(via Paris Review – White Noir, Jane Yager)
A man with a briefcase arrives in a place called City-A looking like a double agent from 1973: mustachioed and trenchcoated, forever ducking into phone booths for cryptic conversations. The man, Mr. Holz, is a geophysicist of unknown origin. He has come here to work for the New Method Oil Well Cementing Company. City-A is mesmerizingly bleak, a grid of concrete high-rises set between a brackish sea and a wintry industrial wasteland, all of it reeking of environmental contamination and failed utopia. Many things, Holz notices, are amiss here. Clocks don’t run sixty seconds to the minute in City-A. The drinking water is spiked with lithium, a shadowy entity has confiscated his passport, language is rationed, and what exactly is this New Method Oil Well Cementing Company, anyway? As the bewildered-looking Holz moves through the city, is he piecing together clues to solve these mysteries or just being shuttled around by a powerful unseen force?
This, roughly, is the storyline of whiteonwhite:algorithmicnoir, the new film by Eve Sussman and the Rufus Corporation. But because this noir is, as the title promises, algorithmic, the film has no beginning, middle, or end. At each screening, a computer program live-edits a movie out of more than three thousand film clips, eighty voice-overs, and 150 pieces of music. Each of these movable parts is marked with loosely content-related tags (“horizon,” “anxiety,” “white”), and the computer fits the pieces together according to an algorithm that matches tags. Sussman calls this apparatus the “serendipity machine.” Containing more than thirty hours of material, the movie never comes together the same way twice, and it never loops. A small screen to the side runs the metadata of the algorithm while the film plays, reminding viewers that a computer is chugging away busily as they watch, matching “discomfort” tags to “discomfort” tags, “surveillance” to “surveillance.”