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"The Cut Ups," (1966) William S. Burroughs

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"The Cut Ups," (1966) William S. Burroughs

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"The Cut Ups," (1966) William S. Burroughs

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Entrevista a William S. Burroughs  conduzida por John Walters  para o programa ''Walters Week''. Broadcast 11.11.1982.

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Entrevista a William S. Burroughs  conduzida por John Walters  para o programa ''Walters Week''. Broadcast 11.11.1982.

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William S. Burroughs on his Cut-Up Method of Writing

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No documentário "Cracked Actor" da BBC, David Bowie descreve a importância de usar o método do cut-up na criação das letras das suas músicas.

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No documentário "Cracked Actor" da BBC, David Bowie descreve a importância de usar o método do cut-up na criação das letras das suas músicas.

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How David Bowie used 'cut ups' to create lyrics - BBC News

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Lenka Clayton – Qaeda Quality Question Quickly Quickly Quiet , 2004.

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Lenka Clayton – Qaeda Quality Question Quickly Quickly Quiet , 2004.

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Uma versão alfabética do discurso do Presidente Bush sobre o Estado da União em 2001.

O conceito de Lenka Clayton era simples: pegar nas 4.100 palavras do infame discurso "Eixo do Mal" de George W. Bush e juntá-las por ordem alfabética. O resultado é poderoso: um retrato hipnotizante da postura, retórica e obsessões que dominaram a política americana no rescaldo do 11 de setembro. (https://lux.org.uk/work/qaeda-quality-question-quickly-quickly-quiet/)

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Lenka Clayton – Qaeda Quality Question Quickly Quickly Quiet (Vinyl, 2004)

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Cassetteboy - Cameron's Conference Rap, 2014

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Cassetteboy - Cameron's Conference Rap, 2014

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O mash-up de dois minutos junta excertos de cinco anos de discursos de David Cameron nas conferências num rap perfeito ao som de "Lose Yourself" de Eminem. Graças à edição em fracções de segundo, o Primeiro-Ministro é manipulado para dizer rimas como: "Temos a coragem/ Para trazer de volta a escravatura". Ou "Sou da pesada e sei o que está em jogo/ Tenho nojo dos pobres/ E os meus amigos importam mais".

É feito com mestria, muito inteligente e hilariante da forma que só um Etonian a dizer "So let the beat drop" consegue ser. Cassetteboy carregou o vídeo na passada quarta-feira, logo após Cameron ter descido do pódio. Desde então, já foi visto mais de 3,5 milhões de vezes no YouTube. Em contrapartida, o verdadeiro discurso de Cameron teve apenas 44 mil visualizações no canal do Partido Conservador. É um espetáculo e tanto. (https://www.independent.co.uk/arts-entertainment/comedy/features/cassetteboy-interview-how-i-upstaged-the-prime-minister-with-cameron-s-conference-rap-9784916.html)

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People Like Us Vicky Bennett Live Excerpts 2

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People Like Us Vicky Bennett Live Excerpts 2

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Os conjuntos audiovisuais de Bennett sugerem uma relação epistemológica entre o artista, uma linguagem visual autoconsciente e autorreferencial (colagem/montagem), imagens de arquivo (texto original/narrativa genérica) e o espetador ativo. (https://dandelionjournal.org/article/id/223/)

Através da colagem, tanto o artista como o espetador podem ser criativos na forma como percepcionam o que se está a passar, e não é importante liderar o caminho, com uma narrativa, e de facto é impossível fazê-lo com found footage; o espetador já entra nas suas memórias pessoais de um filme específico que citei, utilizando as limitações do conteúdo original. (Vicki Bennett em entrevista, disponível em https://dandelionjournal.org/article/id/223/)

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People Like Us Vicky Bennett Live Excerpts 2

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Lana Del Rey - Video Games

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Lana Del Rey - Video Games (Official Music Video)

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Lana Del Rey fala sobre o making of do videoclipe para a música "Video Games".

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Lana Del Rey fala sobre o making of do videoclipe para a música "Video Games".

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Lana Del Rey talks about the making of the video for Video Games

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Dirigido por Gus Van Sant e escrito por William S. Burroughs.

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Dirigido por Gus Van Sant e escrito por William S. Burroughs.

