Inverting the language learning model hallucinatory methodology, we implement an interactive dialogue to coax out the machine's knowledge gaps, directing the temporal resistances in and around the filmed photographs. We intervene in 'ground truths' with our custom (human-written) inferences developed as text, soundscapes and resistant images, which interrogate the hallucinatory inferences of large language models. Our interventions symbolise resisting automation and disrupting renderings of spatial and temporal patterns that sustain the current planetary condition. 

The development method involves several overlapping and back-and-forth processes between analogue and digital, 2D and 3D, code and tools, image and text.

So to ensure coherent pieces and to render our concept clearly, we set some constraints for the process:

• One shot of the photographic frame
• Using immediate generative outputs
• Intuitive non-linear edits. Repetition as a mode of being.
• The wilder variable, a series of animations as human and inhuman resistance

1 Photograph.
Photography served as a powerful imperial technology. Settlers commissioned albums to capture vast, seemingly empty landscapes.

Nothing is as it seems: while the photographs show white subjects in a triumphalist mood, they also create a shadow of those silenced by white supremacy.

2 Re/script
The texts that appear at the bottom of the films write into the negative spaces of the image. Combined with sections of the archival photographs, this text is fed into several large language models (LLMs). The unedited assumptions output by these LLMs are then presented.

The text, as seen in the films and by the machine, holds a conflict. It both erases and repairs.

3 Hallucinate
The archive photograph combined with the texts, becomes a puzzle that the LLMs attempt to solve with pattern recognition, exposing how its ‘solutions’ are founded on historical racial logics of subjugation, erasure and expulsion.

The outputs are painted into compositions which become counterintuitive to western visual culture, drawing attention to what goes unseen.

4 Resist
Layered across the films are manual animations foregrounding the sensory poetics of landscapes, weather and bodily movements.

The animations reinscribe the image with emotions and human agency erased by colonial memory.

“And above all beware, my body and my soul too, beware of crossing your arms in the sterile attitude of the spectator, because life is not a spectacle, because a sea of sorrows is not a proscenium, because a man who screams is not a dancing bear. "Cahier d'un retour au pays natal (Notebook of a Return to the Native Land) Aimé Césaire, 1939

As a conceptual framing, we utilise the proscenium as a two-pronged concept.
1. A quote from Aime Cesaire's Notebook of a Return to the Native Land, significant to our expanding reading list.
2. Using the proscenium as a way of extending narrative within a fixed frame, adding a series of two and three-dimensional interacting layers of elements.

The animations were developed using motion capture and Unity, a game engine and filmmaking software.