RANDOM ACCESS: 5x5 DATABASE

Your assignment is to create a database of 20 or more clips. The concept/narrative structor is up to you. How does each clip relate to one another? Instead of creating a linear piece you are developing a web of associations connected by chance. The Data Blender application takes a folder of videos and randomly plays each clip. Every item in your database should be 5 seconds long. You can make the edits shorter by changing the editing speed. Due Nov. 13th. 50points.

DOWNLOAD: DATA BLENDER Application <With Audio file

DOWNLOAD: DATA BLENDER SOURCE

STUDENT EXAMPLE:

Such Surroundings from Alexandria Lechlitner on Vimeo.

In the hustle of our busy lives we are becoming less involved with our surroundings. Getting caught in the motion of life without giving it the time to be seen or heard. "Such Surroundings" reinvites the audience back into their lives and gives them the chance to see what they have been taking for granted.

DATABASE NARRATIVE

"As a cultural form, database represents the world as a list of items and it refuses to order this list. In contrast, a narrative creates a cause-and-effect trajectory of seemingly unordered items (events). Therefore, database and narrative are natural enemies. Competing for the same territory of human culture, each claims an exclusive right to make meaning out of the world." - Lev Manovich

Vertov's "Man with a Movie Camera" never arrives at anything like a well-defined language. Rather, it proposes an untamed, and apparently endless unwinding of cinematic techniques, or, to use contemporary language, 'effects', as cinema's new way of speaking."

How Effective is this form of engagement, really, in terms of its ability to reorient our thinking?

How does this effectiveness compare with more traditional narrative and argumentative forms?

• Narrative: Develops Thematically, formally, or otherwise
• Database: "collections of individual items, where each item has the same significance as any other.

MULTI-CHANNEL ASSIGNMENT (100points)

Your goal is to create a narrative that exists across multiple screens (minimal of 3, maximum of 5). What possibilities change with the use of multiple moving images? Are the multiple screens tied to multiple perspectives, multiple times? Is the same image playing on all of them or slightly delayed? What is inside the frame and what is out?

Multiple channel works requires a larger amount of footage to be collected. For example a 5min piece would across three channels be 15min of footage, and that is just the material you edited into the piece. So give yourself enough time and shoot more than you think you need.

Requirements:
Ruft Draft due Oct. 21st & 23rd (project should be veiewable in Priemere
Due Oct. 28th
2-4 minute minim and maximum
Compose multi channel in 1920 x 1080 resolution > H2.64 Mp4.
Export each channel in native resolution > Via Animation
(Bring ProRes Files on thumb drive, and post overall comp to blog)

MULTIPLE-SCREEN NARRATIVES

The House by Elija-Liisa Ahtila

Crossing The Boundaries of the Cinematic Screen in Doug Aitken's Sleepwakers by Hudson Moura & Natalie Panovic

http://www.ubu.com/film/aitken_electricearth.html

<>

http://www.candicebreitz.net/

HIM, 1968 - 2008 from Candice Breitz on Vimeo.

MOTHER, 2005 from Candice Breitz on Vimeo.

Drift from Jason and Debora Bernagozzi on Vimeo.

Citystream from Jason and Debora Bernagozzi on Vimeo.
Welcome to Global Cone by Colleen Keough: https://vimeo.com/29629857

FLUXUS EXERCISES

FLUXUS EXERCISES <<Happenings>> | Oct. 7th

>>>(Article to Read *Tweet due Oct. 2nd)<<<

<<<(Optional Article)>>>

Your assignment is to choose one of the five Fluxus exercises and create a video that attempts to visually explore the fulfillment of one of the statements OR create a narrative out of one of the statements. You video needs to be between 1-2min.

1. Something that is taking shape in my mind and will sometimes come to consciousness. 

2. Something which is unknown to me, but which works upon me.

3. It is not confined - It is not in any specific place.   

4. Something I was once conscious of, but have now forgotten.
5. Determine the limits of an object or event. Determine the limits more precisely. Repeat, until further precision is impossible.

"Art can be a template for learning how to make ones own templates." - Fluxus

FLUXUS MOVEMENT

Misfits (30 Years of Fluxus)

Exposition of Music - Electronic Television 1963

  

Flux Film Anthology

DADA

THE ART of FOELY

Short Film 'The Black Hole' from PHOTOPLAY FILMS on Vimeo.

RHYTHMS of TIME

THE LOOP, THE LOOP, THE LOOP, THE THREE POINT LOOP SYSTEM

DUE SEPT 25TH

This assignment is designed to allow you to experiment with composing various rhythms within the editing process, and explore the power of looping. Capture three different video clips, three seconds long each Max, 1 frame Min. Play with the ordering of your three shots. For instance 3,1,1,2,2,1,1,3 or 1,2,3,1,2,3,2,2,3,2,2,3. Besides experimenting with editing patterns, also experiment with the patterns of various clip lengths. We will work on exploring this in class. The final piece should be 1min in duration. 

Student Example

THE LOOP

http://www.tumblr.com/tagged/perfect-loop

COPYRIGHT USE

DEFINING THE POSSIBILITIES

DEFINING THE POSSIBILITIES:

A 12 Frame Obstruction (100 POINTS) Due Sept. 18th 

"In the story "Three Dimensions of Time," each decision the main character could have made became its own reality (Lightman 18-22). In all three dimensions, he had to choose whether or not to go see a particular woman. One of the decisions he made, in which he chose not to go see the woman again, produces more promising results than the other two decisions he makes. When he makes his decisions, he looks at the short-term goals first to see how he may or may not get along with the woman, which would lead him to foresee what their future together (long-term goal) would be like. Each time he makes a decision, he believes it is the correct path, and so he follows it and makes it a reality. Finally, he weighs the advantages of each option before choosing what may be the right path." <<<Link to Article  Text is in response to Einstein's Dreams by Alan Lightman.