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"A Thanksgiving Prayer" reflecte o desejo de Burroughs de criticar a natureza superficial do Dia de Ação de Graças e aprofundar as questões subjacentes à desigualdade e à injustiça. Burroughs desafia a narrativa tradicional do Dia de Ação de Graças, lançando luz sobre as disparidades e injustiças que muitas vezes passam despercebidas durante a época festiva. Questiona a natureza superficial das celebrações e incita os ouvintes a confrontarem-se com as injustiças e as desigualdades.

Esta música evoca uma série de emoções, incluindo raiva, frustração e contemplação. A voz poderosa de Burroughs e as palavras instigantes provocam uma sensação de inquietação no ouvinte, obrigando-o a examinar o seu próprio papel na sociedade e a considerar as implicações maiores das suas acções. ( The Meaning Behind The Song: A Thanksgiving Prayer by William S. Burroughs₎

Poema:

"For John Dillinger and hope he is still alive
Thanksgiving Day, November Twenty-eighth, 1986

Thanks for the wild turkey and the passenger pigeons
Destined to be shit out through wholesome American guts

Thanks for a continent to despoil and poison

Thanks for Indians to provide a modicum
Of challenge and danger

Thanks for vast herds of bison to kill and skin
Leaving the carcasses to rot

Thanks for bounties on wolves and coyotes

Thanks for the American dream
To vulgarize and to falsify until the bare lies shine through

Thanks for the KKK
For nigger-killing lawmen feeling their notches

For decent church-going women with their mean, pinched, bitter, evil faces

Thanks for "Kill a Queer for Christ" stickers
Thanks for laboratory AIDS

Thanks for Prohibition
And the war against drugs

Thanks for a country where nobody's allowed to mind their own business
Thanks for a nation of finks

Yes
Thanks for all the memories, all right let's see your arms!
You always were a headache and you always were a bore

Thanks for the last and greatest betrayal
Of the last and greatest of human dreams."

Tradução:

Obrigado pelo peru selvagem e pelos pombos-correio, destinados a serem cagados pelas entranhas americanas saudáveis

obrigado por um Continente para despojar e envenenar -

obrigado pelos índios, que proporcionam um mínimo de desafio e perigo

obrigado por vastas manadas de bisontes para matar e esfolar, deixando a carcaça a apodrecer

obrigado pelas recompensas aos lobos e coiotes

obrigado pelo SONHO AMERICANO, para vulgarizar e falsificar até que as mentiras transpareçam

obrigado pelo KKK, pelos homens da lei assassinos de pretos que sentem os seus entalhes, pelas mulheres decentes que vão à igreja com os seus rostos maus, apertados, amargos e malvados

obrigado pelos autocolantes "Matar um maricas por Cristo" -

obrigado pelo laboratório da SIDA

obrigado pela proibição e pela guerra contra a droga

obrigado por um país onde ninguém pode meter-se na sua vida

obrigado por uma nação de fuínhas - sim, obrigado por todas as recordações... muito bem, vamos ver os teus braços... sempre foste uma dor de cabeça e sempre foste um chato

obrigado pela última e maior traição do último e maior dos sonhos humanos.

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William S. Burroughs - A Thanksgiving Prayer

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William Burroughs explica como ele e Brion Gysin começaram a experimentar com a técnica do cut-up.

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William Burroughs explica como ele e Brion Gysin começaram a experimentar com a técnica do cut-up.

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“Film ist.” (...) traz gravações de materiais científicos e educativos através do gênero “Found Footage”. Esse gênero de filme adota um recurso narrativo onde parece que não houve intervenção de roteiro ou direção. Como se as imagens tivessem sido produzidas de maneira caseira, através de uma câmera comum ou de webcam, aproximando-se de um formato de documentário. O Found Footage se popularizou na década de 1980, período em que Gustav Deutsch iniciou a sua produção de filmes. Ele afirma: “Não estou interessado no conteúdo desses filmes científicos. Estou interessado no significado que é dado através da imagem. Eu queria detectar a poesia e o poder das imagens, de forma direta e racional." (https://centroaustriaco.com/2023/12/15/film-ist-de-gustav-deutsch/)

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By CTS Ryan
The cut-up method is best-known as a literary technique in which a written text is cut up and rearranged to create a new text.

Pictured: William Burroughs rearranging text cut-ups, 1983

What is the cut up technique?

In the article 'The Cut-Up Method of Brion Gysin' (1961 / 1978), author William Burroughs explains how to cut-up a text:

"The method is simple. Here is one way to do it. Take a page. Like this page. Now cut down the middle and cross the middle.

