Combinatory Film And The Digital Imaginary
This paper reflects upon the collaborative process of creating combinatory projects that bridge image, writing, and sound. In combinatorial films and hybrid works, computer code directs the assembly of images, texts, and sounds from a database. The article defines combinatorial film in relation to c...
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| Gepubliceerd in: | URI:https://journals.openedition.org/tipa, |
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| Hoofdauteur: | |
| Formaat: | Article ou chapitre numérique |
| Taal: | Anglais |
| Gepubliceerd in: |
TIPA. Travaux interdisciplinaires sur la parole et le langage
2026
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| Onderwerpen: | |
| Online toegang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Samenvatting: | This paper reflects upon the collaborative process of creating combinatory projects that bridge image, writing, and sound. In combinatorial films and hybrid works, computer code directs the assembly of images, texts, and sounds from a database. The article defines combinatorial film in relation to conventional, linear film. It considers how code-based systems can expand narrative imagination, word-sound-image relationships, and liberate events and objects from imagery and the authority of the frame. The integration of systems of choice and chance in these works creates instability and introduces ambiguity. Examples include the collaborative works Three Rails Live (2013), Penelope (2019), and The Floods (2022). These works juxtapose disparate fragments of image, sound, and text and challenge narrative expectations. Each work demonstrates a different approach, and, together, they show how working with such systems can expand creation and cinematic presentation. This essay also describes how code-based creation fosters collaboration between artists, writers, and musicians to expand narrative possibilities and interdisciplinary exchange. |
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