371-6a86be08a935" ginger_sofatware_uiphraseguid="4772e314-e661-4acc-8d01-b8319c77486c" grcontextid="present continuous the:1">present continuous the</span> action of filming with their mobile phones, framing and recording a portion of
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f910369e-3212-49d7-b988-701a12b6db09" ginger_sofatware_uiphraseguid="73fad231-2f46-49f4-bc1f-d2e93b3b683a" grcontextid="their:0">their</span> reality, collapsing all the possible angles of it into one single thirty-second take, creating OFF screen situations
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ec4467d0-68ff-464c-a01c-355ab1740df2" ginger_sofatware_uiphraseguid="90ca989f-27e1-4ec6-8a00-ad718d65d23b" grcontextid="and:0">and</span> choreographies in their everyday lives.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica'; font-style: oblique;"> <b>Quantum Filmmaking </b></span><span style="font-family: 'Helvetica';">is the art of the probabilities and possibilities in which, as <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f9f7b65d-7472-45ab-8333-52928b9e4e49" ginger_sofatware_uiphraseguid="11bf8038-cf58-4123-bda0-30be469684f3" grcontextid="organic process:0">organic process</span>, the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bffd9300-695d-4d02-a523-274f31bedb93" ginger_sofatware_uiphraseguid="a6486b52-3de2-439b-a786-7e9478e64298" grcontextid="artwork:0">artwork</span> emerges </span><span style="font-family: 'Helvetica'; font-style: oblique;">during </span><span style="font-family: 'Helvetica';">the development. There is not a definite outcome, since the system <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7bd5df98-e27a-4e87-9364-4126c1848138" ginger_sofatware_uiphraseguid="934253df-3c8f-428d-8701-c636c2f61a75" grcontextid="varies:0">varies</span> and
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4febefe7-b798-429f-b1db-c27b6b530c95" ginger_sofatware_uiphraseguid="79855056-f541-4f10-8d93-072e996e0c8b" grcontextid="changes:0">changes</span> every time the observers interact with it, and as in Quantum Mechanics, these variations are
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a74a2a8f-b8f8-49df-ad82-f468c9980dcf" ginger_sofatware_uiphraseguid="1bfd3241-5c17-4582-a487-68e267384914" grcontextid="unpredictable:0">unpredictable</span>: <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e41922e9-c2e1-4764-a166-33477edbda5f" ginger_sofatware_uiphraseguid="1bfd3241-5c17-4582-a487-68e267384914" grcontextid="In:1">In</span> </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Kino-Present</span><span style="font-family: 'Helvetica';">, the form of the collages edited online depends on the wave-function or
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="1178325e-f4e4-455d-a972-38c7ae0fd028" ginger_sofatware_uiphraseguid="00369cb4-4d04-437e-adca-a7ddef01f816" grcontextid="subjectivity:0">subjectivity</span> of the observer who performs the editing, whereas in </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Now&Here=Everywhere </span><span style="font-family: 'Helvetica';">the multi-
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="b12929fe-6ee8-4928-a1b9-443388efc142" ginger_sofatware_uiphraseguid="0d3cddbe-3aa8-4d6b-aa49-abbff19e9ac8" grcontextid="screen:0">screen</span> collages are <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="0a931b94-8c62-4cd3-a07c-f9dda8db6c50" ginger_sofatware_uiphraseguid="0d3cddbe-3aa8-4d6b-aa49-abbff19e9ac8" grcontextid="random:1">random</span> generated by a computer algorithm, every time the observers log into the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="719e579c-f9d4-41e1-a0a0-c448c8e22580" ginger_sofatware_uiphraseguid="b7fdb31d-3245-4ea8-b068-05435eced19f" grcontextid="website:0">website</span> or refresh it.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> Over the course of the projects, as in Quantum Physics, the observers are <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="efe64eb4-1016-4be7-abd6-c00253af550c" ginger_sofatware_uiphraseguid="85e95c13-d223-4105-9950-7b385f9929fd" grcontextid="intrinsic part:0">intrinsic part</span> of the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="9ce6c035-f4f7-4cbd-a0e9-5797d8551c85" ginger_sofatware_uiphraseguid="ede273bd-b534-4621-9d8f-03ab87551f76" grcontextid="experiments:0">experiments</span>, in which “the image is a dynamic system of variables” (Weibel in Shaw & Weibel, 2003:596), and the systems are an interactive group of variables composed by the variables of the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bfbcde7d-8d5b-46d1-a7c8-183db426af00" ginger_sofatware_uiphraseguid="cb11cafa-17e2-4659-adea-a4c897f19e19" grcontextid="images:0">images</span>, the variables of the observers, and the variables generated by the circumstances of the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="077d26a6-fa5e-43eb-b3eb-f946eeb69d8b" ginger_sofatware_uiphraseguid="9a851db5-a04b-43b8-84d1-1ef242f94da6" grcontextid="encounter:0">encounter</span>:
