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The video Out of Sync moves between two adjacent rooms, separated by a closed door. A recurring action takes place; the passing of a key back and forth between two people on the opposite sides of the door. In the first stages of the film the camera is motivated by the act of the key passing, and follows it in perfect accordance. However, as the film progresses the action becomes faster, while the camera attempts to maintain a set speed – the speed kept in the first cycle. As a result, the action precedes the camera movement, and they fall into an increasing lack of sync. The gap created between the movement of the camera and the action taking place, creates two consciousnesses, working simultaneously but independently. The camera is personified as it ignores the action taking place, while continuing mechanically in its movement. As a result the camera becomes the leading actor, it is the one who sees and observes, while the camera’s movement becomes its photographed object. The camera’s mechanical repetition was, in fact, what eventually gave it the human trait of repetitive compulsion.

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 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

Out of Sync

The video Out of Sync moves between two adjacent rooms, separated by a closed door. A recurring action takes place; the passing of a key back and forth between two people on the opposite sides of the door. In the first stages of the film the camera is motivated by the act of the key passing, and follows it in perfect accordance. However, as the film progresses the action becomes faster, while the camera attempts to maintain a set speed – the speed kept in the first cycle. As a result, the action precedes the camera movement, and they fall into an increasing lack of sync. The gap created between the movement of the camera and the action taking place, creates two consciousnesses, working simultaneously but independently. The camera is personified as it ignores the action taking place, while continuing mechanically in its movement. As a result the camera becomes the leading actor, it is the one who sees and observes, while the camera’s movement becomes its photographed object. The camera’s mechanical repetition was, in fact, what eventually gave it the human trait of repetitive compulsion.

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis
 

 The CDA's archives are operating with the support of the Ostrovsky Family Fund and Artis