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BISFF Correspondence 通信计划|Guli Silberstein

BISFF Correspondence 通信计划

为了跨越种种障碍,开辟更多交流空间,我们设置了“BISFF Correspondence 通信计划”,对部分国际单元的参展作者进行系列访谈,这些访谈将在作品放映后发布在联展各个媒体平台。

This program involves conducting brief email interviews with the directors of the international films featured in the festival, in lieu of the traditional Q&A session that follows the screenings. Through this program, we hope to provide a platform for filmmakers to discuss their work and share their insights with our audience in China.

CYCLES OF CREATION Variation 2|创造的循环 变奏2

Guli Silberstein

UK | English | 0:22:22 | 2023


Director导演: Guli Silberstei


Q1: After watching the film, I am curious about the creation process. Do you start by creating the music with the composer first or making the visual images first? Or is it a simultaneous process, considering that music played a crucial role in this work? Also, I am interested to know the reason why the name of the music is "Meditation". Can this music better help the viewers focus on the visual images they watch or impact their perception in any way?


A1: I first worked on the visuals, by my internal time perception. I then found this music on a free, copyright-free music website. A dialogue with the composer was impossible sadly for technical reasons. But I felt we have a dialogue through the music. which magically really fitted the visuals’ pacing, and the hypnotic feeling I wanted to create, of getting immersed in the images. This is even stronger in the first variation of this project. In the short film version it still acts as hypnotic, but we more lifted up by the “story” it tells. That’s why in the short film I added also natural sounds, to make the images more grounded in reality so to speak, with different aspects of Earth – water, wind, fire, etc,.

我首先进行的是视觉图像的创作,遵从的是我内在对时间的感知。后来,我是在一个免费的, 免版权的音乐网站上发现的这个作品。由于一些技术原因,和作曲家的沟通过程非常痛苦。但我感觉我们通过音乐完成了一次对话。这首音乐与视觉图像的节奏,以及我想要创造的一种催眠效果——我希望人们能够沉浸在画面里,神奇地相匹配。尤其在这个项目的第一次变奏中,这种感受更为强烈。但在短片的版本里,尽管这种昏睡感仍然存在,但我们仍能被其中所讲的“故事”所刺激着。这就是为什么在短片版本里,我会在呈现地球上,比如水,风,火等不同元素的时候,加入了一些自然音,目的是为了让图像更具有一种现实的依托。

Q2: The movement of the images and the processing of the colors created an extremely immersive experience for me. I felt like I had turned into one of the particles or matters in the film and was passing through the nine cycles with the camera. However, I couldn't help but wonder who I am or what kind of subject I am when I watch this film. Do you intend to create such an immersive experience to captivate the audience? Do you want them to identify with any specific subject while watching the film (for example, imagining themselves as a cell, air, or pure living consciousness)?

图像的运动和色彩的处理让我拥有了一次非常沉浸式的观影体验: 我感觉自己仿佛变成了视频中的某种粒子或者物质,并且随着镜头穿梭在九个不同的生命循环中。但与此同时,我禁不住思考作为观看者的我真正到底是以什么样的身份在观看这部电影。你是故意制造这种沉浸式的体验来吸引观众的吗?你希望观众在电影中投射具体的主体形象吗?(比如想象自己是一个细胞,是空气,亦或者一种纯粹的生命意识)。

A2:Yes, “pure living consciousness” is best description :-) I love this way you described the desired watching experience. No more words are necessary.


Q3: What the voice-over said in the film reminds me of Donna Haraway's famous essay, "A Cyborg Manifesto." At first, I was skeptical about who the man speaking in the video might be - perhaps god or the first human being to awaken. However, it is not until the end that I realize that the voice, which is hoping to create a better future for all, is a cybernetic manipulated by an AI mechanism. Since you have written nine cycles, ranging from light to human, will the tenth one be about cybernetics? Why are cybernetics and mechanisms of artificial intelligence important themes and inspirations in your creation?


