What do we experience as 'NOW', as an absolute present? What does it mean to be ‘in the moment' and how long does such a moment last in a hurried world where speed is a status symbol?
What happens when we archive this fenomenen, how does time behave inside versus outside the (film) camera and what are the differences between filmic-time and physical-time?
What metaphors and myths do we use when referring to time and how representable is it at all?
What can possible alternatives to a dominant ‘order’ of linear time look like?
This research uses the time-based medium of analogue film to ask these and other timely questions.
It aims to study the passage and its disintegration of time by means of visual translation. While the filmcamera is used as a measuring instrument to study not the movement of bodies or objects, but the movement of time itself.