Came across this recent article The Mosaic-Screen: Exploration and Definition by Sergio Dias Branco , 27 Dec, 2008 on the refractory blog on the concept of the mosaic screen, which provides another way to define the use of spatial montage in the creation of moving-image narratives, in addition to the term split-screen. From the article:
This essay arises from these introductory ideas and aims to explore and define a new term that can be contrasted with split-screen: that is, mosaic-screen. In this stylistic device, used in regular moments of the television series 24 (Fox Network, 2001-), images that commonly vary in characteristics are arranged on screen.
This article is one of a number of artilces in the ‘Double Trouble – Special Issue on Split and Double Screens’
other links:
24 wikipedia
fox 24 website
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A post fast film on the Cause Global: Social Media for Social Change sent to me by MB.
Some of the biggest global dramas of recent times—the crackdown on pro-democracy demonstrators in Burma, the China earthquake, suicide bombers in Israel, the hanging of Sadaam Hussein—all were filmed on cell phones, snippets of strife seen and shared by people all over the world, thanks to digital video.
But there also is creativity in these ephemeral, on-the-fly images of our accelerated times—and a new artistic medium for both filmmakers and social advocates…
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Call for papers for Video Vortex 4 in Split, Croatia – 22-23 May, 2009.
Please send in a 500-word abstract and a short bio to Dan Oki (danoki [at] xs4all.nl) before February 5, 2009.
New themes are:
Telepresence and Web Aesthetics
Social Cinema
Architecture and Moving Image
Video Sharing
Technology and politics of the moving image
Literature and video online narrative
A conference that explores the intersection between design and cinema:
…while interrogating the place of design disciplines within cinema. The attention drawn by this conference showed the necessity of evaluating the knowledge that existed in the intersection of these two disciplines.
The theme for the 2008 conference:
Theoretical studies have become more and more interested in our experiences in those designed environments, both real and fantasized, as distinctions between them became blurred. We have chosen the real, the hyper-real and the virtual, as our topics via which a number of issues are expected to unfold. These issues could be defined both as personal experiences and as social practices. When stated in terms of the experiences of the individual, philosophically and psychologically based studies will unavoidably be on the scene. When taken in terms of our social existence in a post-modern world, our experience of the uncanny, of alienation, and genuineness, in short, our mixed feelings about what is real would likely emerge as issues to be discussed.
Real
Designing of objects and environments
Experience of designed objects and environments
Hyper-real
Manipulation of the real
Blurring of the real
Virtual
Creation of a parallel universe Implementation Hybrid existences
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Intergrated Media 2 students this semester are being asked to produce moving-image (time-based) content for mobile phone distribution through an engagement with second life. The mobile platform asks for differing approaches to this type of content that possibly moves away from the real-life recordings that are prolific on YouTube. Here is one response to the flickr video platform, ‘Zoom through some of my pics’ by Timo Arnall (Timo ironically is involved in mobile research), which I found through the Creativity Machine post, WHAT IS FLICKR VIDEO FOR?.
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Some Flickr users are protesting against Flickr (Yahoo) adding video to their services. “We Say NO to Videos on Flickr”
http://www.usabilitynews.com/news/article4802.asp
Which came first, the Interaction or the Design?, Source: Interaction-Design.org, 18 June 2008
Submitted by Mads Soegaard, by Jonas Lowgren
Interaction Design” refers to the shaping of interactive products and services with a specific focus on their use. Broadly speaking, there are two main senses of the concept, coming out of different intellectual traditions but increasingly converging in practice and research.
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A video interview collection of opinions on the duration of one minute for video for the oneminutes project.
http://www.fridayarts.net/blogs/?p=3677
Internet video site YouTube needs no introduction. Its status as
both a branded channel and a medium in its own right has redefined
“new media” on both sides of the art and corporate entertainment
divide. But most of its content resides somewhere in between, and its
currency lies in the vernacular nature of the items posted there–to
the extent that the memes incubated on YouTube are trickling down
into the language of contemporary artists’ work and, in turn, re-
emerging on the site.
http://thekitchen.org
I have got most of the clips into the ‘Glasshouse Birdman’ prototype and are now starting to look at how the categories and tags work in terms of how I would like the user to engage with the themes that have emerged in the content. I realised that clips could be kept in separate categories by controlling cross-overs with tag names, but sometimes a clip has something to offer in other categories. For example, giving a clip a tag name that features strongly in another category brings all those clips from that category across with it into the original category that has been selected. Often from my perspective this makes the theme to random if this is not the desired effect. One way around this within this interface design is to post the same clip twice with the same title but in a different category and with a different tag name.
category = birdman; tag = animal lover; clip title = big brown snake
category = feeding; tag = aviary; clip title = big brown snake
This means clips can be repeated to appear elsewhere while still having some control over themes. In a hidden kind of way clips that seemed more important that others could be repeated to appear in a number of places. Repetition becomes a feature of the narrative structure.