"You have four sections: 1 2 3 4 . . . one two three four.

"Now rearrange the sections placing section four with section one and section two with section three. And you have a new page. Sometimes it says much the same thing. Sometimes something quite different-cutting up political speeches is an interesting exercise-in any case you will find that it says something and something quite definite."

The "origin story"

It's said that, in the 1950s, the artist Brion Gysin was using layers of newspapers as a mat to protect a tabletop from being scratched while he cut other papers with a razor blade.

Gysin: "... I had a number of sheets of newspaper, and I took a Stanley blade and cut through them, and little bits and pieces looked so amusing to me that I started jiggling them around as one would in a collage." Gysin had accidentally rediscovered the cut-up method, a technique that can be traced back to at least the Dadaists of the 1920s.

Gysin then introduced his friend, the author William Burroughs to the technique at the Beat Hotel.

History of the cut-up technique

Most histories of the cut-up technique tend to focus on its emergence from the arts. For example, William Burroughs mentions surrealism in the "The Cut Up Method" (1963):

"At a surrealist rally in the 1920's Tristan Tzara the man from nowhere proposed to create a poem on the spot by pulling words out of a hat. A riot ensued wrecked the theatre. Andre Breton expelled Tristan Tzara from the movement and grounded the cut ups on the Freudian couch."

Writer Austin Kleon tracked cut-up ideas back to 1883, and Lewis Carroll's ""Poeta Fit, Non Nascitur" (a reversal of the Latin adage, poeta nascitur non fit, or, "a poet is born, not made")":

"For first you write a sentence,
And then you chop it small;
Then mix the bits, and sort them out
Just as they chance to fall:
The order of the phrases makes
No difference at all."

But: There is another history of the cut-up technique waiting to be written; one that explores how it also emerged from advances in information technology. Burroughs' grandfather, William Seward Burroughs, famously perfected the adding machine - a machine for calculations that previously were completed manually.

Pictured: Burroughs adding and listing machine, 1912

The adding machine is one of the important late 19th Century information technology inventions, alongside the telephone and the filing cabinet.

Craig Robertson, associate professor of media and communication studies, argues that ordering paper at the document level and storing it in a filing cabinet changed our relationship to information, that people came to envision information itself as a discrete thing, "Information, grasped as individual pieces of paper, became malleable, both in its physical shape and its contents."

Robertson locates the filing cabinet in the rise of scientific management, the logic of bureaucracy.

"...and what I have come to call granular certainty, or the drive to break more and more of life and its everyday routines into discrete, observable, and manageable parts."

Joanna Grisinger, writing about Robertson's ideas: "Robertson focuses on how the specific mechanics of the file storage process-office workers collecting loose documents in a file folder, securely storing the folder in a vertical cabinet, and later quickly finding that folder among dozens or hundreds of other ones-contributed not just to business efficiency but also to a conception of "information" as many discrete units rather than as a body of knowledge."

In more recent history, it's William Burroughs who's now commonly associated with the cut-up technique. Burroughs used it to write a number of critically acclaimed novels, and talked about the process to the media.

Curator Laura Hoptman: "Burroughs tried his entire life to tell people that Gysin invented the cut-up, but because Burroughs ran with the idea, producing numerous novels, he is the one credited. It's important to think of Gysin as an idea generator above all."

When Burroughs encouraged Gysin to further develop the technique, Hoptman says Gysin dismissed his friend's suggestions because he was more interested in his next venture, his Dream Machine kinetic sculpture.

Examples of cut ups

'First Cut-Ups,' 'Minutes to Go,' and 'Cut Me Up Brion Gysin' were among Gysin's first experiments with the cut-up technique of writing.

Burroughs wrote in 'The Cut-Up Method of Brion Gysin':
"In the summer of 1959 Brion Gysin painter and writer cut newspaper articles into sections and rearranged the sections at random. Minutes to Go resulted from this initial cut-up experiment. Minutes to Go contains unedited unchanged cut ups emerging as quite coherent and meaningful prose."

Pictured: An extract from Minutes To Go

Burroughs went on to create a number of experimental novels that drew on text revealed by the cut-up method. His Nova Trilogy (or The Cut-up Trilogy) books are: The Soft Machine (1961), The Ticket That Exploded (1962) and Nova Express (1964).

