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Bennett's audiovisual sets suggest an epistemological relationship between the artist, a self-conscious and self-referential visual language (collage/montage), archive footage (original text/generic narrative), and the active spectator. 4 This is also illustrated by We Edit Life (2002) and The Remote Controller (2003). These collage films show man -as a composite of artist, scientist, and computer designer -experimenting with the machine interface, producing new meanings and magical, surrealdoi:10.16995/ddl.223 fatcat:i756iqjon5eihm7iczuwif43dy