Arie van Schutterhoef
from the Netherlands
Interview: 10 questions
1. Tell me something about your life and the educational background.
I am Dutch, born in 1957. Discovering electronic media at the end of the 1970’s, I started to
explore the potential of the mutual relationships between text/sound/image. It
has been my main pre-occupation to develop this ability and to use this. Important was to
understand how language works and from that point onwards the interest in sound and
image came and the need to know how to apply it.
2. When, how and why started you filming?
During the 1990’s an increase in attention for image lead to the collaboration with
the visual artist Clea Daiber, resulting in the creation of videos, which were shown
at several venues inside and outside the Netherlands. At the beginning of 2000 the step
was taken to do this independently.
3. What kind of subjects have your films?
Untill now: spiritual and structural aspects of alchemy in Nuctemeron 2000; possible higher-order development like occurring in multicellular organisms, as put forward by Valentin F. Turchinin in his evolutionary-cybernetic theory of Metasystem Transition of how higher levels of organization could occur. [Borealis
4. How do you develop your films, do you follow certain principles, styles etc?
I would formulate it, like a modern alchemist (probably) would do: With contemporary means it is possible to probe deep into matter (sound/image) and register the structure of it digitally. In this way it can be elevated from its own confines and through manipulation, open it up and move into another dimension of availability and structuring. Through the use of the neutral technique of digitilization, transformation has taken place, allowing to make the step from concrete to abstract. Of course on a practical level, this depends entirely on the used
materials and to what extent they will be used with music. But it works with a certain
narrative that is time-based, as music itself is time-based. The movement within this develops towards certain points according to this narrative. All elements used in pictorial se nse are created with computers and subsequently framed. Simillarly with the sounds used: they are synthesized.
5. Tell me something about the technical equipment you use.
Apple and Silicon Graphics Computers that work nicely together over a
6. What are the chances of new media for the genre film/video in general and you personally?
I have no idea. I don’t regard my work on terms of genre.
7. How do you finance your films?
8. Do you work individually as a video artist/film maker or do you work in
Both. Nuctmeron was a collaboration and Borealis Metallica made entirely
on my own.
if you have experience in both, what is the difference, what do you prefer?
Both have their qualities. In collaborations decisions taken tend to
speed up the work, also more hands make work more lightly. When you work on your own
it is harder and more time-consuming.
9. Who or what has a lasting influence on your film/video making?
Probably the Russian Constructivists and the Dutch Stijl-group (Mondriaan);
people like Andrei Tarkovski with his slow paced development and
contemporary classical music. I am also a composer of this kind of music. Being that
even beforeI started with video.
10. What are your future plans or dreams as a film/video maker?
Continuing to work.
Can works of yours viewed online besides on VideoChannel?
-ARSCHE.NET :_: new audio-video website-
New audio-video website online:
Extensive attention given to the electro-acoustic work ‘stalagmieten’
Besides that, there is also a new video-work online:
Lastly some thoughts about the (possible) way one can perceive time: