Chapter 2: From the analogical to the digital machine
Rosa Barba, Somnium, 2011, 19’10”; The Otholit Group, Anathema, 2011, 37’; Ali Kazma, Automobile Factory, 2012, 10’27”
Introduced by Carles Guerra, this chapter reflect in the change between the analogical and the digital in the post-fordist labour scenario. The three films speculate, trough a futuristic esthetic, in different moments of this process, imagining future possibilities and rethinking the consequences on present time.
Rosa Barba, Somnium, 2011, 19’10”. A science fiction film based on interviews with local residents and individuals involved in the land suppletion project for Maasvlakte 2. Barba asked the interviewees to imagine what this new land could look like in the future. While we see images of the new land, we listen to a story apparently taking place in the future. Combined with archive pictures of the port, the images form a mechanical ballet of man and machine, set against a futuristic landscape.
The Otholit Group, Anathema, 2011, 37’. Anathema reimagines the microscopic behaviour of liquid crystals undergoing turbulence as a sentient entity that possesses the fingertips and the eyes enthralled by the LCD touch-screens of communicative capitalism. Anathema can be understood as an object-oriented video that isolates and recombines the magical gestures of dream factory capitalism. Anathema proposes itself as a prototype for a counter-spell assembled from the possible worlds of capitalist sorcery.
Ali Kazma, Automobile Factory, 2012, 10’27”. Displays the operation of the Audi factory in Ingolstadt, Germany. The large car assembly line works with minute precision as an orchestrated ballet. Ali Kazma inventory the world of work and material of human production and aesthetic.