Video Vortex: Simon Ruschmeyer programme

Visual Poems – Abstract video works on the net
a Video Vortex channel composed by Simon Ruschmeyer

Video maker Simon Ruschmeyer (DE, 1980) explores, in theory as well as practice, the borderline areas between classical audiovisual narration and the new possibilities proferred by interactivity and networked communication. Ruschmeyer has realised countless video projects and has recently completed his paper The Moving Web – Forms and Functions of Moving Images on the Internet. His research into new types of artistic production and distribution on the net can be visited on movingweb.org.

“Abstraction has been an important theme in the arts for over a century. Concerning the moving image there has been a strong tradition of abstraction from early experimental films to video art. The exploration of form has always been the exploration of the rules and functionalities of the particular medium.

20 years after the invention of the Internet moving images invade the medium. YouTube is already causing about 10% of the internet traffic worldwide, videos are seen by millions of users. But what is a typical web video? Are there already existing rules and thematical focal points in the YouTube world? Critics complain that you only need someone hurting himself in your video to get the big click on YouTube. Serious content or artistic expressions don’t arrouse enough attention and get lost in the digital nirvana.

So what about abstract or poetic web videos? Aren’t they objecting the rules of the medium by not impressing the viewer with fast food entertainment? Or are they by contrast indeed exploring the rules of the new medium by addressing issues like fragmentation or postmodernity?”

Questions:

1.)In which way would you describe the Internet as a reference point or habitat for your work? Does it have any effects on your production or distribution process?

2.)What is your interest in abstract/poetic forms? Do you see a specific difference of abstract web videos to experimental film or video art?

Project Name: “Abstract Beauty”
Artist: Mate Steinforth
Website: www.mateuniverse.com/

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Answers:
1.) The internet has a huge impact on both production and distribution of my works. First of all, the internet has a huge impact of pretty much everyone’s life in 1st world countries, at least people working in
media. That means that a lot of inspiration is found on the net. This means as a consequence, that it is one of the most important distribution mediums as well.
2.) For my personal work the central theme is the non-narrative, atmospheric story. Almost hyperreal, associative. The pieces shift from abstract graphics to describing an otherworldly situation in everyday’s life to
more classical storytelling.
I don’t see a big difference between web videos and experimental film or video art. It’s just the medium in which you see it, not the content.

Project Name: “March 9, 1886”
Artist: We work for them (Michael Young & Michael Cina)
Website: www.weworkforthem.com

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Answers:
1.) Its a giant library for my research. I have become lazy in looking into books, and do 90% of my research online these days, which is good and bad. It has 100% effect on my distribution process, as people have always seen or learned about my work video my websites.
2.) When it comes to executing my own work its the only approach I enjoy to work in. I find direct and straight forward work is too limiting and doesn’t leave enough imagination for the user. No, in the end its still moving pictures, doesn’t matter what the platform, location or space. Of course, one might find it much more prestigious to have video in a gallery, versus on youtube, due to the fact you feel someone in a power position choose your work above others.

Project Name: “Mauenheim”
Artist: Alec Crichton
Website: http://alec.crichton.tv/

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Answers:
1.) Whether the networked homeland of our culture, the digital place for exchange and memory, will help us bridge the gaps – resulting from the flow of money, advantages in information and human vanities – remains to be seen. In the digital realms parasitic relations seem to be expanding even further; we have to take this into account and influence the ongoing changes in a reasonable manner.
As the openness of the internet provokes new ways of participation, the resulting mixture of existing forms, in which we record and describe our common reality, represents an ever increasing challenge. Where technological progress and spare time breed a mass of data, the classification and organisation of this quantity is the next step.
As energies are progressively set free, the fact that we are all part of a large stream is entering our collective consciousness. As describing a present situation, through an act of creativity, is mostly based on reprocessing and constantly re-sorting former ideas, the need for access to these views becomes evident, in order to provoke new perspectives, arising from an individual lifetime.
So in all ranges of human interaction, the internet multiplies the ways of perceiving and describing our world, undermining former educational barriers. Within the scope of artistic forms of communication for instance, the internet is currently erasing the division of the entertainment industry and the art world.
2.) An artistic practice tends to serve a more unifying than differentiating function, where established symbols and traditional ways of perceiving may be confused, in order to allow us to enjoy this form of speechlessness. Poetic abstraction is a suitable means to this end, where abstraction does not mean less; it rather strengthens an internal unity in which all elements of a work refer to one another. This enables us to experience an aesthetic form of sense, without requiring another significant meaning or an external source for understanding.
In my abstract approaches to the center of an artistic form of expression, different levels of perception are interweaved in a surrealist manner. It is this kind of aesthetic engagement, which seems to make an artist or a work of art distinguishable from other actors and their products. This distinction can be difficult to make, whenever other models of communicating personal views, like scientific, journalistic or political strategies, blend in with this artistic routine.

Project Name: “Things fall apart”
Artist: Devoid of Yesterday (Rob Chui, Chris James Hewitt, Ben Lukas Boysen)
Website: www.devoidofyesterday.com

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Project Name:
Artist Sebastian CURT Gebert
Website: www.curt.org.uk

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Project Name: “Transrec”
Artist: Defasten
Website: www.defasten.com

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Answers:
1.) I would be lying if I said that the web has had no effect on my production and distribution process. Because it has, from the beginning, been an inherent part of my artistic drive, and has proven to be a reliable and inexhaustible source of knowledge, and inspiration throughout my career as an artist. When I say that, I think I am speaking for many people in this digital information age. Our society has become saturated with information. I am a product of the Internet, in other words. In using the internet, I have managed to create a so-called“defasten filter”that allows me to channel my work online and establish a relevant presence.2.) I think every medium has its restraints and limitations. Experimental film, video art, abstract web videos.. they all have their own set of defined challenges and potential based on constellations of governing goals, concepts, philosophies, and aesthetics. I believe those “boundaries” are what visually and aesthetically differentiate those art
forms, by creating recognizable patterns of, say, visual vocabulary. Conceptually, I find all three art forms have underlying similarities, in that each medium attempts to break from traditional narratives, some more ardently than others. Though lately, I feel that what has occurred – or what can potentially occur – in all three “separate mediums”, is a sort of coalescing, or convergence of form and/or aesthetic direction, at least, in my field of practice (digital video/compositing/3d
animation) in relation to the other two more “established” genres you mentioned. In my case, my interest in creating abstract, poetic forms of video work is an amalgamation of my interests in conveying textural, non-linear qualities of raw ambience, whether it be a straight up narrative, or not. I am interested in producing situations, or “moods”, self-reflexive, meta-narrative works of moving image that asks you to take a step back, and think (optional), or simply indulge in a sculpted temporal moment.

Video Vortex: Ana Kronschnabl & Tomas Rawlings programme

Ana Kronschnabl’s career in media began in 1987 when she founded and ran a video production company, Cambridge Video Unit: with clients including Ford UK and the NUS. Ana is one of the UK’s leading authorities on new-media aesthetics and technology, is an award-winning filmmaker and founder of the acclaimed web-film project plugincinema. Ana won the 1990 Ian Nicol Health Promotion Award for her film on AIDS, ‘Sex, Lies and Stereotypes’ and is the co-author of the first ever book to examine filmmaking and the Internet; ‘Plug In & Turn On: A Guide to Internet Filmmaking’ (ISBN: 0-7145-3102-2 Marion Boyers, 2004). She is a visiting lecturer at Bristol University and is completing a PhD on content creation for the Internet and other hand-held devices. Ana sits on the MediaBox panel for South West Screen and the selection panel for Encounters Film Festival. Ana is currently CEO of the digital media and computer games company FluffyLogic, whose client list includes Hewlett Packard, Sony Computer Entertainment Europe, Swindon Borugh Council, South West Regional Development Agency and Knowledge West.

