Steve Erickson is releasing a new book Zeroville.Steven Shaviro wrote a blog entry about the book .
Archive for the 'cinema' Category
I also had a close look at the opening 24/7 a DIY Video Summit, video clip (that ironically has no poster/thumbnail/preview image as it downloads when the web page is opened). The clip a vox-pox of grabs from speakers and artists attending the event provides an insight into what to expect. Following is links to some of the organisations and people featured in the opening clip. Interesting that remixing as an approach features in many of the videos selected. In the publicity information provided in an interview with the summit co-chair Mimo Ito there is a focus on remixing:
One of the most interesting aspects of online video sharing is the fact that videos are created in an almost conversational mode, where one video is a commentary on or a response to another video, and so on. We see this kind of video and response sequence with popular remix source footage…
As part of selecting these works, curating as a practice is a feature at the summit. Links provided in the introduction video:
Anne Bray (Executive Director) - freewaves.org an alternative exhibition platform
sacha costanza chock who is involved with http://video.indymedia.org/
The Goal and Idea of the Video Network is the distribution of High Quality Videos (vhs/dvd quality) over the Internet. It is based on the Open Publishing principle of Indymedia and will allow the Publishing of Copyright Free Videos under the Creative Commons Attribution-NonCommercial-ShareAlike License.
eric saks who runs an “alternative cinema” site called flicker He says his aim with his work is to subvert “pop culture”, mainstream approaches towards audiovisual media.
Jonathan McIntosh media artist, activist who is building a website called rebellious pixels. These could be described as activist orientated re-mixes of adverts and news.
tim park doki doki productionshttp://www.doki.ca/ Anime remixes that use text to subvert the message.
laura shapiro whose thing is vidding. From wikipedia:
Vidding is the practice of creating fan-made music videos (sometimes called songvids or fanvids) that edit clips from favorite TV shows, anime series, movies, or even official music videos, to another song. It is a cross between narrative story-telling and visual poetry and their content can range from a simple tribute to a favorite character or delve into shipping/slash.
Paul Marino Thinking Machinima blog
The 0xdb is a rather unique kind of movie database. It uses a variety of publicly accessible resources, like search engines and file-sharing networks, to automatically collect information about, and actual images and sounds from, a rapidly growing number of movies. What the 0xdb provides is, essentially, full text search within movies, and instant previews of search results.
The core idea behind the 0xdb is that file-sharing networks can not only be used to download digital works, but also to just retrieve information about them. Even though most movies in the 0xdb are copyrighted, and many of them are practically inaccessible for legal reasons, the monitoring of peer-to-peer traffic allows the 0xdb to identify and index these materials.
articles: 0xdb Movie Database Goes Live; 0xdb: The ultimate P2P-powered film database; Site Review 0xdb
I enjoyed Tom Sherman’s (Spring 2005) articles on video in the Canadian Art Magazine. His frustration with the video being called film brought a smile. In the article ‘Video No Film’, he states:
Fuck film. The dead ideas of film are being heaped onto video, Cinematic history is like a ball and chain. Video, as an inclusive soluble medium, is having difficulty defending itself from the weight of this affliction. It has become fashionable to declare, I “filmed this or that with my digital camcorder.” In this ahistorical time, it has become common to use the nomenclature of film, the predominant medium of the 20th century, to declare one’s existence in the 21st. Everyone is going retro. p. 5 of 6
His outspoken views prompted more discussion on the list nettime, by Alan Sondheim. And more here by Sherman, Is the new video ‘film,’ video or film? More on Tom’s video work here.
An overview of a presentation by Nora Barry at ‘Remixing reality with narrative media’ narrative media’
During the 60s and the 70s, an independent cinema community was established thanks to the existence of an extensive network of alternative film clubs with branches in various parts of the world. According to Nora Barry, if independent digital cinema wants to achieve a similar situation, it would be best for it to broadcast in various “physical” environments (festivals, organising public projections) that favour contact and the creation of a community, especially in areas and regions lacking in technological resources.
Film on the Internet By Donato Totaro
Offscreen, Volume 11, Issue 1 (January 31, 2007)
In either case, it is clear to me that internet cinema, barely eleven years old, has yet to find its own niche in terms of aesthetics, style, form, and purpose. Whether internet cinema evolves into something lasting, or a strong voice for alternative cinema, or even remains as a viable exhibition site for cinema, or whether it becomes just another one of the multitude of ‘screens’ that have risen since the beginning of cinema is largely connected to the broader question of interactivity: Do we really want interactivity in our narratives? Do we really want (or need) what Manovich calls ‘ambient narrative’?
The plugin manifesto
The manifesto aims to create a definitive framework that filmmakers can use to produce films specifically for the Internet, to work with the medium, to see technological limitations as a creative catalyst. While traditional film was hijacked very early on in its career, filmmaking for the Internet is at a truly exciting time.
A recent book reference from the videovortex list:
NARRATIVITY: HOW VISUAL ARTS, CINEMA AND LITERATURE ARE TELLING THE WORLD TODAY , Ed by: DIS VOIR René Audet, Claude Romano, Laurence Dreyfus, Carl Therrien, Hugues Marchal translated by Paul Buck & Catherine Petit
To tackle the question of narration in its ruptures and mutations in an age of media culture and influences of videogames – where the ludic
and interactive principle is an important element – is a way to draw up an inventory of the Nineties, a time when art starts to function like some kind of editing table on which the artists can recreate daily reality. Through that reflection on time, the question is to show how its new languages and new ways of writing are representative of the contemporary imaginary expressed in it and to reaffirm that the work of art is an “event” before being a monument or a mere testimony, an event which constitutes an experience drawing in the spectator.