Prem·ise 52
prem·ise
·an assertion or proposition which forms the basis for a work or theory
Prem·ises
can a video be in focus but with an ambiguous context while another video is out of focus but the context is obvious?
if each video is never shown fullscreen, but all portions are revealed over time, how does the viewer mentally reassemble the parts?
what is the difference between a window and a screen in terms of framing, filtering and separation?
can videos cancel each other out – visually and/or conceptually?
can the spectacular become mundane?
can the psychological aspects of time be depicted?
is classically beautiful imagery always cliché?
through simple means, can the mundane become strange?
through simple means, can the mundane become strange?
what happens to the body if time is shattered?
suggested by Catherine Telford-Keogh
is it possible to break footage?
can you honour thy error as a hidden intention?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
can imagery be unreliable?
what does speed do to imagery?
can a video be a palindrome without being immediately obvious?
suggested by John Dickson
can dark not be somber?
can the emotional tone of the final video be different from that depicted in the footage?
suggested by Lena Rye
can time collapse in on itself?
if (ab + xy = xb + ay) then does Walmart = malwart (pronounced "mall-wart”)?
suggested by Ted Rettig
what happens if you turn it upside down?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
how can time and space become experiential on a flat screen?
what happens if there is a gap in understanding?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
can you emphasize repetitions?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
can you overtly resist change?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
can something be simultaneously mesmerizing and disturbing?
suggested by Lena Rye
what happens if you give the game away?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
what is the effect of an image being stretched?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
what happens when you use an old idea?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
(idea from prem·ise 27)
if there is no them is there only us?
suggested by Anna Jane McIntyre
can you do nothing for as long as possible?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
can you balance the consistency principle with the inconsistency principle?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
where does sound go when it dies down?
suggested by Barbara Lounder
can we know what it feels like to be a rock/ant/flower/speck of dust/strand of spaghetti?
suggested by Stephanie Cormier
can you animate the inanimate?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
how ambiguous can you be?
what happens if you do everything wrong?
can you simply subtract?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
how easy would it be to invent a new letter sound?
suggested by Stephanie Cormier
can images be woven together?
inspired by Beryl Korot
can you remove specifics and convert to ambiguities?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
can you remove ambiguities and convert to specifics?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
can more be better?
can less be more?
can more be less?
can more be less, again?
is the whole other than the sum of its parts ?
suggested by J Lynn Campbell
does pattern obliterate content?
can overworking become a simplification?
can depth be created in an atypical way?
what is the difference between seeing and feeling?
suggested by Lena Rye
can you perceive infinitesimal gradations?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
what makes a grand finale grand?
Footage courtesy of:
John Dickson, Holly Dunlap, Lee Henderson, Layne Hinton, Maggie P, Sydney F, Lena R