Archive for March, 2007

Video Art on the web

There has been some discussion in the Guardian online on publishing video art on the Internet, in the article ‘Moving images stay in the dark - Why are video artists so reluctant to show their work on the internet?’ It is interesting to see that reputable institution like the Museum of Modern Art in New York has created a video channel on YouTube to publish video art trailers. Yet as the article points out there is not a lot of video art collections showing up online, instead most of the video art on YouTube is captured and posted by people attending exhibitions (via mobiles etc.) Although it is interesting to see what is happening with tank.tv in the UK via www.lux.org.uk and the luxonline project.

Back to the earlier Guardian article which discusses things like size restriction (working in the miniature), quality and of course the ability for the viewer to scroll back and forth. In terms of YouTube having frame size, file type and therefore compression quality control of your video uploads this does not leave much room for individual aesthetic input from the artist. I see this as setting publishing standards, a referral to old media like TV broadcasting. A video sharing site like blip.tv at least lets you chose some file types, determine frame size and choose a creative commons license. Also there is some key differences in the terms of use in regards to copyright and intellectual property. But this type of flexiability could be taken a lot further. I discuss the notion of standards in more detail here on my blog. The idea that apple also like YouTube aims to gain some form of control over the way content is distributed often in a manner that Nicholas Carr points out as being unsympathetic towards what the Internet offers as a networked environment.

The question here is whether artists, (like YouTube or even Apple with video podcasts) should be thinking of the Internet as a place to reproduce video in a single-channel form (or in the way that it was originally designed for off the web, i.e live etc.)? This approach is emblematic of most television, cinema or even a lot of video art. Perhaps it is more about how video may be repurposed within this environment. I notice on the MOMA YouTube channel that the closest they can come to this, is a lame form of trailer, again a direct referral to cinema.

In this other Guardian article ‘Bringing video art online’ video art as a commodity, along with copyright issues is seen as restricting factors. Although, the writer points out that painting and sculpture has got past this barrier quite some time ago.

SpinExpress - collaborative vlogging

There is some discussion happening on the videoblogging mail list on independent video production including this initiative, SpinExpress.

“It’s never been a better time to be an independent video producer - the space is wide open. So we built SpinXpress to make collaboration easy so you can raise the quality of your production while maintaining your independence.”

The website includes a link to a videoblog.

Independent video history

Also on the videoblogging mail list an some links to websites that archive earlier movements independent video production right back to the first portapaks. The Radical Software movement:

“Our purpose is to make all the historic issues of Radical Software freely available to everyone. This site is designed for easy browsing and downloading, and hosts a sophisticated search engine to help you find the information you require on all aspects of independent video and video art back in the “Portapak Era.”

A curated group of artists on the California College of the Arts, Wattis Institute website.

And an archive of individeo iniaitives the Media Burn website:

“Welcome to Media Burn Independent Video Archive, the first website of its kind, created entirely from progressive nonfiction videos and television programs.”

24/7 vlog

justin.tv a version of video surveillance pitched as a type of TV, a blog.

“Justin wears the camera 24 hours a day, 7 days a week. Even in the bathroom. Even on a date.”

The current compression quality of the webcam video is poor and hard to watch. justin.tv as a group it seems are following the web dream similar to the YouTube developers - … “Money Making ideas”.

Also, attached live chat and a discussion forum. As part of developing the idea, I note Justin and some others are working on developing some technology that helps “make broadcasting live video on the web easy”, including work with - webware.com. Who replace software with a ‘webware’ concept:

“There’s a shift underway in how people use computers and the Internet. Every day more utility is being delivered over the Web. Full applications can now be run in a browser, accessible from any computer. Software? It’s no longer required. Software is becoming Webware.”

Videora

This Videora iPod converter may be the one to get those tricky mpeg and avi files into QuickTime .mov files.

Videovortex conference

The conference I have been working on with the Institute of Network Cultures (INC) in Amsterdam - has been made public with information at these links. A summary of the conference with key questions. More detail on the conference themes.The mailing list is also being opened up for discussion. And there is lots of information available via videovortex delicious that we have been building for the last 6 months.Information no the conference is being distributed broadly to generate discussion..

