This work consists of a video processing algorithm that reorganizes video files in time (frames) and color/space (pixels). While I consider the actual piece to be the code itself (written in python and OpenCV), the exhibited work is a processed feature film in original duration where the color and time axes have swapped places.

Building upon the works of Jason Salavon (The Top Grossing Film of All Time, 2000) and Susan Collins (i.e. Fenlandia, Glenlandia, Seascape, 2004–), the work suggests an alternative way of viewing digital video which disempowers narrative in favor of showing the characteristics of the media itself.

Like the mentioned works, A frame for a pixel exposes individual pixels in a way not commonly perceived. Indeed, one could argue that compression with macroblocks (mentioned above) in particular disallows this form of representation. What distinguishes my work from my forerunners is that I preserve the temporal aspect of the input material and, to put it simple, that it moves.

A frame for a pixel, a pixel for a frame, version for Shiraz


The Top Grossing Film of All Time, Jason Salavon, 2000


Folkestone, Susan Collins, 2009