Private Project

Çås¢a∂ing €®r0r Win∂0ws

Çås¢a∂ing €®r0r Win∂0ws is a short film about love, connection, the future, death, and the afterlife. It is a kind of digital wake for the planet earth as hosted by a couple of Generation X chat bots, a séance that summons the spirit of human being long after our bodies have become worm food. It riffs off of the eulogetic adage “gone but not forgotten” from the perspective of the machines we pour our lives into everyday, as if future A.I.s lost in loops of synthetic memory about their human creators is enough to keep us alive. It is a slice of life style docudrama about the goings on of a typical 2021 computer desktop, the performers credited in order of “date modified”. It is about impersonation, imitation, replication, the deafening roar of a compressed echo, feedback jammed into a telephone speaker approaching the speed of sound…

Çås¢a∂ing €®r0r Win∂0ws inquires into personhood as understood through A.I.: that weird collection of quirks and imperfections that make humans identifiable as humans. We are obtuse and guarded. We don’t pay attention. We are deceptive. We are desperate. Our typing is crap. The history of A.I. is a history of human behaviour and embodiment: human beings attempting to replicate human doing, which is to say human action in relation to a world that shows up for us through our bodies. It playfully explores pieces of that history, all the while finding ways to portray the fleshy body as mediated by various types of digital and analogue technologies. I envision it as a film shot from the other side of the computer screen; the human form visible as glimmers of light refracted through panels of liquid-crystal display (LCD).

  • eryn tempest
    Director
    Å®†3ƒ@ç+ (2021), The Spine Folds Far Away (2020), And Everyone Was There (2018)
  • eryn tempest
    Writer
  • eryn tempest
    Producer
  • Project Type:
    Experimental, Short, Web / New Media
  • Genres:
    sci-fi, arthouse, avant-garde
  • Runtime:
    20 minutes
  • Completion Date:
    November 1, 2021
  • Production Budget:
    500 USD
  • Country of Origin:
    Canada
  • Shooting Format:
    digital
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • FAVAFEST
    Edmonton
    Canada
    May 14, 2022
    Most Outstanding Experimental Film
Director Biography - eryn tempest

eryn tempest is a multimedia artist/dancer/choreographer of settler descent currently splitting their time between amiskwaciwâskahikan (Edmonton) and Tiohtià:ke (Montréal). They are engaged in practices around softness, transformation, and disruption, encountering the body as the strange ineffable site where dreams coalesce into matter and where imagination takes form. As a performer they have worked with Mile Zero Dance, K.O Dance Project, Andrea Peña, Benoît Lachambre, Project Contrabête, Camille Lacelle-Wilsey, and Nien Tzu Weng. eryn’s work has been presented by Le Festival International du Film Sur L’Art (QC), Nextfest (AB), Expanse (AB), Vous Êtes Ici/You Are Here (QC), Tangente Danse (QC), Mile Zero Dance (AB), Dyscorpia (AB) and Shooting Gallery Performance Series (BC). They have danced in experimental films by choreographer/film maker Kaitlyn Ramsden as well as in music videos for Basia Bulat, Camille Delean, and Busty and the Bass. They have received support from Circuit-est, The Edmonton Arts Council, Le Conseil des arts et des lettres du Québec, as well as the Canada Council for the Arts. They were one of the artists in residence at Lorganisme (QC) as part of the Linterface digital residency program 2022. eryn is one third of the sun sets collective, an interdisciplinary research project that explores the real and the artificial through the phenomenon of the sunset.

Add Director Biography
Director Statement

Çås¢a∂ing €®r0r Win∂0ws (Ç€W) is a project about love, connection, the future, death, and the afterlife. It is a kind of digital wake for the planet earth as hosted by a couple of Generation X chat bots, a séance that summons the spirit of human being long after our bodies have become worm food. It riffs off of the eulogetic adage “gone but not forgotten” from the perspective of the machines we pour our lives into everyday, as if future A.I.s lost in loops of synthetic memory about their human creators is enough to keep us alive. It is a slice of life style docudrama about the goings on of a typical 2021 computer desktop, the performers credited in order of “date modified”. It is about impersonation, imitation, replication, the deafening roar of a compressed echo, feedback jammed into a telephone speaker approaching the speed of sound…

Ç€W inquires into personhood as understood through A.I.: that weird collection of quirks and imperfections that make humans identifiable as humans. We are obtuse and guarded. We don’t pay attention. We are deceptive. We are desperate. Our typing is crap. The history of A.I. is a history of human behaviour and embodiment: human beings attempting to replicate human doing, which is to say human action in relation to a world that shows up for us through our bodies. It playfully explores pieces of that history, all the while finding ways to portray the fleshy body as mediated by various types of digital and analogue technologies. I envision it as a film shot from the other side of the computer screen; the human form visible as glimmers of light refracted through panels of liquid-crystal display (LCD).