The cinematographic machine marks […] its representation of the universe with its own original proprieties which make of this interpretation not a reflection, not a simple copy of the conception of the organic mother’s mentality, but a system indeed differently individualised, half independent, which contains in embryo the development of a philosophy so far from the ordinary opinions that we could call it antiphilosophy.
Jean Epstein, L’intelligence d’une machine, Paris, Jacques Melot, 1946, p. 124.
My aim for this project is to work at the different levels of the cinematographic process at the same time. More than producing a film, I intend to embrace the whole cinematographic process by considering it as an autonomous dispositif of recording and projecting. The antimatter department will constitute the playground for our experiments. Why antimatter? Because its “anti” aspect refers to the negative which is nothing else than an “antireality” or an anitphilosophy: both contain the hidden face of our “reality”. But what is antimatter? Similarly to antiphilosophy, we don’t really know. It is both the same and the other at the same time and one of the scientists’ aims is to resolve this strange paradox. Every day they work at the optimisation of their machine and their experimental dispositif, impatiently waiting for the restarting of the « machine », this obscure thing hidden from sight in its « sarcophagus ». This fostering mother machine’s aim is solely to breast-feed its machine-children in order for them to discover one of the many mysteries of our universe. The machine’s awakening is set for the end of April and I would like to record with my Bolex the excitation preceding it.
My intention is to shoot in 16mm film with a tape recorder for two reasons: 1) to articulate at its best the relation between the negative and antimatter, 2) to rethink the foundations of cinema by confronting its old form to new media. Indeed, I will work on this project with interactive designer Laura Perrenoud who mainly works with new medias and technologies. We find it interesting to bring interactivity in the realm of cinema by working with “low technologies”. We answer in this way to the CERN where old and new collide everywhere, while questioning at the same time the nature of cinema today. Moreover, we bring back the question of mechanisms, both of cinematographic dispositf and the machine itself as we intend to use mechanical machines as recording tools. We therefore intend to build a “supermachine” which will constitute the projecting device for the film and which will refer to the machines at the CERN which hide and reveal themselves at the same time. The machines can be seen everywhere but “the machine” remains a mystery. The form this “supermachine” will take is still undecided but we will build it with parts from 16mm projectors, either used directly or as model for printing new 3D parts.
This “supermachine” is therefore not only an installation but much more a real reflection towards a new way of thinking cinema at a turning point of its history. The film will not be enclosed in the screen but will outgrow it in order to constitute one and only dispositif revealing its mechanical process but keeping its deep antiphilosophical nature a mystery.
Sophie Dascal, 4th April 2016