May 2012 - Video Vortex Zagreb: The inner life of video
spheres An online video is never existing alone. The video is
presented inside a webpage, a browser. A text adds a title,
comment, tag. Another video is suggested aside, etc. What appears
as a link or tag is the existence of at least a pair. This other
part appears to be there at the same time as well as any time. It
is a juxtaposed pair building a common space. If we display a
video with its timeline, then the juxtaposed others or objects are
creating another axis or dimension. We just need to think of a
flow of images which expands not only in time but also each frame
expands in a space beyond the two-dimensional screen. There is a
multiplicity of screens connected to the one screen viewed at a
specific moment. In a Sloterdijktian sense a complex ecosystem, an
artificial sphere of existence with protective walls and elaborate
systems of air conditioning. Such an ecosystem redefines the
aesthetics and structures of moving images. It aks for a new set
of descriptive and analytical tools, another kind of theory. In
his now classic text “On Video” from 1989 Roy Armes sees video as
the “final link” in a complex chain of developments in both image
and sound reproduction. In 1993 Sean Cubitt notes in
“Videography”, that there will never be a theory of video: “Not
being really a simple and discrete entity, video prevents the
prerequisite for a theoretical approach: that is, deciding upon an
object about which you wish to know.” Tom Sherman on the 2nd Video
Vortex conference in 2008 describes video as “a liquid,
shimmering, ubiquitous medium that absorbs everything it touches.”
Video has gone historically from nearby opacity to a “total”
transparency. It has become absolutely invisible. It seems that
there is no explicit video theory, which handles video on its own
basic substance. Like video vortex there are series' of practices
reflecting on video, but still there is not a discipline called
video studies or online video theory. In this presentation I will
develop a way of describing and reflecting local and complex
“atmospheric conditions” related to video and its spheres.
Therefore localizing what might be in my opinion a kind of online
video theory.
"Video Spheres and Bubbles" - Public lecture @
Sanata Dharma University Yogyakarta, Monday, July 18th -
check out the
report from Kunci Cultural Studies Center,
Abstract and notes on this talk can
be found here ...
05/30/11 The CARMEN video
is online. Thanks to everyone for their great efforts.
19. April 2011: Out now
: Theory on Demand #7 Image, Time and Motion:
New Media Critique fromTurkey, Ankara (2003 – 2010)
Edited by: Andreas Treske, Ufuk Onen, Bestem Büyüm and I. Alev
Degim.
Design: Katja van Stiphout, DTP: Margreet Riphagen
Printer: ‘Print on Demand’
Publisher: Institute of Network Cultures, Amsterdam 2011
ISBN: 978-90-816021-5-0
Download the
TOD#7 reader here. about this publication: This reader is a
collection of essays written by Turkish graduate students between
2003 and 2010 for Andreas Treske’s seminar ‘Image, Time and
Motion’ at Bilkent University in Ankara, revised and actualized in
2010. Coming from a wide range of disciplines they had studied
before, very rarely media or cultural studies, these students
brought in their various viewpoints and methods, and tried to
integrate their observations and understandings in a seminar
related to cinema and new media to discuss and sometimes just to
describe the influences of digital media technologies for
themselves and their colleagues. Starting from the premise that
digital technology redefines our moving image culture, the authors
reflect in their essays various kind of approaches and methods,
experiences and practices, descriptive, critical and
interdisciplinary. Contributors: Pelin Aytemiz, Bestem Büyüm, I.
Alev Degim, Bilge Demirtas, Fulya Ertem, Deniz Hasirci, Cagri
Baris Kasap, Zeynep Kocer, Rifat Süha Kocoglu, Leyla Önal, Ufuk
Önen, Didem Özkul, Segah Sak, Alper Sarikaya, Ayda Sevin, Umut
Sumnu, Andreas Treske and Funda Senova Tunali.
1st Symposium of Art and Design Education
"Past, Present and Future"
Interdisciplinary Workshop leader April 22 - 29th, 2011
Baskent University, Faculty of Design and Architecture, Ankara
03/11 "Fernsehrauschen" for 22nd
International Ankara Filmfestival
a limited edition of 12 unlabled DVD's with analogue TV Noise for
sleepless nights distributed @ Goethe Institute Ankara on Sunday,
27th March 2011
03/11"Touch, Jump and Dance"
Interactive Video Workshop @ 22nd International Ankara
Filmfestival
How can visitors influence the video installation they are
watching? How can kinetic objects move, how can we change light
and atmosphere of an artistic space? This workshop on interactive
video will introduce interfaces (Arduino, Kinect) for artists who
want to realize multimedia installations, interactive projects or
kinetic objects by using sound, light and movement to control
machines, generate sounds, lights and motion, and influence
on-screen events.
03/11 Festival Screening Teslimiyet,
Dirtected by Emre Yalgin, edited by Emrah Dönmez and Andreas
Treske in 2010,
22nd Ankara International Film Festival Competition
Article:Frames within Frames –
Windows and Doors. “Doors, windows, box office windows, skylights, car
windows, mirrors, are all frames. The great directors have
particular affinities with particular secondary, tertiary, etc.
frames. And it is by this dovetailing of frames that the parts
of the set or of the closed system are separated, but also
converge and are reunited.”
Gilles Deleuze, Cinema I: The Movement-Image
As Anne Friedberg already referred to in “The Virtual Window”
(2006) the frame within a frame or the shot within a shot is a
“common figure” of/in cinema. The moving image is formally split
in parts, re-composed and re-centered through an additional act of
framing equal an exaggeration. The “cadrage” includes a second
“cadre” replacing the traditional way of cutting to the object to
be seen as well as its reverse shot. The act of entering by the
viewer is not formed between the shots and their single “cadrages”
rather a multiplicity is presented online and constantly
available, not one window, a sum of windows. While split screens
mark and separate historically spaces in cinema, frames within
frames create traditionally a new element in the narrative or
fictional world.
Following my interest in the question of how does the diverse
development of screens, and the emergence of online video
influence the way we compose and create moving images and
narratives, this talk is another attempt to apply formal
theoretical approaches to the existing forms of online video and
the interface, where it is embedded. Are we in the need of
re-assessing frames in its forms as windows or doors or how does
the form and forms presented by and with online video in its
specific interface position the viewer? In: Geert Lovink and Sabine Niederer (eds.):
Video Vortex Reader 2 pp. 25 - 34. The reader can be downloaded here
"Iyi bir kitap okursun...
Iyi bir filme gidersin...
..." (L.Gülden Treske)
