Rationalized Production

story © Michael Betancourt | published December 7, 2015 | permalink |  |  

The “rationalization” of industrial processes known as “Taylorism,” appears as the fragmentation of production on the assembly line. This theory initially functions to enable mass production, but finds continued application in the algorythmic translation of agency into digital automation. This approach to how factories organized their processes, codified by engineer and theorist Frederick W. Taylor as “scientific management,” enables the particular type of mass production that defined American industry in the first half of the twentieth century. Links between Modernist art theory and industrial protocols inform the development of the digital. The transformation of machine labor from an extension of human action—as the mechanical amplification of human labor—into the digital, where the machine does not augment but supplant.

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story © Michael Betancourt | published December 3, 2015 | permalink |  |  

The music video produced for Sa’eed Ali’s song of the same title, Helios | Divine is 4 minutes long, organized into four sections of approximately equal length. It is designed to act as a “posthuman landscape” where what we believe we see is not entirely the same as what is actually visible on screen: a complex network of squares and rectangles that ‘twinkle’ and contain a continually shifting field of colors that combine into larger blocks only to break into smaller, more discrete units. The imagery presented is emergent—what can be seen when looking at a still image is radically different than the encounter with the movie—but is also composed from uniform squares of color, an effect of the glitching process that stripped recognizable, high definition imagery from the “raw” footage. This visual development follows the sequence of imagery common to the revelatory experiences described in the 1930s by German psychologist Heinrich Klüver. A summary of his imagery describes the progression of Helios | Divine: in a continuously transforming shot (rather than a series of individual, discrete shots), the initial ‘parting of the veil,’ becomes by degrees a beautiful landscape, then a figure that merges into a large, circular disk with light rays stretching out, followed by a second, darker landscape.

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story © Michael Betancourt | published November 30, 2015 | permalink |  |  

The particular dimensions of a physical engagement with immateriality in motion pictues depends on the fragmentary nature of the digital medium itself: everything “inside” the computer exists as numerically encoded data: the fragmentation and digital organization of information that when ‘replayed’ for a human audience appears continuous via discrete units (commonly called “samples”) is a given when considering any product of digital technology. These discrete fragments of reality enable the transmission, reproduction, and reassembly that are the common features of any digital technology, and the apparently ‘prefect’ reproduction originated precisely in the actuality that what is encountered through the immaterial production of the digital work is not a copy so much as a new example produced specifically for the moment of encounter; it is an “original.” This reassembly from fragmentary samples may not have been an invention of the late nineteenth century, but it was in this period where sampling, coupled with new developments in photography, introduced the essential foundation for the digital transformation of reality into data that enables the digital to function as a perfect ‘reproduction.’

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story © Michael Betancourt | published November 28, 2015 | permalink |  |  

This is a the animated title card for my new movie, Going Somewhere:

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story © Michael Betancourt | published November 26, 2015 | permalink |  |  

I have an Instagram account with stills from my movies and movie-tests.