Exploring the relationship between the cinematic image, video surveillance and time-based media, the camera is fixed and captures movement in three locations: at the back of a building, on a street and in a park. The shot is extended over a period of time, presenting different contexts.

"... a time limit of thirty minutes was set, of which seven were selected for screening. The three shots were placed simultaneously in a line, with the middle shot being witnessed by me and in the remaining two, the camera was left alone.”

“In A Camara Clara (1980), Barthes reflects on an episode that happened after a photographer sent him a picture of himself from which he could remember neither the day nor the place of origin. Even though, after a great deal of effort, he couldn't remember at all when it had been taken, “however, because it was a photograph, I couldn't deny that I had been there” (Barthes, 1980, p.96)”.

Machine-Interlocutor-Machine

2024

Published essay for the research project FRAME[SCAPES]: Para uma Geocinemática. Published by Stolen Books.

Presentation of the film Máquina-Interlocutor-Máquina for the research project FRAME[SCAPES]: Para uma geocinemática. Cinemateca Portuguesa-Museu do Cinema com a Linha de Sombra.

Colour, sound. 07'20''