Telly & Casper (2000) takes place in an early internet NYC, where affects were just beginning to circulate in the digital / social network way (pre-Facebook, pre-YouTube, etc.). The city was beginning to feel more like a website than a mise-en-scene, as data flowed and redistributed urban experience along lines of legal and real estate "development,” gaining speed and efficacy of control through increasingly precise technologies of collecting data streams. In Telly & Casper, the glitches this produced "in real life" are inputted into urban space and narratives: the Larry Clark/Harmony Korine film KIDS, treated as a cinematic data set, is thrown onto adolescent bodies attempting to become something in these emerging networks of control and redistribution. The genres of remake and appropriation loosen control, as references fail to move in linear, fixed paths, while also being increasingly recorded and re-posted. This is the opening both of the possibility of new subjectivities and the possibility of in-real-time control of consumers and vampires addicted to feedback loops. Telly & Casper offers a view into a transitional state, when the body was starting to “freak out” (and “shut down”) against the pressure of so much social data.
The Deleted Scene (2012), Okiishi's most recently completed video, is very much of the current moment of global data streams, fast downloads, YouTube art, and a dominance of financial capitalism built on ever-more sophisticated and dematerializing financial instruments. The particular “scene” of The Deleted Scene is the mobilizing of a volunteer army of bodies in tangential industries, such as creatives and hipsters, who are thought to bring vitality and viability to previously dead real and virtual spaces and networks. It is also a reflection on the desires of these bodies to "keep it real”: an action which acknowledges the impossibility of escaping the ever-hatching realms of instrumentalization—where even the term instrumentalization itself feels “profitable”—while also not producing the obedient smoothness required of distant financial products. The distance of cut-up data and capital investment begins to be carved out as a place of detour; but it is also not as clear-cut as this, as a YouTube clip of We're in the Money from Gold Diggers of 1933, http://www.youtube.com/watch?v=UJOjTNuuEVw, is flowed into this particular network and allowed to go “viral.” The Deleted Scene was produced in collaboration with, and shot in and around, the collectively run, self-organized cinema space, AP News, in Zurich.