Factory Reset

Altered machineries for cinema and other creative industries

Thematic seminar by Florian Cramer, with guest teaching by Aymeric Mansoux. In collaboration with the applied research center Creating 010, Hogeschool Rotterdam. April 10th – June 26th, 2012.

Introduction

Within the arts and media, the industry paradigm has been strongest and most developed in cinema, for technological and economic reasons. Yet we live in contradictory times: On the one hand, policymakers – particularly in this country – want the notion of creative industries to supersede the established notions of arts and media. On the other hand, the industry paradigm is shaken by contemporary shifts in the so-called “creative” sector: globalized labor and informal, temporary project-oriented networks replacing bureaus and studios, and last not least the means of (media) production that have become consumer/prosumer technology. In cinema, this development is very recent and disruptive: The factory is in a crisis, aside from always having been challenged and revised – on smaller levels – by the DIY, underground, hacker and porn fringes of cultural production.

If former fringe modes of production shape today's creative industries, what is replacing the factory? Other kinds of factories, like those of Andy Warhol, or – recently – Michel Gondry, or those in Silicon Valley and Lagos instead of Hollywood? What are the hidden machineries and formulas of alternative production methods? If we reset the machinery, literally and metaphorically, will it just return to its default values?

Subjects

• Magic Lanterns & Personal Views: DSLR cinema & camera hacking
• Be Kind Rewind: Michel Gondry's Home Movie Factory and other participatory formulas
• Screen tests: the Warhol Factory, underground film, film co-ops, video activism, DIY Labs
• Poetics of fan fiction: machinima, game mods, Star Wars Uncut.
• No budget creative industries: situationist film, dub music, exploitation films, Nollywood

These will be cross-examined with two areas of reading and research:

• Poetics of participation: Oulipo constraints, narratologies, handbooks and other formulas
• The discourse of the creative industries: Adorno/Horkheimer, Richard Florida, Chuck Kleinhans, Topteam Creatieve Industrie Nederland

Requirements for obtaining credits

• full attendance of the project, active participation in discussions;
• a reading journal on the course Wiki with at least five entries, each on one text/film/media project discussed in the seminar;
• the design and working prototype of a 'factory' – a system, medium or methodology that helps others create an (artistic) product while reflecting upon its own constraints.
• the Trimester Project report completed for your work.

reading, viewing and listening material

Film

• Halaw/Ways of the Sea (Malaysia 2010, Sheron Dayoc) – if available
• Mario Banana (USA 1964, Andy Warhol)
• Be Kind Rewind (USA 2008, Michel Gondry)
• La Jetée (France 1962, Chris Marker)
• Can dialectics break bricks? (France 1973, René Vienet)
• Star Wars Uncut (world-wide, 2012, collective)
• Igodo 1 (Nigeria, 1999, Andy Amenechi & Don Pedro Obaseki)
• films by Jess Franco (suggestions: Downtown – die nackten Puppen der Unterwelt, 1975; White Cannibal Queen, 1980; Diamonds of Kilimandjaro, 1983; Faceless, 1988)
• films by Andy Milligan (suggestions: Torture Dungeon, 1970, Gutter Trash, 1969)
• web tv series “The Scene” http://www.welcometothescene.com
• Minecraft machinima, 2010: http://www.youtube.com/watch?v=vIhs8_m5qPc
• Straight 8 (UK/world-wide, 2008-2012): One Super 8 cartridge, no editing: http://www.straight8.net

Audio

• Baku: Symphony of Sirens (Arseny Avraamov, USSR 1922/RecRec Megacorp UK 2009)
• recordings by The Scratch Orchestra/Cornelius Cardew, http://www.ubu.com/sound/scratch.html
• Lee Perry, Kung fu meets the Dragon (Jamaica, 1975);
• Big Gundown: Reggae Inspired By Spagetti Western (compilation 2004);
• Scientists' themed dub releases: Scientists meets the Space Invaders (1981), Scientist Encounters Pac-Man At Channel One (1994), Scientist Rids the World of the Evil Curse of the Vampires (1981))

