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Samuel Bianchini
Reverse Writing. From audiovisual to interactive scripting: filming and dicting for the screen
Audiovisual scripting developed in the 20th century with cinema, animation and video, has today become seriously cross-examined under the influences of interactive technology: « the contents » have been divested of their linear functionality, images have become composite ( one no longer thinks in terms of photograms or frames ) and a viewer has become a user, or in more general terms, a practitioner.
In order to construct design methodology, and script as far as interactive image is concerned, I am today setting out one of my previous pieces of speculation: the principles of shooting and of audiovisual post-production, conceived and developed during the 20th century, can be inverted and can constitute the very base of interactive scripting for second hand filming, by the spectator-user of the interactive images. Frame lay-out, montage, zoom, rack-focus, tracking, depth of field, and even some methods of directing.....are no longer only about audiovisual production but are also mechanisms ousted and directed toward new forms of spectator application.
Like « reverse engineering », one has to analyse these modes of image production in order to release de-constructable principles, transposed and reversed, that they might be re-employed and made serviceable and practicable for the onlooker.
Recent publications:
1 “Écoutes à l’œuvre – An interview conducted by Céleste Boursier-Mougenot with Samuel Bianchini”, in États seconds, monograph catalog by Céleste Boursier-Mougenot, Analogues, Arles, France, April 2008, pp. 111-171.
2 With Jean-Paul Fourmentraux, “Médias praticables : l'interactivité à l'œuvre”, in Sociétés 2007 / 2, n° 96, pp. 91 – 104, De Boeck Universty, June 2007.
3 “Image interactive : stratégies de manipulation”, in Actes du Colloque Artmedia VIII, “De l'Esthétique de la communication au Net art”, under the supervision of Mario Costa, review Ligeia, numbers: 45-46-47-48, “Art and multimedia”, July-December 2003, pp. 50-56.
4 “The Theatre of Operations”, in Iconoclash - Beyond the image wars in science, religion, and art, catalog, under the supervision of Bruno Latour and Peter Weibel, ZKM, Center for Art and Media, Karlsruhe, Germany / The MIT Press, Massachusetts Institute of Technology, Cambridge, Massachusetts, 2002, pp. 483-485, translation by Jian-Xing Too.
5 “Une opération partagée - Le montage confronté aux technologies de l'interactivité”, in Monter / Sampler - L'échantillonnage généralisé, catalog, Pompidou Center / Scratch Projection, Paris, 2000, pp.104-112.