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The new millennium has seen the resurgence of the workshop. The principle reasons for this are the advent of open source media tools, the subsequent popularity of D.I.Y electronics including circuit bending, chip tunes, maker culture and parallel developments in networked art and a heavy dose of social engineering which have opened new avenues for creative expression and collaboration. Within this new atmosphere of the arts that favors the empirical relative to the theoretical this author played a part in early live cinema development. Trained as a documentary filmmaker has led me to crafting an artist approach that seeks to engage in a situation of particulars, seeking vectors for collaboration in increasingly hyper-saturated media environments by forming eventscapes.
An eventscape is formed when participants collectively engage in the production of moving images. The increased prevalence of camera enables the forming of eventscapes in certain hyper-mediated situations. My work encompasses video, photography, live cinema projections and electronic audio for the production of real-time movement collage. I host collaborative filming workshops to simulate the production of eventscapes. Each participant embodies a mode of production in real time allowing for multiple subjective visions to a given situation. Utilize the resulting moving image streams for real-time time-based manipulation, effects layering and juxtaposition for live cinema performances which undergo temporal shifting and spacial montage, exploring notions of coverage. Similarly I have developed a journalistic approach to capture photographic documentation of art events and activist actions that weaves tangential themes within serendipitous narratives, elucidating simultaneity.