mardi 25 février 2014

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Lines and bandwidth

A note on Anna Khorzova’s video : Road Movie Horizon

, Ann Korzhova et Jean-Louis Poitevin

We believe pictures tell what we see. Actually, they tell what we are. But the being they tell us about doesn’t necessarily please everybody.

That is why we like to believe in the first theory.
That is also why some artists persist in forging ahead towards other possibilities.
Anna Khorzova, with Road Movie Horizon, asks two questions. The first one indeed is about the horizon. It’s the actual topic of the video. The horizon, when supposed to be a line, the impassable line where sky and earth meet, appears to be subjected to constant and subtle variations, to decomposition and recomposition effects, as if that certainty dated from the time when the earth was flat. Today, it is movement, speed, superimposition, displacements ; in short, everything but a round ball for those who travel around it in high-speed vehicles through the air as on the roads. Yet, the variable horizon which is shown to us here is still a kind of image of an ancient reality.

The beginning of this video in particular also tell us something else. It’s not about the landscape anymore but about our vision of the world and ourselves. We are only, in the night of the moving speed, a bandwidth, a transmitter of uncertain signals, a liquid slide of luminous flows that don’t even seem to be addressed to anybody. We slide, we pass, we are flows crossed by other flows and nothing else. It’s already quite much but it doesn’t fit the way we want to keep seeing ourselves.

Thus, this Road Movie Horizon leads us to think also about the relationship between flows and lines, between standard vision and quantum vision, between recognizable image and fluid image. Yes, here we are literally on the threshold of visual matter, where, decomposed in a luminous flow, it recomposes itself for a few instants to the liking of the sunlight, reveling an unstable world hanging up to the horizon, this line made of millions of mobile lines, as we hang up to a piece of wood when the ship is sinking.

Driving fast on mother-earth, we are living a visual shipwrecked et we discover slowly our new paradoxical status. What we see here is a bit of our inner body, a bit of these millions of movements which make it move, it’s a bit of our inner body which has become images.