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tours Recomposing The Universe
Jackie Hatfield
In the critical histories of art, lists of artists have led to canons, in the twentieth century they were described as avant-gardes; pedigreed through the historians or curators processes of validation.

It may seem as though I have moved chronologically from the pure filmic '60's to the digital new millennium, listing a few artists in seven short paragraphs; a condensed book of experimental moving image. But the histories of experimental film and video are like labyrinths, and there would need to be volumes, or at least databases, to contain these narratives, and the multiple dialogues and philosophies of practice, let alone a place for the social histories, to give a sense of the shifting and overlapping stories that were and are its reality. Considering that the practical history is massive, and includes hitherto uncharted exploration across continents, my tour is a tiny snippet of a story of expanded cinema based around the LUX site. I haven't covered experiment with narrativity for example, which might have included discussion of artists on the site such as Sarah Pucill, Tanya Syed, and analysis of Jayne Parker's films; nor covered technological invention as central to innovation in expanded cinema. I have only described some of the innovators of expanded cinema relative to the LUX artists since this isn't the right context for a survey. To give an idea of how complex this might be, I'll end with a quote from the 'Futurists' describing their aspirations for a futurist cinema.

In their Futurist Cinema Manifesto September 11 1916 Marinetti, Corra, Settimeli, Ginna, Balla and Chiti wrote:

'Painting + sculptute + plastic dynamism + words-in-freedom + composed noises + architecture + synthetic theatre = Futurist cinema'

Jackie Hatfield
Jackie Hatfield is post-doctoral research fellow for the AHRC funded archive project REWIND: artists video from the '70s and '80s, University of Dundee.
Still from Swollen Stigma by Sarah Pucill, 1998
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