Recomposing time: short-form video as conceptual EP

When I put together the crossmyheart (a harras reworks) project, I thought about how to use short-form video as a creative tool. Since the project is built around transformation, I wondered what would happen if these short-form videos weren’t treated as excerpts or promotional fragments, but as a form of remix in their own right. Something closer to a parallel way of working with the same material, but under different time conditions.

Each short video takes material from the source and reworks it under a different duration. Some are extremely short—almost loop-like rhythmic units where repetition becomes the structure itself. Others allow more space for gesture or change. In some cases, they use footage that never appears in the main videos, even though it comes from the same source sessions.

What connects them is not narrative or sequence, but time—and who controls it.

A couple of patterns started to emerge: very short loop objects (3–5 seconds), and longer fragments where something has more room to unfold (8–27 seconds). These weren’t predefined categories, just where the material naturally settled, a pattern I recognized in retrospect.

Loop-based repetition does most of the work in the shorter pieces, but the repetition doesn’t just support the content—it becomes the content. A beat, a cut-off vocal fragment, or a rhythmic cue holds the loop together, so the restart feels less like an abrupt reset and more like an inevitable continuation—until you swipe away. When I play these back on loop, they feel like their own remixes, like B-sides or bonus tracks.

This is when I realized modern-era remixes do something very different than in decades past. Remixes still live on in the club like they always have, of course. But they also exist online in this ambient state where listeners encounter them in social feeds, not necessarily even aware of the remix culture they represent. In a different time, the ideas in these shorts would have lived on a 12” single, a club mix, a CD maxi. Those formats announced themselves as remix, and they decided how long you listened. Short-form video does neither. That part is up to you.

These shorts function as a secondary layer alongside the crossmyheart album and its videos. They don’t sit behind the work, nor are they separate from it, but exist alongside it at a different scale of time. Not in the club. Not on 12” singles. But a conceptual EP that can only exist on the internet in algorithmic feeds.

Because they exist across platforms and circulate independently, I’ve collected them as a playlist—not as a feed, but as material to return to.

Together, they form an expanded structure around crossmyheart. They don’t replace the main videos, but hold the same ideas differently depending on how you experience them, how you loop them, how you move to them. And that part is up to you.