摘要：This article maps two divergent trajectories within a narrowly defined sphere of short-form, time-based digital media created between 1995 and 2005. These works are considered in relation to the historical avant-garde - particularly the Structural film movement of the 1960s and 70s - and analyzed as responses to a range of cultural concerns specific to the digital age. The analysis identifies movement toward two terminal points: first, a mode of remix-based montage inspired by open source programming communities and peer-to- peer networks; and second, the emergence of a mode of imaging termed the digital analogue, which foregrounds the material basis of digital production.
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