{
"size": [
960,
720
],
"fps": 24,
"shots": [
{
"clip": 12,
"in": 1.0,
"out": 7.6,
"gain": 12,
"why": "recognizable: a harbor from a plane, 1914. Grain and dust are already moving but it is still a place."
},
{
"clip": 12,
"in": 17.8,
"out": 25.7,
"gain": 12,
"why": "same reel. The white shoreline stays and everything else becomes mottling. Held long enough that the sea starts to read as emulsion: the apparent landscape is the carrier."
},
{
"clip": 212,
"in": 4.0,
"out": 11.0,
"gain": 0.9,
"why": "following that bright edge to a different film, 1966, where a black arc crosses a tidal flat. Its narrator's Suddenly the whole harbor of Valdez is sucked dry is kept: he is describing an event, the picture is also describing its own surface."
},
{
"clip": 26,
"in": 0.2,
"out": 6.4,
"gain": 0.5,
"why": "same film, a horse and machine pulled out of white. Whatever damaged it, nobody here is shown as having chosen it."
},
{
"clip": 38,
"in": 1.0,
"out": 13.0,
"gain": 0.55,
"why": "a recognizable scene comes back through a decayed surface: skaters in a park. The pulse on the track belongs to this source."
},
{
"clip": 3,
"in": 0.5,
"out": 8.0,
"gain": 20,
"fo": 0.8,
"why": "end on a blank interval, 1915, with its own recorded noise raised: flecks and hairs and no picture."
}
]
}