ABSTRACT
I have spent most of my life as a graphic designer, and the past thirteen years as a graphic design educator who teaches and practices in video and motion. The majority of my research is an extension of split-screen. As a video or cinematographic device, split-screen is the division of the kinetic compositional frame into multiple images, shattering the illusion presented by a single frame as a seamless view of reality. Since the early twentieth century, filmmakers and videographers have used split-screen as a multi-narrative effect to imply simultaneity between shots, or imply a simultaneous montage of events, and simultaneous points of view. My experimental use of splitscreen suggests the potential of the combinatory visual effect of fracturing split, duplicated and overtly asynchronous imagery.
