ABSTRACT
Narratives that employ CCTV images perform a translation between different realms of meaning-making: the idioms of database and algorithm, as well as that of law, by which public video surveillance operates, and the realm of human experience of the world as expressed by narrative. CCTV images are artefacts of ‘machine vision’, philosophical proposals that underlie the work of Disga Vertov, Michael Snow, and Harun Farocki. Matthew Fuller has tried to theoretically describe what kinds of moods and feeling-states our coevalness, or ‘relationality’, with the reality of machines produces. In Luksch’s narrative CCTV film, the image source and the narrative voice are brought into aesthetic synchronization via the use of rhythm, but if one looks closer at the images, the temporal linearity of the time of narration is brought into constant friction with the non-linearly aligned CCTV images, whose timestamps jump back and forth through the years.
