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ANDREAS TRESKE

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current:

MAKE A DOCUMENTARY FROM A TO Z IN 7 DAYS workshop
Summer School in Audiovisual Arts and Communication
1st July - 7th September, 2013
Lesvos island, Greece

Out now: THE INNER LIFE OF VIDEO SPHERES, INC Network Notebook 06

Network Notebook 06

Lüneburg, Leuphania University

VIDEO VORTEX #009 - Re:Assemblies of Video

28.02. - 02.03. Lüneburg, Germany

Izmir University of Economics

Department of Cinema & Digital Media: Sounds, Images, Cultures II Department of Media & Communication, Film Option: Film Studio II and Senior Project II



0912 - New article: Was ist Medienkunst? / What is media art?

(de) (en) (tr)

0612 - WEBDOCS Workshop Istanbul

Youth Mode Istanbul and Documentarist

0512 - 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.


April 2012 - North Aegean Narratives

Creative Documentary Workshop in Adatepe

January 2012 - Mode Istanbul Creative Documentary Workshop


November/December 2011: CILECT Conference Prague

August 2011: We(Gulden, Miyav, Pepe & Andreas) are moving our house - new location: Bademler/Urla (info)

July 2011: Video Vortex #07 Yogyakarta Indonesia (more info)
Links:Veronika Kusumaryati's'pravdakino'-blog, EngageMedia, Indonesian Visual Art Archive, Langgeng Art Foundation, Kedai Kebun Forum,

"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 ...

Tree

 

 

05/30/11 The CARMEN video is online. Thanks to everyone for their great efforts.

 

INC TOD #7

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

 

Moderator @
"Topographies of 'Turkish Cinema' - Hyprids, hyphens, and borders"
International Conference Izmir University of Economics,
Department of Media and Communication, Izmir April 21., 2011

 

clip
04/11 "Carmen" Music Video (Making Of by Jörn Fröhlich on YouTube)

 

03/11 "Fernsehrauschen" for 22nd International Ankara Filmfestival

Arznei
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

 

03/11 Moderator of Country Reports @ Video Vortex VI

 

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)

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