A player writes a phrase on a piece of paper, covers part of it with a fold, then passes it on to the next player, who repeats the process, passing it on to another player. The final result is a surreal merge of the players collective imaginations, an Exquisite Corpse.
Initially exquisite corpses emerged as a playful game in the form of poems, and soon evolved into a continuous interchange between the poetic and the pictorial. The co-existing Dada attitude further provoked tensions between word and image, to free them from their ordinary usages.
Exquisite corpses have been roaming the internet for years..
Sometimes that loss can never be compensated. Sometimes, it inspires a unique poetic vision. Eupalinos Ugajin presents perspectives of virtual creativity, where sights, sounds, space, and emotion intertwine. Moving Islands is a wonderland, in film, about a wonderland in space. A project by Eupalinos Ugajin.
This is Awkward Potahto. He enjoys funny memes, but tends to overthink things, and usually realizes what he would have liked to say, after he realizes he didn’t quite say it. But in retrospect, he realizes everyone has their awkward moments.
Like a never-ending disappearing act, they flicker, switching appearance over and over again, depending on how we perceive them.
Scott Kim’s True/False ambigram is one illusion that plays with the viewer’s perception. While there is a constant conflict between literal meanings, visually, neither can exist without the other, eternally embedded within the same structure.
True is embedded within false. False always contains True. Metapictures thrive on such paradoxes.
If the illusion of these images depends on how we look at them, and the multistable shift of visual and verbal meanings occurs within our own minds, than maybe they are watching us too, watching us as we realize we are just as unstable and ever-shifting. And sometimes, we flicker.
The vast desert landscape of Kin Dza Dza! (1986) perfectly symbolizes what this film offers; a minimalistic presentation with a complexity of layers hidden beneath the surface. Absurdity, melancholy, and thoughtful symbolism come together in this unique work. Watch with English subtitles on Youtube:
W.J.T. Mitchell explores how images provoke their own self-analysis, creating a dialogue within the image itself. He calls this unique type of image “metapictures.” Metapictures refer to their own making, they are self-reflective as they attempt to understand themselves.
“Pictures reveal and know themselves, where they reflect on the intersections of visuality, language, and similitude, where they engage in speculation on their nature and history” -W.J.T Mitchell
Self-reflexivity thrives through self-nesting recursive structures, commonly related to “russian dolls,” where one element is nested within another layer of its same form. In other cases, to be self-reflexive is to draw in the viewer to question the structure of the image. In effect, our experiences as viewers often become an extension of that structure. Metapictures elicit a double vision between language and visual experience; they interrogate the authority of language over image. In René Magritte’s The Treachery of Images, the relationship between the visual and the verbal is inseparable; without acknowledging the visible element of the picture the text itself also disappears with it, denying it the ability to negate the image in the first place. The beauty of a metapicture is its unfaltering curiosity and playfulness towards perception.
“If I had written ‘this is a pipe’ under my picture, I would have been lying!”