In 1977, Burroughs and Gysin published The Third Mind, a collection of cut-up writings and essays on the form.

Pictured: A page from The Third Mind book of cut ups

Pictured: Cut-Ups Self-Explained from The Third Mind book 1978

Cutting up the movies

As well as printed media, Gysin and Burroughs also applied the technique to audio and film recordings.

The short film, The Cut-Ups opened in London in 1967. It features cut up footage of Burroughs and Gysin. Cinematography by Antony Balch, screenplay by Burroughs.

When the film first premiered, reportedly, members of the audience said it made them feel ill.

The film is non-linear. But many would describe it as deranged. When narrative is absent, the viewer has to create their own structure. The power of Burroughs and Gysin's cut up works are entangled with their cut-up lives, and the myths of their cut-up lives. It's said they were using a lot of drugs. Cut-up people producing cut-up artefacts.

Why did Burroughs and Gysin use cut ups?

Reasons include:

Insight. In 1950s United States, the media industry, as now, often normalised consumerism and encouraged conformity. Cut ups offered a way in, a method Gysin and Burroughs could use to examine the mass media and the social norms it promoted.

Innovation. In "The Cut-Up Method of Brion Gysin", Burroughs explains:
"The cut-up method brings to writers the collage, which has been used by painters for fifty years. And used by the moving and still camera. In fact all street shots from movie or still cameras are by the unpredictable factors of passers by and juxtaposition cut-ups. And photographers will tell you that often their best shots are accidents . . . writers will tell you the same. The best writing seems to be done almost by accident but writers until the cut-up method was made explicit- all writing is in fact cut ups."

Spontaneity. Burroughs: "You can not will spontaneity. But you can introduce the unpredictable spontaneous factor with a pair of scissors."

Their belief in a magickal universe.

Divination. Burroughs also suggested cut-ups may be effective as a form of divination saying, "When you cut into the present the future leaks out."
"When you experiment with Cut-Ups over a period of time you find that some of the Cut-Ups in re-arranged texts seemed to refer to future events. I cut-up an article written by John-Paul Getty and got, "It's a bad thing to sue your own father." This was a re-arrangement and wasn't in the original text, and a year later, one of his sons did sue him."Another example. Some say William Burroughs predicted social media in his 1961 cut-up novel The Soft Machine:"Posted everywhere on street corners the idiot irresponsibles twitter supersonic approval, repeating slogans, giggling, dancing..."

Why are cut-ups still being talked about?

Reasons include:

Their history. The lure of the counter-culture.

Celebrity connections. The cut-up method has been adopted by celebrated musicians such as David Bowie when creating lyrics.
David Bowie: "What I've used it for more than anything else is igniting anything that might be in my imagination. And you can often come up with very interesting attitudes to look into."
Musician Iggy Pop, from the Burroughs 101 radio documentary: "How different is the cut up method really from what they used to call the magic eight ball? Do you know what that is? Or a Ouija board. It's a Ouija board for art people, is what it is. Language is a virus. Language is a virus. Virus is a language human scummery control is a virus."

Acknowledgment by academia. The cut up is seen as worthy of study.

Corporate endorsement. The cut-up has received some mainstream recognition as a brainstorming technique in the "creative industries", although its history is often overlooked.

They still resonate. They mean something, and / or still intrigue many people.

And... why do cut-ups still resonate?

Reasons include:

They're entertaining. The idea of hidden meaning being revealed appeals to many.

The promise of epiphany. Us humans love a moment of sudden revelation, to see the world anew.

Prescience. The cut up can be interpreted as a response to the early tremors of the digital media earthquake. When Burroughs and Gysin were cutting up the early '60s, information technologist Ted Nelson was developing early models of hypertext systems that used links and nonsequential writing, reconfiguring traditional information formats."Art as radar acts as an 'early alarm system,' as it were," wrote Marshall McLuhan in 'Understanding Media', "enabling us to discover social and psychic targets in lots of time to prepare to cope with them."

We recognise them in digital media. They can be seen as a visualisation of the remixing and re-presentation of information that's now common in digital media, especially the web.

Pictured: Brion Gysin "inventor" of the modern cut up, being cut-up by Twitter

The method is easy to access, yet can route-around hierarchy and authority, rather like the Web.
Gysin: "Writing is fifty years behind painting. I propose to apply the painters' techniques to writing; things as simple and immediate as collage or montage. Cut right through the pages of any book or newsprint... lengthwise, for example, and shuffle the columns of text. Put them together at hazard and read the newly constituted message.
"Do it for yourself. Use any system which suggests itself to you. Take your own words or the words said to be "the very own words" of anyone else living or dead. You'll soon see that words don't belong to anyone. Words have a vitality of their own and you or anybody else can make them gush into action."