</span></span></div>
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<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> <b><span style="color: #cc0000;"><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="94fa3b60-c3b0-426e-8a34-8f835940a243" ginger_sofatware_uiphraseguid="5ce11790-6559-4d10-bd0c-595d372b4738" grcontextid="{ :0">{ </span></span></b></span><b><span style="color: #cc0000;"><span style="font-family: 'Helvetica';">Ψ </span><span style="font-family: 'Helvetica';">video-collage + </span><span style="font-family: 'Helvetica';">Ψ </span><span style="font-family: 'Helvetica';">observer<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7911b1c7-9e99-47d4-9eb6-126b9dee5217" ginger_sofatware_uiphraseguid="5ce11790-6559-4d10-bd0c-595d372b4738" grcontextid=" }:1"> }</span> + </span><span style="font-family: 'Helvetica';">Ψ </span><span style="font-family: 'Helvetica';">circumstances = Quantum Narrative
</span></span></b></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> A </span><span style="font-family: 'Helvetica'; font-style: oblique;"><b>quantum narrative</b> </span><span style="font-family: 'Helvetica';">is collapsed by the encounter between all the possible interpretations of the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="da85ad7c-0699-4632-ba78-3841db598d0b" ginger_sofatware_uiphraseguid="cf5c299b-c5a9-4c78-8970-636829e1f29e" grcontextid="video:0">video</span>-collage, the subjectivity of the observer and the circumstances of the encounter, which will affect
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="0a0de8a8-a0f1-4561-a3d3-480b0012156e" ginger_sofatware_uiphraseguid="c4c2fa52-8a45-47c6-9d19-36af90261cbe" grcontextid="the:0">the</span> wave-functions of the video collage and the observer. This is very important, because the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="15b36029-b308-4312-b7a9-0064e4b981ec" ginger_sofatware_uiphraseguid="67f149c7-6a18-4522-b0ca-523dad5f975f" grcontextid="experience:0">experience</span> of the video collage would be different if you watch it, for instance, at home <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="af2efd32-0656-4a07-b593-99c98574699c" ginger_sofatware_uiphraseguid="67f149c7-6a18-4522-b0ca-523dad5f975f" grcontextid="in:1">in</span> a computer, or
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="4661a730-a34e-429b-93ee-5aabafa06554" ginger_sofatware_uiphraseguid="3d133dd8-fec4-4ccb-b162-a941b948f148" grcontextid="projected:0">projected</span> onto a screen in a public space. </span><span style="font-family: 'Helvetica'; font-style: oblique;">Quantum narratives </span><span style="font-family: 'Helvetica';">can be considered </span><span style="font-family: 'Helvetica'; font-style: oblique;"><b>chance narratives</b>
</span><span style="font-family: 'Helvetica';"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ae5bf3c0-7ead-4e92-a443-c8d9ccfa4689" ginger_sofatware_uiphraseguid="41b4ded7-cc5b-4621-8ecd-eb9e29519a42" grcontextid="because:0">because</span> the combination of these factors is aleatory.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> The participatory single screen collages created in </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Kino-Present </span><span style="font-family: 'Helvetica';">are time-based but they are not
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="13acd0ce-dc05-47f1-a908-83d15926940d" ginger_sofatware_uiphraseguid="1d1759e4-03a5-4e59-b3ab-393e26ccc726" grcontextid="chronological:0">chronological</span>, since there is not an exposition of events. There is a </span><span style="font-family: 'Helvetica'; font-style: oblique;">before </span><span style="font-family: 'Helvetica';">and an </span><span style="font-family: 'Helvetica'; font-style: oblique;">after</span><span style="font-family: 'Helvetica';">, but since <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="8614f841-d716-49d2-a990-ba3ef104d6c7" ginger_sofatware_uiphraseguid="56e6aa5e-81c7-4783-8054-5d08bcfb1853" grcontextid="the:0">the</span>
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="bb5ae790-1b88-45e6-b28f-ef4e9ef460de" ginger_sofatware_uiphraseguid="037e74e2-f903-4765-a1ed-859841063a5b" grcontextid="different:0">different</span> collated fragments are unrelated, the most important time paradigm is </span><span style="font-family: 'Helvetica'; font-style: oblique;">now, </span><span style="font-family: 'Helvetica';">in the present
