nomenological and philosophical sense, this section explores a series of contem-
porary pop videos and“software cinema”.In“Mutable Temporality In and Be-
yond the Music Video: An Aesthetic Post-Production”, Arild Fetveit delineates
a new post-production aesthetic. He sees the aesthetic strategy of the sampling
of pre-existing material across different media as prevalent in a range of articu-
lations across the worlds of both art and media. New forms of temporality have
also evolved with extended uses of slow motion and curious forms of mutable
temporalities, where the movements of bodies are controlled not only during
the recording, but also in the later re-working of the footage. What emerges
from these developments, according to Fetveit, is a new post-production aes-
thetic, where post-human embodiment can sometimes be observed.
Eivind Røssaak, in his“Algorithmic Culture: Beyond the Photo/film Divide”,
investigates how the still/moving issue has been transformed from a matter con-
cerning media specificities to one that has become part of a larger culture of
interactivity and exchange. He opposes the nostalgia for authenticity and in-
dexicality that is so prevalent in traditional film studies and contends that digi-
tal images are no longer one image, but a multiplicity, beyond the photo/film
divide and always open to new forms. This alters some of the typical uses of
stillness and motion within new media experiments. Rather than relying on the
notion of remediation, Røssaak develops a notion of the moving image as a
processual and sensitive system governed by algorithms and machines attuned
to the nervous system of a collective memory. Røssaak presents a series of ex-
amples to explore the new dimension of the multiple image. His examples come
from the history of photography, the software cinema of Ken Jacobs and Gregg
Biermann and from newer interactive Web media such as Mario Klingemann’s
work.
The final section,“Archives in Between”includes Trond Lundemo’s discus-
sion of Albert Kahn’s archive,Les Archives de la planète, which has significant
ramifications for comprehending the relationship between film and photogra-
phy and contemporary digitalization. Albert Kahn createdLes Archives de la pla-
nètebetweenandusing color photography, film and (to a lesser ex-
tent) stereoscopy. This means that the archive, both conceptually and physically,
depends on connections and divisions between still and moving images. These
intersections between the still and the moving depict a constituting heterogene-
ity of the archive subsequent to the introduction of time-based media.“Move-
ment is also at the core of the entrance of the anonymous and the mass into
visibility”, Lundemo asserts. Kahn wanted to make an“inventory of the surface
of the globe inhabited and developed by man as it presents itself at the start of
theth century in order to fix once and for all the practices, the aspects and the
modes of human activity, whose fatal disappearance is only a question of time.”
With few exceptions, the film shots inLes Archives de la planètewere not edited
The Still/Moving Field: An Introduction 21