Because they're all around us. On our screens and on the street, in our heads and at our feet.
Burroughs talking to John Walters in 1982: "these juxtapositions between what you're thinking if you're walking down the street and what you see, that is exactly what I was introducing.
"You see, life is a cut up. Every time you walk down the street or look out of the window your consciousness is cut by random factors and then you begin to realise that they are not so random, that this is saying something to you."

Cut up technique generators: try it for yourself

It's no longer necessary to cut up pieces of paper to experiment with the cut up technique.
There are a number of websites and tools that offer text manipulation functionality. For example:

John Walters interviews William Burroughs. BBC Radio 1. Broadcast: 11 / 11 / 1982.

The Prophetic Legacy of Brion Gysin

The Cut Up Method

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Modern Art Exhibition at Avada Galerie By CTS Ryan The cut-up method is best-known as a literary technique in which a written text is cut up and rearranged to create a new text. Pictured: William Burroughs rearranging text cut-ups, 1983 What is the cut up technique?

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What is the Cut-Up Method? - Artigo BBC, 2015

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What is the Cut-Up Method? - Artigo BBC, 2015

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Generations of writers, artists and comedians have made new works by mashing together old works. It can be a beautiful thing, writes Ken Hollings.

I can still recall the strange thrill I felt as a teenager coming across a paperback copy of William Burroughs's The Soft Machine hidden amongst the comic books and men's magazines in a corner shop spinner.

This was nothing, however, compared with the excitement of encountering in its pages not a novel but a vivid literary hallucination, shocking and confrontational in its approach to language. Words had been edited into weird new juxtapositions - sentences, paragraphs and whole pages cut up into flickering images.

As an experimental technique, the cut-up method as applied by William Burroughs in his work from the late 1950s onwards, already had a rich history. In fact, art in the age of mechanical reproduction would have been unthinkable without it.

The cutting together of pre-existing material into radical juxtapositions closely followed the development of a mass culture that had been busily recording itself in photography, newsprint, sound and moving pictures since the start of the 20th Century.

In 1920, Tristan Tzara, one of the Dadaist movement's founders, published a short poem that advised the reader to cut out the words from a newspaper article and pull them at random from a bag - the result would make you "a writer of infinite originality and charming sensibility".

Photography and print contributed to the political photomontages of John Heartfield and Hannah Hoch, both of whom were involved in Berlin Dada. The biting satire of their imagery, by turns raw, aggressive and sophisticated, gave hints of what was to come.

Cut to: English artist Brion Gysin in his room at the notorious Beat Hotel in Paris cutting picture mounts atop a pile of old newspapers. Along the axis of each cut, the layers of sliced text formed themselves into sequences of randomly juxtaposed words whose jumbled meaning had him laughing out loud.

Busily lashing together his breakthrough novel Naked Lunch in the room below, William Burroughs realised the potential of Gysin's discovery. Applying the cut-up method to his own typescripts, he produced novels that threw meaning back upon itself, scrambling the habitual organisation of words and images. The cut-up became a more violent expression of the editing process - a breakthrough that looked forward to the point at which text, sound and image are no longer separated from each other.

During the 1960s, thanks to the electronic revolution in mass communications, this happened at an accelerating pace. Burroughs and Gysin, together with an early computer and sound recording expert Ian Sommerville, experimented with how tape recorders and cameras can recombine words and images.

One outcome was The Third Mind, a collection of essays and collages dealing with the practical applications of the cut-up to cultural and political change. Another was Cut Ups, an experimental short film made in 1966 by Burroughs and Gysin in collaboration with director Antony Balch who ran a couple of "adults-only" cinemas in London.

The soundtrack comprises a small selection of recorded phrases, read by Burroughs and Gysin and repeated in different combinations, while the actual footage has been chopped into a random sequence of actions and scenes. According to Gysin, one cinema in Oxford Street stopped showing Cut Ups because so many customers were leaving their belongings behind in their haste to walk out.

