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240000 - 2015

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The title is a reference to the victims so far of the civil war in Syria. I searched the online media for this year's data (2015) until August, which of course only covers the number of dead, soldiers and civilians.

Another aspect of addressing is alienation. This is just a numerical figure that covers human victims, who were both individuals and individuals. The impersonal, data-transformed tragedies also reflect our European attitude, since events that are far away from us are not perceived as real problems, we do not feel their weight (or we alienate ourselves, believing that this may never affect our world). The further away something goes, the more uninteresting it becomes to us. This is confronted by footage shot at the East Railway Station at the end of the video, where refugees appear as living persons.

When making the video, I found it important to use almost only the materials found on the online interface. An exception to this is the beginning of the tram scene, which is a self-shot. I think the material on youtube is information uploaded to the internet user community that may or may not circulate. I do not find it justifiable to work from my own material. After all, if you think of electronic music, when a DJ makes a remix of a song, it becomes a work of his own. I also interpret my own work, and I view uploaded videos as a raw material that I use to make and customize my own visual culture and create a custom work. own recordings. However, I did not consider this to be justified, so I used the online media here, except for the tram-snitters I mentioned above. I meant this for contrast. There I show my immediate surroundings, the surroundings of my apartment. In this way, I show the relativity that distant events are not themselves bound to the scene.

As in the past, the war situation in Budapest may continue in the future. The potential of this is that even one of my own recordings once becomes documentary and can reach media channels, just like the materials I use. Most were not originally made for various media, just for documentation or for private recordings. Another means of displaying relativity is a notch in a peaceful Budapest environment and vice versa. The instant lightning of a tram in a war-torn environment.

My aim is not to point to the phenomenon of migration itself, but to its cause: the war. Migration is a consequence and I wanted to illustrate the cause. What we experience directly from events far from us is just a flood of people fleeing. I think the causes are neglected, with only distant, confusing images of what really happened. Through the media we get largely filtered information. The footage I use is video footage of combat missions, or footage of local civilians that authentically depicts what happened there.

At the end of my work, the refugees themselves become visible as victims and survivors whose fate is uncertain and subordinate to our values, our sense of responsibility, our humanity. I use the deconstructor tool in both the image and audio tracks. The arcs appearing in the cracked video with image errors appear when the individual events are linked together. As the video progresses, the distortions become more intense, and my goal is to alienate and increase the feeling of chaos.

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