What’s an Audiovisual Source Code?

Our memories are part of a living archive, we are constantly producing and re-interpreting images, in fact we are built with images. We feel the need of explaining ourselves through audiovisual contents.

A source code is the combination of text which enables a computer to execute a software item. Sharing the source code is the basis of free software. The Audiovisual Source Code sets out from the point of applying this idea to culture, to realize that every cultural issue is produced through different voices in relation to the context where it’s produced. Creativity is often represented as witchcraft in the Western World; The Audiovisual Source Code tries to erase this idea of the artist as an inventor and the Copyright laws that are supported by this idea, as well as the business models produced by the cultural industries. This format lets us rethink culture as an infinite palimpsest, art as a game between different people from different eras, remixing as a cultural system where these processes take place.

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Interviews with some of the participants during Remapping Europe

The encounter that took place in 16th ZEMOS98 Festival: Remapping Europe turned into a place where reflections about migration and its representation in media were pooled. We produced these series of interviews in the encounter down times, we would have liked to interview all of the participants, but the schedule set out the limit. Here it is a brief representation of what we shared during the encounter.

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Text about Magnetic Migration Music

This text was written, read and recorded by Zoë Irvine and it was used during her show in 16th ZEMOS98 Festival. She explains in it how she started Magnetic Migration Music and the nature of the project.

Magnetic Migration Music is a project I began in 1998. I had seen a piece of audio tape, broken out of its cassette, caught in the tree outside my window. Eventually I was curious enough to climb up and get it, clean it a little, re-spool it and listen to what was on it. It was a tiny, beaten up fragment of tutti-frutti by Little Richard. To me it seemed like something magical.

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An Explosive Encounter for Exploded Maps

Photo by Julio Albarrán (cc)

Is it possible to tear down borders and at the same time maintain them in our collective processes? Can we debate binary constructions even if we work within them? Can we remap Europe without dismantling each and every one of our own personal maps?

The ZEMOS98 festival is a kaleidoscope in which all the small pieces recombine to form different patterns with each tiny shift; it is an Escher drawing in which the coexistence of many different perspectives totally confuses the observer. It is a space of engagement: a snare that you fall into, forcing you to come face to face with yourself. Forcing you to move. It is a maze of readings in which there are no boundaries between inside and outside, between signifier and signified, between the narrator, the narrative and narrated, in which we all create and are created at the same time. It is an encounter that revolves around borders and blows them to smithereens, here and now, with an explosive methodology for exploded maps.

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The Second Day Of The Encounter

Photo by Julio Albarrán (cc)

It’s the second day of the encounter. The faces are much more familiar, the ’’rules of the joke’’ are much more known. Our topic is The Domestic is Political .
The Domestic is Political issue has been focussed on from Polish Partner of Remapping Europe Project, Association of Creative Iniatives ’’e’’. All the chapters of the project book take referance a media incident, and they revealed the chat of two futboll speaker about their housekeepers, reflecting their sexist and discriminatory mentality.

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