Around the same time that Cut Ups opened, Burroughs wrote of hearing a tape of cut-up news broadcasts called The Drunken Newscaster and "laughing until I fell out of a chair". With a little patience and a lot of practice it was possible to rearrange the words of a broadcast media item to convey a completely different message from the one intended.

Editing techniques could involve either splicing magnetic tape with a razor blade or using the pause button on a machine to create a smooth transition from one word to another, thereby making people say whatever you wanted them to. "Reagan Speaks for Himself", assembled in the early 1980s by Doug Kahn from interviews given by the then president of the US, gives the impression of a Hollywood actor struggling with a script.

Easy access to twin cassette decks and home computers in the late 1980s meant that the reworking of words, sounds and images was open to anyone. Artists such as Vicky Bennett (aka People Like Us) in the UK and Negativland in the US became adept at altering films, phone-ins and talk shows to offer surprising readings of media events.

Meanwhile, British satirists Armando Iannucci and Chris Morris helped reorganise how people consumed broadcast news with groundbreaking shows like On The Hour, which offered biting parodies of current affairs coverage, and Blue Jam, a nightmare of the small hours seemingly intent upon unravelling the entire fabric of radio culture.

The cut-up's more deliberately comic applications have brought the method to a far wider audience than the earlier, more random experiments of the literary avant-garde.

At the same time the proliferation of digital platforms has narrowed the divide between the two. The video cut-ups of artist Lenka Clayton and media satirist Cassetteboy make use of different processes but share the same unsettling effect.

Clayton took every word of George W Bush's 2002 State of the Union address and rearranged them into strict alphabetical order. Her resultant film, Qaeda, Quality, Question, Quickly, Quickly, Quiet, plays dispassionately with the statistical frequency of certain terms, such as "America" and "terrorism", in what has become known as Bush's "Axis of Evil" speech.

Meanwhile Cassetteboy has trawled through transcripts of David Cameron's speeches at Conservative party conferences to transform his speeches into a foul-mouthed gangsta rap. Both films represent remarkable technical achievements while at the same time reducing our leading politicians to the status of yammering ventriloquist dummies.

Society, from the Dadaists onwards, seems to get the cut-ups it deserves.

William S Burroughs 1914-1997

US author, born in Kansas City, whose novels include The Naked Lunch, Junkie and The Soft Machine

His works are experimental in technique, and draw on his life as a long-term heroin addict and the accidental killing of his wife in 1951

Closely associated with the Beat movement, he was friends with Jack Kerouac and Allen Ginsberg

Cutting Up The Cut-Up is presented by Ken Hollings on BBC Radio 4 at 11:30 BST on 25 June - or catch up on BBC iPlayer

Subscribe to the BBC News Magazine's email newsletter to get articles sent to your inbox.

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Generations of writers, artists and comedians have made new works by mashing together old works.

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Marta Lopes is a member of Vimeo, the home for high quality videos and the people who love them.

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O realizador do vídeo, Doug Spangenberg, retrata o ciclo de vida dos peixes através de vários clips de documentários sobre a natureza e reportagens .

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A realizadora israelita Alma Har'el comprou no eBay caixas de filmagens caseiras em super-8 de várias famílias dos Estados Unidos para fazer o vídeo de Beirut e completou o resto do conteúdo com imagens gratuitas de Zach Condon a passear pela Califórnia a apanhar maçãs para a namorada.

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Beirut - Postcards From Italy (Official Video)

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Em "Testify", Michael Moore, em colaboração com Rage Against the Machine, misturou clips dos então candidatos às presidenciais George W. Bush e Al Gore

com imagens de bombas nucleares, plataformas petrolíferas, criação de gado e pobreza infantil, como uma crítica às políticas norte-americanas.

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Rage Against The Machine - Testify (Official HD Video)

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Um exemplo incrível de como as imagens encontradas podem ser distorcidas para criar outras narrativas. O realizador Carl Burgess utilizou apenas material de arquivo da agência de meios de comunicação Getty para este vídeo, juntando as bobinas dos actores de modo a criar uma compilação de imagens que juntas tanto podem ser interpretadas como cómicas como absurdas, sem nexo, bizarras...como um exemplo de uma "drug trip".

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Found footage: entre procedimento, gênero e apropriação

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Este é mais um exemplo de video utilizando a técnica de Cut-up, utilizando a imaginação e criatividade. Percebemos que podemos obter diversos resultados, e este foi um dos que mais gostei.

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https://www.youtube.com/watch?v=9SznhBp9X1E