FILM

One of the guiding principles of Paul Sharits’s work is the investigation on the relationships between language and film. Both systems share a certain linearity, but also a structure which can be divided into discreet elements. “A method of empirically probing the cinema system is to allow several redundant and permutating parts to rub against each other in time; emergents from such systematic interactions can be regarded as natural macroscopic representations of microscopic cinematic elements” (PS). One of the first experiments of that investigation is Word Movie, in which each frame corresponds to a word. Following a series of permutations, a game between spoken and written words and images emerges.