Tomas Rawlings graduated from a degree in Psychology and Communication in 1996. He then went on to work with young people for various social services projects. In 1998 he entered the computer games industry working at Hothouse Creations. There he worked as a designer on PC, PlayStation? and Dreamcast games such as ‘Abomination: The Nemesis Project’ and the best selling TV-tie in, ‘Who Wants to be a Millionaire?’ He moved to Pivotal Games in 2001 to work on next generation game systems. Amongst other project there, he was lead designer on the PC, PlayStation2 and Xbox conversion of the 1963 Oscar winning classic ‘The Great Escape’. Tomas is co-author of ‘Plug In & Turn On: A Guide to Internet Filmmaking’ (ISBN: 0-7145-3102-2 Marion Boyers, 2004) and is currently the development director at FluffyLogic and is studying for a PhD in Network Media at Bristol University.

www.plugincinema.com

Berlin Riot 1999 (Atari Teenage Riot LIVE)

the classic piece that was the audiovisual epiphany for many. still remains the standard to match for av cutup. ninjatune rool!

Web 2.0 … The Machine is Us/ing Us

kersal massive with REAL Ginger Joe

KERSAL MASSIVE vs SLAYER

Warby does the kersal massive

Marcus Brigstocke rants about religion. Not for the faint-hearted! Audio from ‘The Now Show’, Radio 4, Saturday 21 July 2007. Pictures compiled and sequenced by Alien8ted.

Digitalfreethought.com’s site manager answers Religious Questions in his 6-part series Atheism-101.
Name: Doubter5
Age: 57
Computer Programmer, Biker, Country Dancer, Karaoke Singer, Guitar Player, B.A. Poli-Sci ’75. See http://uk.youtube.com/user/Doubter5

mentos+coke light = explosion

my humps – black eyed peas

Alanis Morissette “My Humps” video

distance over time

“Distance Over Time is part of my research into making appropriate content for delivery over the Internet. Distance Over Time is about the concept of travel or movement. It contrasts moving footage taken from different forms of transport with the self determined, mechanical movement of objects. The film moves through time and space multilayering images and sound as it moves faster and faster towards the end of its journey. The film is intentionally experimental and conceptual using the shape, colour and pace of the images as the formal structure. It was filmmed using a Canon Powershot S200 digital stills camera at a very low resolution (160 x 120) and edited in AfterFX. There are two different versions here; one 56k version and one for broadband (256k). Although I experimented with various codecs and file formats, Real is the one that gave the type of compression and image/sound quality that I preferred.”

Eliane Radigue at Argos

Eliane Radigue

We’re very happy to have Eliane Radigue at Argos. She’s coming over to attend the performance of Naldjorlak by Charles Curtis (@Argos) on Thursday 4 October, and the lecture by Manu Holterbach (@Q-O2) on Friday 5 October.

A pioneer composer of electro-acoustic music, Eliane Radigue is a remarkable figure in the contemporary experimental music scene. As soon as the early 50s, she was closely related to Pierre Schaeffer and Pierre Henry. From 1970, she started distinguishing herself from other composers by focusing on the new possibilities offered by the first synthesizers. More particularly, she worked with an ARP synthesizer, which became and remains her trademark. Her drone music, a continuous flow of intermingled sound waves, is impossible to ignore and is a major influence to a whole new generation of composers – in France as well as in many other countries.

“Eliane Radigue works with electronic sounds on tape to create an ambience within which sound seems to move in a continual flow around the listener. Her music has been described as “infinitely discreet … next to which all other music seems to be tugging at one’s sleeve for attention.”
–Michel Chion, in Les Musiques Electroacoustiques

Charles Curtis

THU 4 OCTOBER // 20:30 // ARGOS
concert Charles Curtis (cello): ‘Naldjorlak’, a composition by Eliane Radigue for Charles Curtis. in the presence of Eliane Radigue .
+ concert Mika Vainio / Lucio Capece

FRI 5 OCTOBER // 20:00 // Q-O2
lecture Manu Holterbach about Eliane Radigue + opening sound-installation ‘sigma’

Read a nice interview with Eliane on prism-escape

Video Vortex programmes online

videovortexIn the context of the Video Vortex conference (5th of October) we asked some of our guests to compose a program of Internet video works, as a source of inspiration and reference. We’ll be posting the programmes on this blog.

Some of these programmes will be presented after the conference, during an informal screening