NewmediaFIX
networked_performance

radical education model

The other night on 7.30 report Kerry O’Brien did a short interview with a Brazialian innovator called Ricardo Semler who is one of the main people behind the company Semco. O’Brien’s introduction:

Brazilian entrepreneur Ricardo Semler turned business convention on its head when he took over the relatively small family engineering term Semco, introducing a radical form of participative management giving the workers a rather extraordinary say in the running of the company.

The principles being developed as part of the business model behind the Semco company as Ricardo discussed in the interview are being applied to education at a school called Lumiar in Brazil. He made some interesting points that have correlations, I argue with process-based learning methods:

And if you make it interesting - for example, our courses are not geometry or physics. Our course is setting up a bicycle, it’s a three month course and you start from scratch and you design a bicycle. To design a bicycle you need pi, and pi is 3.1416, but if I tell you pi is very important you think it’s an apple pie. Now if you want to do your own bicycle the only thing to make a perfect circle so the thing doesn’t unbalance is to learn pi. So we set up these courses, we have chemistry in the kitchen. We found a different way of saying, this is very interesting stuff. It’s just that we’ve made it so boring, we’ve divided it into disciplines and made your life so terrible that you hate it, but you shouldn’t hate it. It’s wonderful to know how our life works.

The education design involves an engagement with practice and the boxes placed around fields of study are made permeable or are removed altogether. He also pointed out a philosophical approach towards learning that within conventional education would be seen as being quite controversial:

What we’re saying is, when you look at your past and my past and anybody’s past and say, when did we actually learn something, it was when you were very interested at that exact moment and there was somebody who was passionate on the other side. Never in any other situation. And so our answer is the following, do I want a kid who is told to sit down and shut up? Do I want him there? What is the chance he’s going to retain any knowledge? It’s very small. We say, show up when you want to and when you want to you will learn enough for all that time when you would have rather been surfing or playing soccer. It’s very difficult for people to accept.

I couldn’t help thinking whether there are aspects of the process-based model that could be pushed further in regards to connections with pre-established models. Sometimes there is still that tension, with the teacher who strives to achieve attendance, participation and understanding, along with some of the curriculum design being set even more around real-life projects.

dead but not buried

In the last few weeks I have been planning out an approach towards the videodefunct video database project. Initally, I imagined developing one-off video objects that provided a critique of the video-sharing site YouTube. The idea was to explore in each of these objects, both a formal and cultural critique. This means the works would aim to experiment both with form and content as part of examining video as a form beyond single-channel closed objects, like the hardcopy output approach of television programs, or even a cinematic edit going to a locked-off film print. A video form that as dicussed in the post on ipod video, is more responsive to the properties of the Internet as a network. Then a light bulb went off in regards to a blog as a form of a video database. Instead of placing the emphasis on a single video object, what happens if each uploaded video is seen as being a part of a larger whole, the database? The focus shifts to taxomony and folksonomy. In the short term an initial experiment using the customised version of WordPress being developed in the videodefunct project may be about exploring each individual video as part of a larger collection.

ipod video, an island

Today, in the lab we had a discussion about having to create a standard video format for ipods (i.e the frame size, data rate etc) just like for example creating a delivery format for a program for television. The lab decided to bypass being restricted by video podcasting standards, in favour of leaving the published video on the Internet. The discussion was prompted by the aim to set up a reblog of video content that has a web feed from each student blog. Each video object from each individual student, which is made around a pre-set theme is brought together into one blog via the use of an aggregator. Each video object on their own blogs remains in the context of the environment it was created in. In the reblog also like in their personal blogs all the video objects remain within the networked environment of the Internet.

Nicholas Carr in a recent blog post titled ‘Steve’s devices’ provides a critique of Apple’s motives in terms of how their devices like ipods are designed in relation to the Internet. Carr states:

Jobs, in fact, couldn’t possibly be more out of touch with today’s Web 2.0 ethos, which is all about grand platforms, open systems, egalitarianism, and the erasing of the boundary between producer and consumer. Like the iPod, the iPhone is a little fortress ruled over by King Steve. It’s as self-contained as a hammer. It’s a happening staged for an elite of one. The rest of us are free to gain admission by purchasing a ticket for $500, but we’re required to remain in our seats at all times while the show is in progress. User-generated content? Hah! We’re not even allowed to change the damn battery. In Jobs’s world, users are users, creators are creators, and never the twain shall meet.