Cinematic Art Manifesto & Performative Cinema

Performative cinema, brings about, or brings into being, the characters, action, and world that it describes. Performative cinema, cinematic art, netfilms, netmovies, interactive films, webmovies, digima, or time-based works, all these terms reflects a hybrid connection between art, film and the Internet, expressing the ever changing continuum of the space we live in. Performative cinema is a cinema of processes, a field where 'images of thought' and 'art as a state of mind' might emerge. Furthermore, cinematic ways of seeing the world have become the basic means by which computer users access and interact with all cultural data.

In the course of this century, art has crossed paths with:
1. Film (1901)
2. Television (1950)
3. The Internet (1990)

The first of these innovations invented the 'reality effect', the second 'life action', and the third 'interactivity'.
Now that the images have learned how to walk and talk, they are ready for 'performative telecommunication'.

-- To engage in explorations of online cinema and audio-visual culture as a 'performative' medium.
-- To explore theoretical perspectives which may inform the above.
-- To place the 'performative' within the context of studies of film and visual culture and the material conditions of production, as to improve the production of knowledge.

1. Developing a performative cinema online Net Films & Telematics of the Mind.
2. Experimentation with cinematic form and content
Body Language Sequences.
3. Creating a psychogeography of dreams Fuzzy Dreamz*
4. Creating a poetics of virtuality
Rooms of my Mind.
* A montage of synesthetic dream experiences. A dérive without beginning or end. . .

Recent innovations in computer software and performance gains in hardware are now permitting the development of a truly performative cinema. Today, we can see this distinctive new art form growing quickly, parallel with the performative theory of this new cinematic art. These proliferation of publishing on the net, have brought a new audience to factual programming and have revitalised debates about the hybrid status of the real versus the virtual, and the viewer/performer versus the viewed.

How do we see inside the net? Into the phenomenology of virtual space behind the screen? The net sensitizes us to the invisible. It suggests a neural topography. The cyborg’s vision is the net itself.

Dr. Hugo Heyrman

Antwerp - Belgium

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