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="44eaf923-afa6-48c7-a3f8-1fc8238b80db" ginger_sofatware_uiphraseguid="9c4007fe-70d8-44ec-bd04-cb28ed41073d" grcontextid="tense:0">tense</span>. These multi-authored collages are inherently multi-textual, with meaning arising from the dialogue
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="105266fa-f015-4118-a123-9a5345b059a8" ginger_sofatware_uiphraseguid="2c42a36b-2532-4152-89f4-b5ae5323099f" grcontextid="or:0">or</span> collision between the different fragments. These collages can be phenomenological or synesthetic
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="0b5e909e-5191-4cbb-baed-9115f9a19a05" ginger_sofatware_uiphraseguid="4a07408a-52cf-47e3-9ff6-a4db8cdf5e86" grcontextid="narratives:0">narratives</span>, experienced as visual music, whose multiple narrative fields co-existing in <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6143d01f-33c3-4d71-91b3-6995ab86aac1" ginger_sofatware_uiphraseguid="4a07408a-52cf-47e3-9ff6-a4db8cdf5e86" grcontextid="superposition:1">superposition</span>,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="795f0d8a-39a5-4b9d-a60f-0d54c100cb0c" ginger_sofatware_uiphraseguid="1dddb044-a3f3-42d5-8c24-a2007ea65596" grcontextid="collapse:0">collapse</span> into one reading and/or experience through the intervention of the subjectivity of the observers.
And every observer has a different reading or experience. </span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> </span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: 'Helvetica'; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoKQ9-8ho5MxekJJu5kGYcQ8IsoIYnPUAbwBvpvCHyuqpaT8Mc90xDgfZx18szbg7LVfcRimL-TtPxf07O8VwXt1MOtGSc1LmRXz8GTsxBP8cPusWx9lfWurlu_efpo6FNre931aEFgYc/s1600/Slide35.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoKQ9-8ho5MxekJJu5kGYcQ8IsoIYnPUAbwBvpvCHyuqpaT8Mc90xDgfZx18szbg7LVfcRimL-TtPxf07O8VwXt1MOtGSc1LmRXz8GTsxBP8cPusWx9lfWurlu_efpo6FNre931aEFgYc/s640/Slide35.jpg" height="480" width="640" /></a></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: 'Helvetica'; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7oL8eAKJ7T5rgacZHTRsKGLsbtRCnn4zfsMoTcQJ94E8kKAk7zpUrNapqYn9ixYf3hxFm5EU4Uf2Y3UdL3pAuivIxJ-TRC7ydm_ej_4erAHhPAG2L6nGr1F4UjxfYZlBsUDn6dCEdtxE/s1600/Slide36.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7oL8eAKJ7T5rgacZHTRsKGLsbtRCnn4zfsMoTcQJ94E8kKAk7zpUrNapqYn9ixYf3hxFm5EU4Uf2Y3UdL3pAuivIxJ-TRC7ydm_ej_4erAHhPAG2L6nGr1F4UjxfYZlBsUDn6dCEdtxE/s640/Slide36.jpg" height="480" width="640" /></a></span></div>
<span style="font-family: 'Helvetica'; font-size: large;"> </span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> The multi-screen collages from </span><span style="font-family: 'Helvetica'; font-style: oblique; font-weight: 700;">Now&Here=Everywhere </span><span style="font-family: 'Helvetica';">re-creating simultaneous moments are
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="2ca7e467-9c59-4815-9f5c-d0b0daf57d7a" ginger_sofatware_uiphraseguid="719aa26a-d2a6-4f5c-a6b2-be6aca7b8c06" grcontextid="configured:0">configured</span> every time the observers log into the website or refresh it, and like in the quantum universe,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="616c0653-6334-472c-a491-9a025d329057" ginger_sofatware_uiphraseguid="cf051ccb-e8d3-4f59-97fd-0383725bddb9" grcontextid="all:0">all</span> the possible configurations coexist in superposition collapsing into one when interacting with the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="15fa3bef-2239-4c43-a35c-6dad77c36579" ginger_sofatware_uiphraseguid="79d8fa27-8cbc-4474-a789-c9017a556575" grcontextid="observer:0">observer</span>. </span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> Sound plays a very important role in the project, blending and collating the sometimes
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="b0b62259-01f5-43ab-a11d-bce87bdc1c94" ginger_sofatware_uiphraseguid="3846475b-7393-48f5-ad11-46c050eb1677" grcontextid="antagonistic:0">antagonistic</span> micro-narratives of each moment, where <span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="d5c79b2e-9d97-4230-9cf6-d5abbd9b6034" ginger_sofatware_uiphraseguid="3846475b-7393-48f5-ad11-46c050eb1677" grcontextid="synergically:1">synergically</span>, the whole narrative experience
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ebaef9ea-4291-43fb-9902-ca4503340f3d" ginger_sofatware_uiphraseguid="1db12256-20de-4417-ac9a-64363dd79e7d" grcontextid="created:0">created</span> is greater than the sum of the individual contributions.
