Put all the material in order and the system of its arrangement will emerge. The content arranges itself. The archive itself is the work. All of its aspects can be displayed in an infinite number of ways: individual pieces drawn out to impossible lengths, or models of the entirety presented simply, concisely, nonchalant. Images linking to other images, real time hyper text writings, films with frames leading to other films = all the points are connected. The emphasis is always upon the relationships between points. Boolean algebra, mandelbrot sets, brownian motion: not chaos but ordered entropy, highly structured thinking. The art presents good (sound) thinking, acts of thought, not to be confused with positivity.

A film as a document of everything to reduce content to nil. A film which starts here and ends somewhere else, shot in short increments and compiled steadily. It starts anywhere - here - and as it ends the frame closed in upon a target-object, the beginning of the next clip. Every shot begins and ends on a crosshairs, texture, pure field of color, etc., so that the clips can link together organically. The end of the entire film is "the arrival" to "there". Every film is the charting of a distance, between here and there. Perhaps the beginning and the end are the same, arbitrary, benign, ambivalent. No preamble, no beginning, no prologue: scene one just begins so that its origin is immediately forgotten. At the end we are brought back to the beginning to seamlessly suture the cycle of viewing reference and blurring the discrepancies between time-edits: the emphasis being upon the closing of the concept of cinematic time, of where or when one is.

The formal constraints for a cinematic idea: speed, time, signature. The opportunities for the modulation of time, of a human perception of visual time, by removing the factor of visual lag from the perspectival equation: ability to adjust frame rate. Film = a journey (in space) of modulated time, a structure populated by mundane content. An aesthetics of migratory response, observation slowing down, perception and attention elongated through the space of cinema; plus the secondary attentions through the editing, the structural modulation of time. The possibilities of autonomous intelligent algorithmic editing, intended to destroy narrative continuity and reorient towards the medium and its continuity, to turn away from destinations/arrivals, to instead levitate within a perpetual/infinite echo ocean, a matter of increased buoyancy of perception; then the tertiary consideration of posing the action on frame - with effects or raw - on particular subject matter conducive to exhibiting an attention to fluctuation of/in/through time: the gnats in the afternoon sun being modulated by the sound of the voice. If one can choreograph a dynamic walk through the woods (or other space) and record it with an extreme clarity, strategically composed, using the crosshair cutaway editing technique to seamlessly transition between different spaces, times of day, depths of field, aesthetic sensibilities, ecological states, without the propulsion of a narrative or characters at all.

An algorithm of film: an infinite number of films could be made: an endless experiment in cinema, algorithms, and time-based existence conducted consciously (although not tentatively).