All things Eno raise technical questions that rabbit hole into labyrinths, this documentary about Eno raises another:
“Eno,” the portrait of Brian Eno that opened the Sundance Film Festival today, is a documentary that mirrors the spirit of Eno’s music in its very form.
The director, Gary Hustwit (“Helvetica”), created it with generative software that allows the film to play in a different version every time you see it.
Sections of it will land in a different order, and some won’t appear at all (replaced by others); the movie is reshuffled each time with an element of the random.
How random? Well, it’s not as if the generative AI determines the order of everything.
How does the director acheive a bespoke per iteration viewing in a dedicated theatre (there are a number of means).
Can this be reliably transferred to some "take home" experience that reliably captures the essence of what the director has done?
Is this just a markov chain of "shuffle" operations with transitions, can this be emulated with a .MKV file full of tracks and a modified player that can read embedded "next track" probabilities?
No Pussyfooting.
Can this be reliably transferred to some "take home" experience that reliably captures the essence of what the director has done?
Is this just a markov chain of "shuffle" operations with transitions, can this be emulated with a .MKV file full of tracks and a modified player that can read embedded "next track" probabilities?
No Pussyfooting.