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  2002 Unmovie (Wall-Image and Bubblecam) Philip Pocock with Gregor Stehle, Axel Heide, 1s and 0s, in Future Cinema exhibition, ZKM Karlsruhe.

"And the screen itself, even if it keeps a vertical position by
convention, no longer seems to refer to the human posture, like a window
or a painting, but rather constitutes a table of information, an opaque
surface on which are inscribed data, information replacing nature, and
the brain-city, the third eye, replacing the eyes of nature."

GILLES DELEUZE,

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2003 Unmovie (Fountain-Image) Philip Pocock with Gregor Stehle, Axel Heide, 1s and 0s, and Artchalking in From Time-Base to Database curated by Margit Rosen, Lotringer13, Munich.

The life of the afterlife of cinema depends on its internal struggle with informatics. It is necessary to set up against the latter the question which goes beyond it, that of its source and that of its addressee.

GILLES DELEUZE, Cinema II: Time-Image, 1989.

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2005 Unmovie (How to Make Your Corner Mandala) Philip Pocock with Gregor Stehle, Axel Heide, 1s and 0s, in Resites curated by Florian Wüst and Felix Stephan Huber, Oboro Gallery, Montreal.

Corner Mandala is a Silicon based space-exploration. Never-ending open to space a mandala is space as center based. The corner is the beginning of everything. At the beginning of virtual space-exploration.. everything, the past is in question and in the same time time is spacing itself for another moment of history.

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2003 Unmovie (Stand-In and Tincam) Philip Pocock with Gregor Stehle, Peter Scupelli, Axel Heide and 1s and 0s in Critical Conditions: Information Atmospheres and Event Scenes, curated by Timothy Druckrey, Wood Street Galleries, Pittsburgh, US.  

Rather than attempting to situate the discourse of media within evolutionary models, Unmovie (and its group of collaborators) abandons the surface in favor of the situation, abandons the narrative in favor of the event, abandons immersion in favor of the atmosphere.

TIMOTHY DRUCKREY

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2004 Unmovie (Open Tea House) Philip Pocock with Gregor Stele, Axel Heide, 1s and 0s, in Feelings Are Always Local exhibition, DEAF Dutch Electronic Art Festival, V2, Rotterdam.

From: gregor.stehle@web.de
To: philip.pocock@gmail.com
Date: Di, 16. Jul. 2002 23:10:47 Europe/Berlin
Subject: gregor/Unmovie/time

Time always does retain the form of leaving and coming, but we can understand that what we see is an illusion of time, of cause and effect, and in the moment we realize that, we have this present moment of Existence-Time, which is just Existence-Time itself.

The same we can say about the river/flood of thoughts, the eternal inner film, which goes freely from the present to the past, from the future to the present, from the past to the future, from the present to the present, from the future to the future and from the past to the past.

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2003 Unmovie (Two Tourists) Philip Pocock with Gregor Stehle, Axel Heide, 1s and 0s, in Future Cinema, IC Tokyo.

Between the subjective and the objective it seems we have little room for the trajective.
PAUL VIRILIO, Open Sky, 1999.

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2003 Unmovie (Stand-In and Tincam) Philip Pocock with Gregor Stehle, Peter Scupelli, Axel Heide and 1s and 0s in Critical Conditions: Information Atmospheres and Event Scenes, curated by Timothy Druckrey, Wood Street Galleries, Pittsburgh, US.  

What we have to develop is what sometimes appears under the slightly ridiculous name "interactivity." Of course we're never going to achieve some kind of symmetry or reciprocity. This mirage, that the addresse might reappropriate what reaches him, is a fantasy. This is no reason to abandon the addressee to passivity and not to militate for all forms of the right of response, right of selection, right of interception, right of intervention. A vast field is open here.

JACQUES DERRIDA, Topopolitics and Teletechnology, filmed interview with Bernard Stiegler, Echographies of Television, 2002.

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2003 Unmovie (Stand-In and Tincam) Philip Pocock with Gregor Stehle, Peter Scupelli, Axel Heide and 1s and 0s in Critical Conditions: Information Atmospheres and Event Scenes, curated by Timothy Druckrey, Wood Street Galleries, Pittsburgh, US.  

If a house is a living value, it must integrate an element of unreality. All values must remain vulnerable, and those that do not are dead."

GASTON BATCHELARD, The Poetics of Space, 1958.

This is, in fact, Hegel's definition of architecture: anything in a building that "did not point to utility."

BERNARD TSCHUMI, Space|Action|Movement, 1999.

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2001 H|U|M|B|O|T (A History of Grey & Mamcam) Philip Pocock with Gregor Stehle, Daniel Burckhardt, Others. St. Etienne, France.oration with Philip Pocock and others

<META - Abstract = h|u|m|b|o|t is a 5-year (1999 - 2004) choragraphic installation project connecting a loose menagerie of architects, artists, datatects, hackers and writers to intermittent data-as-art situations in equatorial America and ØtherWhere, taking the explorer and mapmaker Alexander von Humboldt's book Personal Narrative of a Journey to the Equinoctial Regions of the New Continent (1799 - 1804) as its topos.>.

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2001 H|U|M|B|O|T (Trilogy, The Thing about Plastic) Philip Pocock with Gregor Stehle, Daniel Burckhardt, various Others, in Solitude in the Museum, Staatsgalerie Stuttgart.

Space some space

Where is the place of being as space spacing the location of being space? Being space is a noon-location or a non-location in real space.

Material is used as in-between being as the body is here and nowhere, now. The truth about plastic is a poetic text about the plasticity of the truth as spacing time.