</span></span><br />
<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> Apart from the ON and OFF line physical transformations, Roy Ascott (1967) asserts that in
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="de91c0b6-5c44-4c8a-b7ae-230ecf44cef0" ginger_sofatware_uiphraseguid="15465cef-7546-4410-9f9e-9eb5a26eb643" grcontextid="participatory:0">participatory</span> and behaviorist art a feedback loop is established, that <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="780ea46e-4788-40bc-9008-9956329c7522" ginger_sofatware_uiphraseguid="15465cef-7546-4410-9f9e-9eb5a26eb643" grcontextid="acts:1">acts</span> as “a catalyst which sets up
[<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="24614d6a-787e-4e84-9fa8-03b21d7b6657" ginger_sofatware_uiphraseguid="086de3ea-3e30-412c-a1ab-73e6def46127" grcontextid="new:0">new</span>] patterns of behavior”, that eventually would be reflected in the interaction of the observer with their
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e602f873-45e8-4339-b13d-e44ef54838af" ginger_sofatware_uiphraseguid="98633d32-5585-4da4-95bd-0a5df6e40a71" grcontextid="environments:0">environments</span>.
</span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-family: 'Helvetica'; font-size: large;"> This Romantic vision is influenced by the work of Novalis, Romantic Philosopher and poet, who in 1798
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6ee0ee9d-4959-47f2-8916-5274f746e2d1" ginger_sofatware_uiphraseguid="1d134cc0-bcd9-4bb8-ae23-da659be57e5c" grcontextid="writes:0">writes</span> </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="3a3c84fd-d78d-49b2-a86d-2fc24739f954" ginger_sofatware_uiphraseguid="1d134cc0-bcd9-4bb8-ae23-da659be57e5c" grcontextid="Notes:1">Notes</span> for a Romantic Encyclopedia. </span><span style="font-family: 'Helvetica'; font-size: large;">In this unfinished and fragmented masterpiece, he expounds
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="f001e7a1-e049-4a69-8205-8d96912be9bd" ginger_sofatware_uiphraseguid="96c5ce6f-c4a3-4795-a302-e6687b894061" grcontextid="on:0">on</span> his conception of </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">Magical Idealism </span><span style="font-family: 'Helvetica'; font-size: large;">postulating that the world of nature can be transformed at will by
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ffaf177b-70d9-4e0d-a373-1540e0f85b81" ginger_sofatware_uiphraseguid="8c1c30a3-892b-46f5-b56c-fc4f6d2e2fd8" grcontextid="the:0">the</span> artist with imagination: “Every person is the seed of an infinite genius” (Entry 63, 2007:10).
</span></div>
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<span style="font-size: large;"><br />
<span style="font-family: 'Helvetica';"> According to Duncan White (2010:93) technology, media and culture begun to permeate when TV
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="a3a60d65-b046-4372-9641-b20037b1b1c1" ginger_sofatware_uiphraseguid="a44e758e-26eb-405a-b2c3-c019205bed45" grcontextid="acquired:0">acquired</span> value and social status as ‘live’ medium in the late 1960s, especially during the broadcasting of
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="6c30feb2-8aa0-4a15-8151-c93c9912e758" ginger_sofatware_uiphraseguid="3ae99fee-1844-4a66-b3d9-9ee71419f4cb" grcontextid="the:0">the</span> landing of the </span><span style="font-family: 'Helvetica'; font-style: oblique;">Apollo 11 </span><span style="font-family: 'Helvetica';">on the moon. Nowadays, the technological evolution of the contemporary
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="23b7a61f-9706-4b23-9677-216d0fc7a7b0" ginger_sofatware_uiphraseguid="04d2bb37-4222-4755-b33f-d9b79e945ca0" grcontextid="smartphones:0">smartphones</span> and their standardization in the daily life of post-industrial societies has produced the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="b1b789f6-f2ef-4a6f-9914-9d3f925395fb" ginger_sofatware_uiphraseguid="b4d12105-ae30-4231-8926-8df1593c61a8" grcontextid="synthesis:0">synthesis</span> of technology, media and culture, provoking a socio-cultural paradigm shift which subverts the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="ddda1f67-06f6-4437-b053-4dc5411b8300" ginger_sofatware_uiphraseguid="38b7310d-91ca-45a6-8798-8e5ce0c8130e" grcontextid="unidirectional:0">unidirectional</span> ontology of the mass media and the cinematic apparatus: potential audiences <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="7aab7fe8-903d-44bd-9d65-c8b6530e8db0" ginger_sofatware_uiphraseguid="38b7310d-91ca-45a6-8798-8e5ce0c8130e" grcontextid="of:1">of</span>
