cent Video Art.Dissertation (Oslo: Department of Media and Communication, Uni-
versity of Oslo,).
. Nicolas Bourriaud,Postproduction(New York: Lukas and Sternberg,). I have
used the term post-production throughout the chapter, also when discussing Bour-
riaud’s notion of postproduction (which he has chosen to write without a hyphen).
. Bourriaud.
. Hans Richter,Film ist Rhythmus. Eds. Ulrich Gregor, Jeanpaul Goergen, and Angel-
ika Hoch. (Berlin: Freunde d. Dt. Kinemathek,). (My translation.)
. Tom Gunning,“Re-Newing Old Technologies: Astonishment, Second Nature, and
the Uncanny in Technology from the Previous Turn-of-the-Century,”Rethinking Me-
dia Change: The Aesthetics of Transition, ed. David Thorburn and Henry Jenkins
(Cambridge, MA: MIT Press,).
. Richter.
. http://techetrends.blogspot.com/_archive.html (last accessed May ,
)
. http://avaxhome.ws/software/realviz_retimer.html (last accessed May,)
. The effect of Auto Tune, whereby a singer’s pitch can be overruled for more or less
compelling effects, should also be mentioned here. It does not change the tempora-
lity in terms of rhythm, but merely in terms of pitch. A separation of the two is, of
course, reliant upon digital processing. However, Auto Tune is first of all a correc-
tive means that can allow everyone to sing in tune. Its prevalence and effect over the
last decade, as well as the strong reactions against it recently are worth exploring in
their own right. (Christina Aguilera appeared in public in Los Angeles on August
,wearing a T-shirt that read,“Auto Tune is for Pussies”.) http://en.wikipe-
dia.org/wiki/Auto-Tune (last accessed May,)
. Eadweard Muybridge created an elaborate setup of synchronized cameras for his
movement studies from thes. However, they were not usually set up to capture
one moment from various angles, but rather consecutive moments from one angle.
The French cartographer Aimé Laussedat at this point had already explored photo-
graphic mapping techniques for twenty years. The U.S. journalist Steve Silberman
writes:“By taking multiple exposures of the landscape from different angles and
triangulating them with clever algorithms, it was possible to generate a topographi-
cal map from flat images, similar to the way your brain generates depth perception
from two separate-D inputs: your eyes. Laussedat’s breakthrough was christened
photogrammetry.”Silberman also notes how, in the lates“Arnauld Lamorlette,
the R nonmilitary aircraft may fly over the city only on Bastille Day. Lamorlette
found that by morphing between two photographs, he could generate a-D model:
digital photogrammetry. BUF employed the technique to help director Michel Gon-
dry create a music video for the Rolling Stones.”Steve Silberman:“MATRIX.”
Wired Magazine, May, http://www.wired.com/wired/archive/./matrix_pr.
html (last accessed May,).
. I call these shots because they appear as shots, as continuous recordings from a
camera. However, in cases of hybrid temporality inside a frame, it becomes clear
that what we see must be a montage of at least two shots or two different parts of a
shot. The fact that they appear as single shots helps ground their paradoxical ap-
pearance.
Mutable Temporality In and Beyond the Music Video 183