vrijdag 27 november 2020


THE FUTURE IS CODED is selected for  Ars Electronica FutureLab, Linz Austria 2021.

THE FUTURE IS CODED refers to a future that's already present here and now but remains somehow inaccessible to us. It's an old philosophical idea that past, present and future exists simultaneously. If the future exists, it could be accessed like a space or a room. 

In Chris Marker's science fiction film La Jetée 1962 we hear the voice-over saying: "The future was better protected than the past. After more, painful tries, he (the protagonist) eventually caught some waves of the world to come."

In THE FUTURE IS CODED we reflect upon how exactly this future is better protected?

Since ancient history we've tried accessing the future through mediators. Noise and randomness (chance) are worldwide used to access the future in so called divination techniques. Noise mediates via articulating hidden layers to our conscious mind.

The future is like a wall of noise. We carve our path through time, sifting meaning from noise.

Shoshana Zuboff writes in her book Surveillance Capitalism about big data companies that harvest rich predictive data in the waste materials of our online behavior. The rich data they're after are in the extra data, in the noise. They use them to forecast our future behavior.

The NOISESCAPES I create are screens of noise depicting settings for a possible future.The work is about discovering and experiencing a particular set-up built from layers of noise.

At Ars Electronica FutureLab we will form a small group and work around the theme THE FUTURE IS CODED, by discussing samples from speculative fiction. We develop raw forms and raw ideas, we write raw text in writing games. This will serve us too in speculating on how to access the future.

Pragma is the first character that appears in THE FUTURE IS CODED. She is a multiple and thus so forms a small group with herself.

She navigates in cross correlation with you and reflects what singular action does executed as a group.

"Of waking, I know nothing. I remember incomprehensible rustlings, and a cool dimness. And myself inside. The world opened up, in a panorama of glitter, broken into colors.

And then, with a sound not heard but sensed. A tenuous string snapped within me. And I, a she now, felt the rush of gender. So violent, that her head spun. And I shut my eyes." 

The Mask, Stanislaw Lem

Watch clip here


donderdag 27 september 2018


The work (in development) is inspired by the dystopian short story "The Machine stops" written in 1909 by E.M. Forster

This story describes a world in which most of the human population has lost the ability to live on the surface of the earth. 
Each individual now lives isolated underground in a standard room, where all physical and spiritual needs are fulfilled by the almighty, global machine.

Fanny Zaman & Dominik Daggelinckx

watch EXERPT

donderdag 24 november 2016

screenings ALGORITHM

LE BAL (FR), Paris 2018
27.03.2018 20h
In program In The Meantime - The Cadastre of our Lives

JEU. 9 FÉVR. 2017   20H30
SAM. 18 FÉVR. 2017   20H30

Compétition Internationale, Cinéma Trangressif # 7 Paris


BOZAR/Paleis voor Schone Kunsten Brussel

watch trailer

The acceleration and abstraction of trading (from commodities to financial products to sets of data) here takes a major leap as we examine algorithmic trading and the people who perform this type of work. In the end, nothing gets explained and we remain on the outside looking in. Algorithm is an essay impression of a specific area of high finance, set high in the sky in futuristic buildings populated by sharply-dressed characters speaking a mysterious language.  

Director Fanny Zaman Cast (voice cast) Dianne Weller Photography Dominik Daggelinckx Editing Fanny Zaman Sound Geert Vanbever Music Lea Petrasso, Dianne Weller Running time film 38'
Release format DCP Other available formats Blu-ray Aspect ratio 16:9 Sound format stereo Colour Colour Available in  2D

dinsdag 14 juni 2016


Film 7 min 32"

Images from the Expo 1958 in Brussels exude faith in modernity, the future, and the possibilities of technology. The soundtrack is from the 1980s, when a series of attacks unsettled Belgium. Sound and image, fear and optimism collide.