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="e7b48132-d774-4ee0-b506-d596f5689ba5" ginger_sofatware_uiphraseguid="b36c4167-8c8d-439c-b1df-b011fed8b937" grcontextid="traditional:0">traditional</span> cinema <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="06d2ef57-2d8e-4157-af85-906c1c81ec08" ginger_sofatware_uiphraseguid="b36c4167-8c8d-439c-b1df-b011fed8b937" grcontextid="have:1">have</span> now instant access, anytime and anywhere, to the tools of film production,
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="213a11b1-b40b-4a19-9d99-31ea32441ab2" ginger_sofatware_uiphraseguid="9e38ebfa-c0e1-4d59-911d-15c76cd6fbd0" grcontextid="distribution:0">distribution</span> and exhibition. This paradigm shift fosters a creative, and therefore critical, approach of the
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c851ee54-4ffa-4b45-96d7-e5d861098503" ginger_sofatware_uiphraseguid="ddec7141-ecc4-425c-9b34-b3d3559171e1" grcontextid="subjects:0">subjects</span> to reality leading us to conclude that if Expanded Cinema in the 1960-70s was intended to
<span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="c22280e0-ad8f-43ff-9e17-ed1a22895e4d" ginger_sofatware_uiphraseguid="0627d3a2-c1e5-4745-a568-0ca2df44c0ea" grcontextid="expand:0">expand</span> consciousness in society, </span><span style="font-family: 'Helvetica'; font-style: oblique;">Quantum Filmmaking </span><span style="font-family: 'Helvetica';">stresses the agency of the observers to transform it.
</span></span><br />
<span style="font-size: large;"><br /><span style="font-family: 'Helvetica';"> © iceberg Fernandez -University of the Arts London- 2013. </span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-family: 'Helvetica'; font-size: large;"> </span><span style="font-size: large;">
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<span style="color: #cc0000; font-size: large;"><span style="font-family: 'Helvetica'; font-weight: 700;">-REFERENCES:
</span></span><br />
<span style="color: #cc0000; font-size: large;">
</span></div>
<span style="color: #cc0000; font-size: large;">
</span></div>
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<span style="color: #cc0000; font-size: large;">
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<span style="color: #cc0000; font-size: large;"><span style="font-family: 'Helvetica'; font-weight: 700;">-Key Artworks:
</span></span><br />
<span style="color: #cc0000; font-size: large;">
</span><br />
<span style="font-family: 'Helvetica'; font-size: large;">-Fernandez et al. (2011- Ongoing). </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;"><span class="GINGER_SOFATWARE_noSuggestion GINGER_SOFATWARE_correct" ginger_sofatware_markguid="194c9ad7-4693-4a85-b3ef-30073a9623d1" ginger_sofatware_uiphraseguid="5ab3fe6f-da80-4ce2-9cd0-dc29ff7b86de" grcontextid="Kino:0">Kino</span>-Present</span><span style="font-family: 'Helvetica'; font-size: large;">. [Internet: Website]. Available from: <</span><a href="http://www.kino-present.org.uk/"><span style="color: blue; font-family: 'Helvetica'; font-size: large;">www.kino-present.org.uk</span></a><span style="font-family: 'Helvetica'; font-size: large;"><span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="827aedfd-b72c-440e-b0a9-9e5a9b0e8283" ginger_sofatware_uiphraseguid="f89af21d-3de2-4b08-8318-058864dc9859" grcontextid=" .:0">>.</span> <span class="GINGER_SOFATWARE_correct" ginger_sofatware_markguid="fc15eb5f-a078-4ce1-a98c-0a69af8ad100" ginger_sofatware_uiphraseguid="f89af21d-3de2-4b08-8318-058864dc9859" grcontextid="[:1">[</span>Last accessed 17 October 2013].<br />
-Fernandez et al. (2011- Ongoing). </span><span style="font-family: 'Helvetica'; font-size: large; font-style: oblique;">Now&Here=Everywhere</span><span style="font-family: 'Helvetica'; font-size: large;">. [Internet: Website]. Available from:
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