Assignment: Is to develop a short narrative that considers the story above as a narrative template for various paths one could take narratively. The Likely Thought Spent Video is a good example of what I mean there. I am also placing a constraint on your edits. Each edit can only be 12 frames in length. That means you will see at least 2 shots per second. I will demo this in class. You can see an example of that below in the Le 5 Variazioni or The Five Obstructions: Obstruction 1. You need to have at least 1min, but you may not go over 2min (titles and everything.) We are learning how to do voice overs today in class sept. 16th.

12 FRAME EDIT EXAMPLES BELOW

The Five Obstructions by Lars von Trier & Jorgen Leth
/\/\/\/-Illustrates the 12 Frame Edit

Feet Maze Obstruction from Ruth Divine on Vimeo.

/\/\/\/-Illustrates the 12 Frame Edit
MULTI-PATH NARRATIVE EXAMPLES BELOW

Likely Thoughts Spent from Alexandria Lechlitner on Vimeo.

/\/\/\/-Illustrates the 3-way split of possibilities or alternative realities.

/\/\/\/-Illustrates the 3-way split of possibilities or alternative realities.

12 5 1: A MOMENT IN TIME

12 5 1: A MOMENT IN TIME

Due Sept. 11th

Assignment: You are to capture and compose a moment. A singular event like, getting ready in the morning or driving to work. Each example contains small elements that make up a description of what is happening in that moment (i.e. Your edits should contain various shots angles). You goal is to portray a moment of your choosing in 12 seconds, the same moment in 5 seconds, and again in 1 second. You should put 3 seconds of black before and after each of these sequences (your 1 second may or may not have only 1 shot.)

Expectations:

• 3 seconds of black before and after each shot
• Tripod should be used for all shots
• Include a title before or after you piece
• Thoughtful compositions

ASPECTS OF PERCEPTION

Technological Constructions of Space-Time: Aspects of Perception by Heike Helfert
YOUTUBE STUDY GUIDE

<<MEDIA POSSIBILITIES>> 

"Film produces a new way of observing 

nature and the environment."

<<THE FILM MEDIUM>>

"In general, experimental films do not intend to reproduce reality, but to interpret it or to expose how we perceive it."

<<FILM TIME>>

Hiroshi Sugimoto <<THEATERS>>

Jim Campbell <<Illuminated Average #1 Hitchock's Psycho>>

Douglas Gordon <<Five Years Drive-By>>

<<THE VIDEO MEDIUM>><<CLOSED-CIRCUIT>>

Peter Weibel <<Beobachtung der Beobachtung: Unbestimmtheit>>

<<TIME SPACE BODY>>

Bruce Nauman <<Live-Taped Video Corridor>>

Bill VIOLA

<<VIDEO/TV>>

<<Participation TV>>

"By way of telecommunication, we see one another 
from screen to screen, and we become one 
with the new perception of  the world. "
/////////\\\\\\\\\\\\\\\\\\////////\/\/\/\//////////\\/\

DAVID HALL <<TV Interruptions>> http://www.youtube.com/watch?v=AA9IdHtHk_0

Wojciech Bruszewski <<Yyaa>>

<<VIDEO AS AN IMMATERIAL MEDIUM>>

<<TECHNICAL MANIPULATIONS>>

Woody Vasulka <<Artifacts>>

<<SOUND>>

<<PERCEPTION APPARATUSES>>

Jochem Hendricks <<Eye Drawings>>

CONTINUITY EDITING: THE WALK CYCLE (SPACE & PACE)

Assignment: Your assignment is to create a video (of variable length)  that involves someone walking or running from one point to another. Consider the narrative carefully, and construct a ending for your character. Your assignment is Due Sept. 4th.

Required elements: 

1. 15 Different camera angles for each edit (Examples might include: height, closeups, extreme Closeup, medium shots, long shots, extreme long shot.)

2. Carful attention to the feet placement and continuity editing from one shot/angle to the next. Look the architecture and elements around your character to match up in the following shot. Make sure the flow is continuous. For example if I have a shot of someone passing a door in one shot and the next shot has the same character not quite to that door, that would breaking the continuity of the sequence. Another example: lets say you are about to make an edit from one shot to the next. In the first your character is about to step down with his left foot, in the next shot you should have that motion continue with the left foot then touching the ground.    

4. Tripod should be used for all shots. (or safely on the ground) "static camera"

5. You piece when finished should be uploaded to vimeo and then embedded into the Student blog <<Follow these instruction if you don't remember how to embed your video.

Walking sequence example

SWITCHING OFF from Integrated New Media Studies on Vimeo.

A VERY BRIEF HISTORY OF THE MOVING IMAGE

1895-1897

What is the difference between these two?

1902

Noted as the first film to have "Film Language"

1925

What is the difference between FILM and VIDEO?

Why is video art important or relevant outside of fine arts?

The Parka from Matthew Bennett on Vimeo.

Zooms From Nowhere from Chris Timms on Vimeo.

In this course I will be challenging you not only

 to learn the technology, but to think creatively, 

problem solve, and develop your own ideas and aesthetics with the medium of video. 

THE MOVING IMAGE

Eadweard Muybridge