Music softens morals.
When we capture the real with a camera, ie a mechanical recording tool , the movement is divided into a sequence of pictures , chained on the screen at a certain speed (24 fps ) give the illusion of natural movement. We think we see reality, but it is only realistic illusion of a trace captured by a machine. This machine was manufactured by man. She has a way of capturing reality that is related to the culture in which it was designed . What is given to us to see probably more like our culture as a faithful reproduction of what would , in itself, the real.
The images in this film are a clip , ie there is no editing, “cuts” compared to what the camera filmed . Ditto for the sound, which is a capture by a tape , seamless , movements in the air pressure of a time at a given location. But, against the reproduction tools I used are subjective and, almost for the first time in my practice, I allowed myself to add the “paint” very explicitly in the pictures. Take cultural subjectivity of reproduction. This in order simply to forward worldview, subjective , which is mine. Ie enrich the world , the banality of passage by a commuter train from one station to another , which takes about the same time a song, currently practiced in its duration (3 to 4 minutes ) . This film is what might be called a “clip” .
The invention of the train is roughly contemporary , a little earlier in the film, and there are many links between these two machines , as they change our worldview. Technology train is traveling film technology . On board a train, we are spectators of a reduced two-dimensional world, in the same way as before the computer screen or the movie theater. But a world that , through painting, I cleaned his commercial cultural referents , advertising posters, which, like open windows to another place , have always bothered me , in the attempt of a human relationship to a hypothetical real.