Text

• Theodor W. Adorno, Max Horkheimer, Dialectics of Enlightenment, Stanford University Press: 2007 (1947)
• Vladimir Propp, Morphology of the Folk Tale, University of Texas Press: 1968 (USSR 1928), http://homes.dico.unimi.it/~alberti/Mm10/doc/propp.pdf
• Warren F. Motte (ed.), Oulipo. A Primer of Potential Literature, University of Nebraska Press: 1986
• Harry Matthews, Alastair Brotchie (eds.), Oulipo Compendium, Atlas Press, 1998, excerpts: http://web.archive.org/web/20060508084853/http://www.oulipocompendium.com/html/excerpt_frame.html
• Michel Gondry, You'll Like This Film Because You're In It, Picture Box: 2008
• WORM.filmwerkplaats (Esther Urlus), To Boldy Go: a starter's guide to handmade and d-i-y films, 2008 http://filmwerkplaats.wormweb.nl/pdf/to%20boldly%20go.pdf
• Cherry Kino, Wondermental Super 8 and 16mm film techniques, 2010 http://en.pleintekst.nl/cherry_kino.pdf
• Radical Software (magazine 1970-1974), http://www.radicalsoftware.org/e/browse.html
• R. Klanten, A. Mollard, M. Hübner (ed.), Behind the Zines: Self-publishing culture, Gestalten: 2011
• Richard Florida, The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community And Everyday Life, Basic Books: 2002; short article here
• Chuck Kleinhans, Creative Industries and the Cold Hard Facts of Global Capitalism, in: Jump Cut, A Review of Contemporary Media, issue 53, 2011 http://www.ejumpcut.org/currentissue/kleinhans-creatIndus/index.html
• Topteam Creatieve Industrie, Advies Topteam Creatieve Industrie, Rijksoverheid Nederland: 2012
• Hito Steyerl, Is the Museum a Factory, e-flux journal no. 7, 2009, http://www.e-flux.com/journal/is-a-museum-a-factory
• Gerald Raunig, A Thousand Machines, A Concise Philosophy of the Machine as Social Movement, The MIT Press: 2010, http://monoskop.org/log/?p=3765

Technology

• Panasonic GH2 hack: http://www.personal-view.com
• Canon EOS hack: http://magiclantern.wikia.com/wiki/Magic_Lantern_Firmware_Wiki
• Blogs: http://www.eoshd.com, http://cheesycam.com, http://dvxuser.com

Tutor

Florian Cramer is an applied research professor ('lector') for the impact of new media on the profession of artists and designers at the applied research center Creating 010 at Hogeschool Rotterdam.

He studied Comparative Literature and Art History at Freie Universität Berlin, Universität Konstanz and University of Massachusetts at Amherst, obtained his M.A. degree in 1998 and doctorate in 2006. From 1999 to 2004, he was a junior faculty teacher at Peter Szondi-Institut for Comparative Literature at Freie Universität Berlin, in 2004, a guest researcher at Piet Zwart Institute, from 2006 to 2010, course director of the Master programme Media Design & Communication, since 2008 reader/applied research professor, since 2011, programme director of the new research center Creating 010 of Hogeschool Rotterdam, and a board member of Stichting WORM, Rotterdam.

Since 1996, he has been a critical writer on literature, arts and media. His most recent longer publication is the book Exe.cut[up]able statements. Poetische Kalküle und Phantasmen des selbstausführenden Texts, Wilhelm Fink, 2011. In practical projects, he has collaborated among others with Stewart Home, mez breeze, Alan Sondheim, Sebastian Luetgert, Eva & Franco Mattes, Cornelia Sollfrank, Istvan Kantor, Coolhaven, Wilhelm Hein & Annette Frick. He is both an amateur computer programmer and an amateur filmmaker.

Schedule

The Thematic Seminar takes place on Tuesdays from 11:00 to 17:00 in the large project space at Piet Zwart Institute, Karel Doormanhof 45

April 10

• 11:00 Introduction, brainstorming and discussion of the Thematic Seminar
• 14:00 Film: Be Kind Rewind & discussion

April 17

• 11:00 Reading: Michel Gondry, You'll Like This Film Because You're In It
• 14:00 visit of Roodkapje, discussion with Aline Yntema about the Home Movie Factory project
• 16:00 camera hacking roundtable

April 24

• 11:00 Reading: Oulipo Compendium (selections) & Propp, Morphology of the Folktale
• 14:00 discussion with Paolo Davanzo & Lisa Marr and Esther Urlus over community filmmaking (to be confirmed)
• 15:30 selected Straight 8 films, discussion

May 8

• 11:00 Reading: Theodor W. Adorno, Max Horkheimer, Dialectics of Enlightenment, chapter The Culture Industry: Enlightenment as Mass Deception.
• 14:00 film: Andy Warhol, Mario Banana; discussion
• 15:30 The culture industry of Jamaican dub (Aymeric)

May 15

• 11:00 Reading: Richard Florida, The Rise of the Creative Class
• 14:00 project sketches: factories
• 15:30 film: Star Wars Uncut (excerpts), selected machinima, discussion

May 22

• 11:00 Reading: Chuck Kleinhans, Creative Industries and the Cold Hard Facts of Global Capitalism
• 14:00 Film presentations: Jess Franco, Nollywood, Andy Milligan, The Scene

May 29

• 11:00 Reading: Advies Topteam Creatieve Industrie
• 14:00 camera hacking & DSLR cinema revisited; Radical Software

June 5

Project development / support day

Student reading journals

eleanor
andre
bart
javi
Mano Daniel Szollosi
lucian wester
Dave Research
Marie
Jasper
petra
Dennis
Janis

14 Creative Industries (show)

Proposal for a show blurb

De Creatieve Industrie is één van de snelst groeiende sectoren van de Nederlandse economie. Naast de initiële creatie – het creëren van vorm, betekenis of symbolische waarde – is in deze topsector de kern van de activiteiten ook de manier waarop zij die activiteiten vormgeven: het creatieve innovatieproces. Als topsector gaat het om bedrijven die hun bestaansreden vinden in creativiteit, innovatie en ondernemerschap.

