an amazing art form. A series of scenes put in a particular order
designed to leave the viewer with no choice but to feel one particular
F. Scott Fitzgerald on Hollywood
production SPEED investigates how the role of the moving image have
shifted in our age of digital technology. How the linear structure
of traditional film/video media have transformed into an interactive
narration based on hyperstructure and association.
The main concern of SPEED has not been to create a model for building
"hyper-fiction" or "hyper-movies" based on the
moving image. The object has been to focus on how the experience
of a filmed material can change when implemented into "state-of-the-art"
digital technology. How our identity in a narrative context changes
when we move from a passive role as reciever, into taking an active
role in shaping the narrative structure.
image material in SPEED are based upon a 30 minutes short story,
a serie of personal written notes, still sequences and sounds. The
moving images are created as thoughts and remembrance, scenes from
a mans everyday life, reflexions inside his thoughts, fictionalized
diaries; associative thematic elements that shape this man´s
focuses on viewer experience, the interaction with the story is
based on randomness, we devised a metaphoric model which we call
a "a memory machine"; the main strategy behind this was
to leave choices of viewing order to the computer. A central tool
for this should be a JUKEBOX, a narrative machine that creates an
everchanging story based on an initial choice. The experience of
interacting with SPEED should be intuitive and associative.
medium we choose for the production was CD-rom, with film clips
as quicktime movies, playable on both PC and MAC. We never intended
to investigate the "high" end of multimedia technology
with DVD and streaming media as delivery platforms. Instead, deliberately,
we chose a "low" but widely spread technology.
THORE SONESON / PER LINDE 2001