Prem·ises
prem·ise 1
can a video be in focus but with an ambiguous context while another video is out of focus but the context is obvious?
prem·ise 2
if each video is never shown fullscreen, but all portions are revealed over time, how does the viewer mentally reassemble the parts?
prem·ise 3
what is the difference between a window and a screen in terms of framing, filtering and separation?
prem·ise 4
can videos cancel each other out – visually and/or conceptually?
prem·ise 5
can the spectacular become mundane?
prem·ise 6
can the psychological aspects of time be depicted?
prem·ise 7
is classically beautiful imagery always cliché?
prem·ise 8
through simple means, can the mundane become strange?
prem·ise 9
if given suffering, there is love, then given love is there suffering?
suggested by Ted Rettig
prem·ise 10
what happens to the body if time is shattered?
suggested by Catherine Telford-Keogh
prem·ise 11
is it possible to break footage?
prem·ise 12
can you honour thy error as a hidden intention?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 13
can imagery be unreliable?
prem·ise 14
what does speed do to imagery?
prem·ise 15
can a video be a palindrome without being immediately obvious?
suggested by John Dickson
prem·ise 16
can dark not be somber?
prem·ise 17
can the emotional tone of the final video be different from that depicted in the footage?
suggested by Lena Rye
prem·ise 18
can time collapse in on itself?
prem·ise 19
if (ab + xy = xb + ay) then does Walmart = malwart (pronounced "mall-wart”)?
suggested by Ted Rettig
prem·ise 20
what happens if you turn it upside down?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 21
how can time and space become experiential on a flat screen?
prem·ise 22
what happens if there is a gap in understanding?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 23
can you emphasize repetitions?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 24
can you overtly resist change?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 25
can something be simultaneously mesmerizing and disturbing?
suggested by Lena Rye
prem·ise 26
what happens if you give the game away?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 27
what is the effect of an image being stretched?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 28
what happens when you use an old idea?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
(idea from prem·ise 27)
prem·ise 29
if there is no them is there only us?
suggested by Anna Jane McIntyre
prem·ise 30
can you do nothing for as long as possible?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 31
can you balance the consistency principle with the inconsistency principle?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 32
where does sound go when it dies down?
suggested by Barbara Lounder
prem·ise 33
can we know what it feels like to be a rock/ant/flower/speck of dust/strand of spaghetti?
suggested by Stephanie Cormier
prem·ise 34
can you animate the inanimate?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 35
how ambiguous can you be?
prem·ise 36
what happens if you do everything wrong?
prem·ise 37
can you simply subtract?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 38
how easy would it be to invent a new letter sound?
suggested by Stephanie Cormier
prem·ise 39
can images be woven together?
inspired by Beryl Korot
prem·ise 40
can you remove specifics and convert to ambiguities?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 41
can you remove ambiguities and convert to specifics ?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 42
can more be better ?
prem·ise 43
can less be more ?
prem·ise 44
can more be less ?
prem·ise 45
can more be less, again ?
prem·ise 46
is the whole other than the sum of its parts ?
suggested by J Lynn Campbell
prem·ise 47
does pattern obliterate content?
prem·ise 48
can overworking become a simplification?
prem·ise 49
can depth be created in an atypical way?
prem·ise 50
what is the difference between seeing and feeling?
suggested by Lena Rye
prem·ise 51
can you perceive infinitesimal gradations?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 52
what makes a grand finale grand?
Footage courtesy of:
John Dickson, Holly Dunlap, Lee Henderson, Layne Hinton, Maggie P, Sydney F, Lena R
can a video be in focus but with an ambiguous context while another video is out of focus but the context is obvious?
prem·ise 2
if each video is never shown fullscreen, but all portions are revealed over time, how does the viewer mentally reassemble the parts?
prem·ise 3
what is the difference between a window and a screen in terms of framing, filtering and separation?
prem·ise 4
can videos cancel each other out – visually and/or conceptually?
prem·ise 5
can the spectacular become mundane?
prem·ise 6
can the psychological aspects of time be depicted?
prem·ise 7
is classically beautiful imagery always cliché?
prem·ise 8
through simple means, can the mundane become strange?
prem·ise 9
if given suffering, there is love, then given love is there suffering?
suggested by Ted Rettig
prem·ise 10
what happens to the body if time is shattered?
suggested by Catherine Telford-Keogh
prem·ise 11
is it possible to break footage?
prem·ise 12
can you honour thy error as a hidden intention?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 13
can imagery be unreliable?
prem·ise 14
what does speed do to imagery?
prem·ise 15
can a video be a palindrome without being immediately obvious?
suggested by John Dickson
prem·ise 16
can dark not be somber?
prem·ise 17
can the emotional tone of the final video be different from that depicted in the footage?
suggested by Lena Rye
prem·ise 18
can time collapse in on itself?
prem·ise 19
if (ab + xy = xb + ay) then does Walmart = malwart (pronounced "mall-wart”)?
suggested by Ted Rettig
prem·ise 20
what happens if you turn it upside down?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 21
how can time and space become experiential on a flat screen?
prem·ise 22
what happens if there is a gap in understanding?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 23
can you emphasize repetitions?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 24
can you overtly resist change?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 25
can something be simultaneously mesmerizing and disturbing?
suggested by Lena Rye
prem·ise 26
what happens if you give the game away?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 27
what is the effect of an image being stretched?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 28
what happens when you use an old idea?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
(idea from prem·ise 27)
prem·ise 29
if there is no them is there only us?
suggested by Anna Jane McIntyre
prem·ise 30
can you do nothing for as long as possible?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 31
can you balance the consistency principle with the inconsistency principle?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 32
where does sound go when it dies down?
suggested by Barbara Lounder
prem·ise 33
can we know what it feels like to be a rock/ant/flower/speck of dust/strand of spaghetti?
suggested by Stephanie Cormier
prem·ise 34
can you animate the inanimate?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 35
how ambiguous can you be?
prem·ise 36
what happens if you do everything wrong?
prem·ise 37
can you simply subtract?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 38
how easy would it be to invent a new letter sound?
suggested by Stephanie Cormier
prem·ise 39
can images be woven together?
inspired by Beryl Korot
prem·ise 40
can you remove specifics and convert to ambiguities?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 41
can you remove ambiguities and convert to specifics ?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 42
can more be better ?
prem·ise 43
can less be more ?
prem·ise 44
can more be less ?
prem·ise 45
can more be less, again ?
prem·ise 46
is the whole other than the sum of its parts ?
suggested by J Lynn Campbell
prem·ise 47
does pattern obliterate content?
prem·ise 48
can overworking become a simplification?
prem·ise 49
can depth be created in an atypical way?
prem·ise 50
what is the difference between seeing and feeling?
suggested by Lena Rye
prem·ise 51
can you perceive infinitesimal gradations?
from Brian Eno’s Oblique Strategies - suggested by Lee Henderson
prem·ise 52
what makes a grand finale grand?
Footage courtesy of:
John Dickson, Holly Dunlap, Lee Henderson, Layne Hinton, Maggie P, Sydney F, Lena R