The creative industries are among the fastet growing sectors of the Dutch economy. Next to the initial creation - the creation of form, meaning or symbolic value -, core activities in this top sector concern the way in which these very activities are being designed: the creative innovation process. As a top sector, it revolves around companies that are founded upon creativity, innovation and entrepreneurship.

Keywords

Collection

• Factory poetics: assembly line, morphology, formula, protocol, collective, community, constraint, automatic, robotic

• Contemporary creative industries: identity, co-creation, sustainability, innovation, media, leisure, creative, mobility, well-being, het nieuwe werken, happiness, smart, capital, valorization, entertainment, crowdsourcing, creative

• In between the two: art, capitalism

Random generator

Creative Industries buzzword generator

Combinations

creative constraints / human constraints / creative identity / innovative formula / formulaic happiness / innovative community / community innovation / smart communities / constrained co-creation / creative capitalism / creative capital / creative valorization / assembly line co-creation / co-creative assembly lines / co-creative protocol / leisure protocol / leisure formula / happiness protocol / smart mobility / collective mobility / smart collectives / smart communities / automatic creativity / protocol machine / robotic valorization / automatic leisure / formulaic identity / mobile identity / identity mobility / identity fashion / introspective media / crowdsourced precarity

Favorite combinations

• Smart Communities
• Creative Capital
• Automatic/Automated Leisure
• Identity Mobility
• Crowdsourced Precarity

14 factories

buzzwords

buzzword generator: http://permutations.pleintekst.nl/ci_next.cg

...with links to individual project pages: Put list of equipment needed next to yr project:

Category:Crowdsourced Precarity

1. Paint Factory
2. Data Factory
3. Dissolute Image Factory

Category: Identity Mobility

1. Train of Knowledge Factory
2. Identity Factory

Category: Automatic Leisure

1. Musical factory

1. Unemployment Factory
2. 3D Portrait Factory
3. Colour Tests Factory
4. Director's Cut Factory
5. Assembly Mine Factory
6. Sustainable Publishing Factory
7. Direcotor's Cut Factory
8. Music Videos Factory
9. Human Constraints Cactory

Corporate Identity concepts/ideas/options:

1. 
2. 
3. 

Funding

1. kickstarter
2. paypal

stock photos




                                d8888888888888888888888"
                               888888888888888888PYP"'
                              d88888888888888888D  
                              8888888888888888P'
                               Y8888888888888b
                              C8888888Y888888P
                               Y88888'd88888"      
                               8888P d8888P 
                              d8888D 88888   
                             d888P'  Y88dP   
                            nY88Pn    Y88            8"""-----....._____
                            N   +N    88'            8                  NNNNNN8
                            N   +N  nd88n            P                  NNNNNNP
                            N   +N  N  +N           d  dNN   ...       dNNNNNN
    __...---"Nn.            N   +N  N  +N           8  NNP  dNNP  dNN  NNNNNNN
 8""         NNNNn          N   +N  N  +N           8       ""'   NNP  NNNNNNN
 8       oo  NNNNN          N   +N  N  +N           8                  NNNNNNP
 Y  dN   NN  NNNNN          N   +N  N  +N           P       ooo       dNNNNNN
  b NY   ""  YNNNN          N   +N  N  +N          d       dNN'  dNN  NNNNNNN
  8        _  bNNNb         N   +N  N  +N          8       """   NNP  NNNNNNN
  8  o8   88  NNNNN         N   +N  N  +N          8                  NNNNNNN
  Y  BP   ""  NNNNN         N   +N  N  +N          8            nnn   NNNNNNP
   b          NNNNN         N   +N  N  +N          P            NNP  dNNNNNN
   8          YNNNN         N   +N  M  +N         d             ""   NNNNNNN
   8           NNNNb        N   +N  N  +N         8                  NNNNNNN
   Y           NNNNN      __N___+N__N  +N         8                  NNNNNNP
    b          NNNNNooooodP""""""""YNNNNNNbcgmmnnn8                 dNNNNNN
    8          """'                         `"""""8                 NNNNNNN
    8                                             P                 NNNNNNN
    Y                          NNNNNNNNN         d                  NNNNNNN
     b                         NNNNNNNNN         8                  NNNNNNP
     8                         NNNNNNNNP         8                 dNNNNNN
     8                         NNNNNNNN;         8                 NNNNNNN
     Y                         NNNNNNNN:         P                 NNNNNNN
      b                        NNNNNNNN;        d                  NNNNNNP
      8                        NNNNNNNN         8                 dNNNNNN 
______8__........----------""""""""""""------...8..______         NNNNNNN