I would like to introduce to the audience the author, artist, and film director of the project “Lost Correspondence”, Tóchi uc LLC — a project that includes: – the series “Syllabus”, November 2023, Kyiv — specifically, a fragment of performative media filmed in 2022, through which Tóchi is now announcing her debut as a director of a short immersive film.
We would also like to introduce C. Titova, a nominated director and cinematographer who has focused for several years on the means of documentary film and has been taking part in the above mentioned project.
Thus, through explicative fragmentation and descriptive structuring, we emphasize the current series “Tabby”, which will take place this October in Kyiv at the Soviart Gallery. And the current series “Rabby”, which will open to the public on the same date at Ra Gallery ― explicitly there are ongoing parallel series, in which Tóchi works in a remote space.
On examining the different media and altering the means by pursuing the mutual purpose trigger, that involved both of you to start everything from always breaking point, that has occurred in sequence of Tochi’s series unpredictably revealing and Sia’s documentary proceeding refilling. Am I correct in assuming?
Your collaboration has lasted time…Prefacing the script we observe the triple looping framing: executional, performing and ontological. Within the series Syllabus, Rabbet, Tabby, Hyf – there is a particularity of searching the indiguity unfolded by talking the syntax. How paradox is turning not to be an error but the method? In the above mentioned series there is the content comprising the objective items fragmented by dissection are polarized toward an absent direct denotation, is it a predictable break of presupposition?
Tóchi uc LLC: My greetings, friends, in each of the series we read material of comparative semantic–lexical and syntactic analysis. Formally speaking, we clarify an epistemological determination through the articulation.
The existential components of the project’s objective content include: installations, immersive short films, and a series of figurative graphics characterized by selection and implementation through lithography in collaboration with V. Lehkyi; as well as the involvement of figurative abstract, animalistic series adapted for animation — reflective of the work done in the Chernobyl exclusion zone in 2022.
In short, rather volumetric work of chronological and reflective research of concept and semiotic theory of process within the syntax and the interpretation of compilational argument, where direct denotation is absent…
Is this a predictable violation of presupposition?
Tóchi uc LLC: Yes, greetings, friends. The intentional index has become an amphibolic revelation of the condition of the exterior component, affirming the open structure and composition as a means of revealing the syntactic and semantic-logical meaning as an axiomatic function of recursively inductive order — in the context of the problem of isomorphism, propositional formal logic, and the syllabic order within derivation and predicate valency calculation.
Literally, the focused fragment ceases to be an object that has the right to be called a thing in itself and becomes an action — the referent identifies the predicate, reveals its role; inference becomes an actant clarification of the addressee and a search for communicative distinction of substantial and syllogistic order.
The incorporated role affirms the parameter as a means of determinacy: transitive and inferential, denotative and connotative… and the position through means of conjunction and inverse conjunction, disjunction and inverse disjunction, implication and reverse implication.
Discreteness, through implicative and inversional indices, does not negate but, by transitivity, forms the propositional component, inferentially transformed into categorial meaning through the discovery of the sentential connection, by means of identification and paralogism.
Tautologically: reduction, disposition – as means of derivation… .parcelation, and gradation, – as means of valency… Returning to that which contradicts — yet upon which the synthetic a priori is founded.
Journalist: On trying to template the question with the frames of your mutual work on immersive short movies, in context of the above mentioned looping: editing, performing, percussion. Were you confident, consciously determined in the sequence of shots or recorded background fragmentally connotated that loses its denotative role with breaking hidden predicate aligning the scene to be abraced?
Sia: The practical effect of the objective focus makes assumption presupposed, this existential context finds its shape above the scenery but time and space signature linking. Literally the camera does not catch or fix, it makes questioning tracking. And the falsifying shot erases its verification by not affirming but transiting the position with its actant role of the referent.
The shot enables its evaluation by categorial inferential disposition, withholding the character to improvise and the audience invited to reconstruct the meaning. Following my colleague’s words, the shot is the axiom that turns to be constant, the light rhythm is the syntagma that turns to be lexeme…
Miami