A3: You totally hit the target here. Cybernetics theory is the source of my work, since my time at the M.A in Media Studies in New York NY. The idea of machine theory, feedback loops, and the in-between fascinates me, especially in the context of futuristic thinking. And as digital video artist, I’ve always been interested in the capabilities of new technology to push the boundaries of visual representation. AI is especially fascinating, in its amazing ability to process the whole history of human visual culture, and through the artist’s input, to output predictions and conceptions that act as a mirror to ourselves, humanity. The voice by the way is a bit of a parody of the all-knowing narrator in documentary TV, while this is obviously total fiction. But is it?… And also it creates a sublime feeling I think, of mythological storytelling, echoing both “god’s voice” indeed, and also ancient tribal storytelling around the bonfire.


Q4: Could you explain more about how artificial intelligence can help people reflect more on ecological concerns surrounding our earth? How is it specifically represented in this short film?


A4: In thinking cybernetically, especially following Gregory Bateson’s writings, specifically his “Ecology of Mind”, it’s very helpful to think about Earth and humans as part of one system that reflects on each other within. As Bateson said, if humans destroy their natural environment that would end up destroy themselves, simple as that. We must rise above the daily shortsighted view, and see the world in a wider perspective, understand that we are all part of big processes, and the way we act would reflect back at us. The film highlights the magic which is planet Earth and the whole universe, and the new technology we have now, hoping that it would be used to save Earth, not the opposite. Also, the parody aspect of the work hints that we really can depend on no one for better ecology than ourselves.

在思考控制论的问题上,特别是循着作家格雷戈里·贝特森的著作,尤其是他那本《心灵生态学》,将地球和人类视为一个系统里的组成部分是非常有帮助的。在这个系统里,地球和人类是相互作用,影响的。正如贝特森所说,如果人类破坏自然环境,最终就会毁灭自己,就这么简单。 我们必须超越日常的短浅目光,要以更广阔的视角看待世界,要明白我们只是巨大过程的一部分,我们的行为方式最终会反馈到我们自身。 这部影片展现出的是一种魔法:它串联起地球,整个宇宙,以及我们现在拥有的新技术。希望这个魔法可以用来拯救地球,而不是毁灭。此外,作品中戏仿的部分想要暗示的是,在追寻更好的生态环境的问题上,我们只能依靠自身的努力。

Q5: Was this dreamy and dizzy atmosphere intentionally created regarding the deployment and processing of colour?


A5: Artificial Intelligence is known to hallucinate. What is an obstacle in Science and providing factual analysis, is actually a huge advantage in art, where we’re allowed, and even encouraged to dream. So the AI naturally produces those dreamy visuals, that mirror in my opinion the “collective unconscious” of humanity. And I enhanced that, even in the text font design. It connects to psychedelic movements of around the 1960s with ideas of freedom, connection to nature etc, what may seem naive these days, but I think we need more of this “naivety”. And more than that, watching the film in “psychedelic state” takes down the barriers of conformist thought for the viewers, and frees the mind to open up to new ideas, a bit indeed like in a dream state, a recurring mode in my work from the start in 2001.

人工智能因其能制造幻觉而闻名。在科学和事实分析领域做不到的,恰好是艺术发挥其优势的地方——艺术本身就被允许,甚至被鼓励去制造梦境。所以, 那些由AI自然地制造出的梦幻般的视觉效果,在我看来,投射出的正是人性里面的“集体无意识”。这甚至体现在了我的字体设计上面。而它勾连起的是1960年左右的迷幻运动——鼓励自由解放,亲近自然等思想。这些思想在当下显得有些天真或者幼稚,但我觉得我们需要的,是更多的 “天真”。不仅如此,以这种“迷幻状态”观影也可以让观看者放下固有的思想,敞开心灵去接受新的想法。这的确有一点像是在做梦的感觉。但这种风格,自2001年我开始创作的时候,就循环出现在我的作品里了。


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