Uber Memoria XIX Part IV

Research Background International developments in video art include questioning the world through the social device of the language of memory and time, from Vasulka and Tarkovsky's theory to more local and new work, such as Sean Gladwell exploring memory and place in New South Wales. Wilson interrogates how memory can be used to first, represent memory as a device for social narrative; and second, situate this narrative as an advancement of both slow cinema and meta-modernism. Here he addresses this research question in such a way as to find new knowledge and evolve his research by finding the content behind the appearance of emptiness through the devices of metaphor, memory and place. Research Contribution Uber Memoria XIX Part IV investigates social narrative aspects of memory by positioning slow motioned sequences based on Heidegger's claim of 'dwelling in place'. Each character in the sequences is posed as in 800 year-old German medieval paintings and playing out how this 'memory' of the source painting changes how we may re-experience these new places. While previous works looked to metonym and metaphor as a means to differentiate memory and the subject, this work revisits 'dwelling' to measure the impact on the places each character holds within frame. Thus the viewer arrives at a new benchmark in understanding how Heidegger's deliberations can be interpreted in this medium. This research enables a study that overcomes barriers for visually experiencing the implications and limitations of memory in art. Research Significance The significance of the work is measured through recognition by international curation at the curated Electronic Language International Festival in Sao Paulo, Brazil (16.07.15 - 16.08.15), and at the XIV Festival Internacional De La Imagen 2015 in Manizales, Colombia (20-25.04.15) which included significant international artists such as Katsuki Nogami (Japan), Francisco Eme (Mexico), Elen Gruber (Argentina) and Vincent Ciciliato (Italy).