FRONTDOC 2017, Aosta 6 - 11 November 2017, Official Competition Experimental (IT)
Sarajevo Film Festival, Sarajevo 11 - 18 August 2017 Official Competition European Shorts (BA)
Visite at Het Bos, Antwerp 13 August 2017 (BE)
XX edition of the Guanajuato International Film Festival, Guanajuato July 21 - 30 2017 Official Competition Experimental Short Film (MX)
- WIELS, Brussels 27 MAY 2017 (BE)
- International Film Festival Rotterdam 25 JAN - 5 FEBR 2017 (NL)
- Internationale Kurzfilmtage Winterthur |The Short Film Festival of Switzerland | 8 – 13 November 2016 Official Competition International (CH)
- FIAC,Hors les Murs, Films d'Artistes, FIDMARSEILLE 19 - 22 OCTOBER 2016 PARIS (FR)


dinsdag 7 juni 2016


World Premiere FIDMarseille 13-07-2018 22h


Directed by Fanny Zaman & Dominik Daggelinckx

Our national post war history (Belgium) is idiosyncratically marked in our own memory through a series of iconic images. The film deals with sound and image concerning awakening, emancipation, halt and decay but not necessarily chronological.

Duration 20'

Conseil d’Etat a short 7’32 screened at FIDMarseille 2016 is the first of a series. TRINITITE (released Summer 2018) is the second. Both films are pseudo didactic alternative school lectures dealing with obscure details in our national history. Conspiracy flavour, a neutral didactic voice, evidence brought to light by changing the context or by changing the score. 

TRINITITE 2018 '20 deals with Belgian post war history, with sound and image concerning awakening, emancipation, halt and decay.

The film reflects upon the coming of age of a country in sync with our own coming of age in the backdrop of the Cold War era.

The footage stems from national television reportages dealing with public interviews questioning class and gender at school, at work and in the private atmosphere, in the late sixties, early seventies. The national archive is rearranged and looked at from a contemporary point of view.

zondag 3 januari 2016

BOZAR/Paleis voor Schone Kunsten 
Ravensteinstraat 23
1000 Brussel

ALGORITHM 2015 is the last chapter of a trilogy set in the world of finance.
The trilogy observes the growing abstraction of the economy where data is step by step taking over “real” trade. The chapters all focus on theatrical performativity of speech and gesture of the characters and their specific scenography.
ALGORITHM is an essayistic impression of a specific part of high finance. It is set high in the sky in a scenography of futuristic high tech buildings populated by sharp dressed characters speaking a mysterious language.

maandag 2 november 2015


'In der Sektion “Futurs” bestach “Algorithm”. Das belgische Film Fanny Zamans scheint einerseits eine zynische Ode an die Hightech-Architektur. Monumentale, pharaonische Formen lassen alles menschliche Ansinnen an sich abprallen. Die Protagonisten dieser hermetischen Welt sprechen eine unzugängliche Sprache, folgen unkommunizierten Strategien und inkarnieren eine marionettenhafte Existenz. Einsichtiges oder nachvollziehbares Lebensglück ist hier undenkbar geworden. Organische Maschinen zelebrieren ihre Funktionalität in Endlosschlaufen der Sinnlosigkeit. Zamans ästhetisch beeindruckendes Werk zeigt eine Wüstenlandschaft anderen Typs, weniger durch Wassermangel charakterisiert als durch Isolationsperfektionismus. Will man von einem Trend sprechen: FID zeigte in diesem Jahr besonders deutlich: die Wüste wächst.'

'In de sectie "Futurs" belicht de film van de Belgische Fanny Zaman een enerzijds cynische ode aan de high-tech architectuur. Monumentale Faraonische vormen laten alles wat enigszins menselijk is van zich afketsen. De protagonisten van deze hermetische wereld spreken een ontoegankelijke taal, volgen onverklaarbare strategieën en incarneren een marionet-achtig bestaan. Inzichtelijk of begrijpelijk levensgeluk is hier ondenkbaar geworden. Organische machines vieren hun functionaliteit en hijgen zich naar het einde der zinneloosheid toe. Zamans esthetisch indrukwekkende werk presenteert een woestenij van een (andere) welbepaalde orde. Niet zo zeer door dit door de mangel te halen maar eerder door het toepassen van isolatie-perfectionisme. Wil men van een trend spreken: FID zegt dit jaar bijzonder duidelijk: De woestenij deint uit.'