PILL: Protocol-Cinema, or a Montage Puzzle based on Protocol(协议—影像,或一种基于协议的蒙太奇拼图)

Protocol-Cinema, or a Montage Puzzle based on Protocol

Literature and Anthology

Hello everyone, my proposal is to create a series of cinema based on protocol, both in a general way and technical way, focusing on protocol and poetics, revolving around the internet. However, please allow me to not discuss any internet ecosystem or non-fungible open currencies first. Let’s turn our gaze back to literature, as this visual reversal is important for this proposal. From Giorgio Agamben’s Homo Sacer series to Georges Didi-Huberman’s series L’oeil de l’histoire, from the Goncourt brothers’ nine-volume diary to Michel Serres’ five-volume Hermès, these writers not only wove a vast world between words and sentences, but also established secret connections between texts, between one book and the next, between these physically separated materialities. Literature has become an anthology, as Benjamin said, connection is the prelude to the protocol.

Although the words are fixed and static, these writers use the accumulation of words, the tsunami of sentences, and the montage of books to force out countless nodes. The connections formed by these nodes are like the intricate patterns of an Egyptian carpet, with illustrations of plants and animals. The Goncourt brothers’ diary also contains images of irises and cuckoos, with the flowers against the backdrop of the earth and the birds in the depths of the sky. Who can say that the Goncourt brothers’ diary does not reflect the visual history of the 19th century? History is a protocol, whether it is the history of technology or natural history, it is first and foremost a history of protocols, protocols humbly transform blind collisions into active freedom.

Image and Image Collection

If we are to create cinema, we cannot avoid images, because cinema is the result of the flow of images, or we can say that cinema is the secret protocols established between images. In the literary writing plans mentioned above, words can already help visual imagination through the form of anthologies. In images, the visual is the visible object itself, whether it is Goya’s war images or Vaile Export’s uprising images. But from Aby Warburg’s Mnemosyne Atlas to Bertolt Brecht’s War Primer, images begin to take on the form of image collections, with images from different eras, geographies, and media being placed on a workbench for collage. The Mnemosyne Atlas has 63 image panels, each with dozens of images, and the images create a tension of continuity across historical gaps. And the protocol is the result of this surging tension. 18th century images can be juxtaposed with 20th century images, the funeral of death can be parallel to the joy of rebirth on a single canvas. It is from Warburg’s image collection that Didi-Huberman discovers the power of dialectical images to conclude protocols.

As an image collection, War Primer is not limited to images-Brecht also uses poetic texts, turning the collection into an image-aphorism poetry, a contract between painting and words, an agreement between image and language. He even completes the operation of cinema in the collection: placing language montage on the edge of photo montage is like placing sound in the frame of the cinema. The Mnemosyne Atlas was born out of World War I, and War Primer was born out of World War II. Through them, we can see how images have helped technology, media, workers, and peasants to speak, how images have reached a silent agreement with the disadvantaged groups, helping them establish their unique subjectivity. Images became image collections, historical fragments have become historical materials, images have shifted from isolation to union, from alienation to intimacy, just like the insurgent people, more and more, constantly expanding, the network of protocols spreading until it occupies the whole street.

Cinema, or Montage Puzzle

Finally, we come to the cinema, which is also the core of this proposal. But the theme is protocol: literature and images are both part of the composition of the cinema, so they are the protocols inside of the cinema. Thus, we cannot ignore their role in the cinema. The essence of the anthology is montage, and the nature of the image collection is also montage. They form a frenzied dance of montage in the form of anthology or image collection, which can be said to be the primitive form of the cinema.

Before the invention of the camera, the cinema had already existed.

Please forgive me for taking a relatively large content to discuss these two elements above. But the main style of this PILL project is cinema poetry and cinema essay , and text cards and still frames will also be used, I cannot abandon them and directly discuss the cinema.

Printing once weakened the authoritarian structure and guild system, and now video, the streaming media of the post-photographic era, will also infiltrate the flowing market of the Internet in a liquid, silent form, and reach an agreement with it. It’s just like the encryption methods of the emerging information market. In Georges Perec’s Life A User’s Manual, he discussed a certain similarity between film and puzzles, while Jean-Luc Godard’s Histoire(s) du cinéma and Pier Paolo Pasolini’s La Rabbia practically explored this similarity. They discovered this similarity within the realm of montage, and anyone watching these two montage films would find an abundance of poetry, alchemy, psychoanalysis, military science, and dialectical imagery contained within.

Therefore, the image comes back to the literary anthologies and image collections mentioned earlier. This is the ancient covenant between art and technology. Regardless of the type, they are all of the same kind, they are also brothers.

Cinema Design

Below is my initial conceptual design on the project.


Combining biology, literature, and imageology, the applications(external) and experience(internal) of the protocol (but it’s not a popularized documentary)


Poetic cineam or essay cinema


A cinema series, for now divided into four parts, each 15 minutes, 60 minutes in total

  • Part 1: Blockchain - The Nomadic Utopian Community
  • Part 2: Tokenization - From Bits to Programmable Humanities
  • Part 3: Digital Public Goods - Farewell to Coordinates
  • Part 4: Smart Contracts - The Sea of Data








记忆女神图集有 63 块图版,每个图版有数十个图像,图像跨越历史的间隙创造了一种连续性的张力。而协议,就是张力不断涌动的结果——十八世纪的图像得以和二十世纪的图像并置在一起,死亡的葬礼得以和新生的喜悦平行于一张画面。于贝尔·达米施正是从瓦尔堡的图集里发现辩证图像所具有的缔结协议的力量。战争通识作为图集没有局限于图像,布莱希特还运用了诗歌文字。图集变成了图像—箴言诗,画与字的契约、图与言的协定,他甚至在图集里完成了摄制影像的操作:在照片蒙太奇的边缘去安放语言蒙太奇就像在影像的画面中去安放声音。记忆女神图集诞生于一战,战争通识诞生于二战,我们能够发现图像如何帮助技术、媒介、工人、农民去进行言说,图像在沉默无声中和弱势群体达成了一种协议,一种帮助其去确立独一无二主体性的协议。图像变成了图集,历史碎片变成了历史材料,图像从孤立走向了联合,从疏离走向了亲密,它们和起义的人民一样,越来越多,不断扩张,协议之网不断蔓延,直到震撼人心地占据整个街道。













  • 第一部分:区块链—游牧的乌托邦共同体
  • 第二部分:代币化—从字节到可编程人文
  • 第三部分:数字公共物品—告别坐标
  • 第四部分:智能合约—数据之海

Love this idea :slight_smile:

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