Conclusion: assessing the research
Palestinian Wildlife Series reflects on intersections between posthuman and postcolonial thought and their implications for my experimental moving image practice. In this exposition I have explored the places in which materialist and kinesthetic film practices intersect, looking at possibilities for rethinking racial and viewing hierarchies.
At the conclusion of this artistic research, it is clear that the writing and discussions, lectures, and presentations that I have made comprise the project’s totality. I would not have arrived at its embodied outcome without the theory that went into its making. My readings allowed me to locate Palestinian Wildlife Series within a stream of intercultural works similar to it, challenging the dominant media and our places within it. My innocent impulse toward ‘animal video-choreography’ thus formed the basis for an interrogation.
Through these experiments, I developed a unique methodology of video production, drawing on tenets of somatic movement and performance-making. My works are not ‘dance on camera’, but rather aim toward methods of seeing and experiencing movement in moving images. From animals to plants and colours, I edited images according to their movement qualities, charging these movements against political and ecological realities.
What also became clearer during this research was the specific context for these videos to be shown in. I drew on my background in performance to consider the relationship of moving image to live audiences. My research thus found a home in the somewhat marginal and out-of-date form of expanded cinema (now enjoying renewed exposure).
What is less clear is how to reconcile my interests in expanded cinema with the ubiquitous laptop, the small screens of which have changed the way we view moving images. Here too (in this exposition), I wish I could share the coming images of Palestinian Wildlife Series in large scale, yet have had to surrender to the journal’s format to share this final work. In this way, expanded cinematic work is not unlike that of live performance – it does not translate well to video. My chosen format for these images has been video projection on surfaces (not monitors) due to the ways in which our eyes adjust and because it allows greater potential for kinesthetic exchange.