User:Emily/NOTES for Own Research & Resource 06

From XPUB & Lens-Based wiki
< User:Emily
Revision as of 11:29, 31 March 2015 by Emily (talk | contribs) (→‎Marc Lafia)
(diff) ← Older revision | Latest revision (diff) | Newer revision → (diff)

Lev Manovich

Soft(ware) Cinema
What does it mean to live in a global information society
What happens to our subjectivity given enormous amount of data processing everyday (The effects of information technologies on subjectivity)
Lev Manovich first related the database to cinema in his effort to understand the changing technologies of filmmaking in media landscapes. Cinema privileged narrative as the key form of cultural expression of modern age but the computer age introduced its correlate, the database: "As a cultural form, database represents the world as a list of items and it refuses to oder the 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"

Marc Lafia

The Battle of Algiers
Screen Shot 2015-03-31 at 11.07.35.png
Formally, the work breaks down cinema's linear structure, proposing an open ended narrative in which the viewer's intervention catalysts a set of events prescribed by predefined rules, which are based on the artists' interpretation of the original work in combination with the inherent nature of its subject.[1]
Lafia states: “The Vandemar Memex is a rumination on the many fascinating tropes of extended self, distributed narrative, artificial life, collective intelligence and emergent systems.”
[1] From Tate Intermedia Art,
Film, Play,Power and the Computational, or Byting Celluloid by Daniel Coffeen, February 2006
The film we end up seeing is only one possibility; cut it again and there's a different movie
Films are based on a database and are authored by a network
There are films that don't interpret the reel and the screen as univocal but as a machine that winds time and folds place into complex configurations, that stream multiplicity, ambivalence, play.
The algorithmic dynamics of this The Battle of Algiers move beyond cinema to become a cinema-machine, remaking itself again and again: a veritable reign of images.

Omer Fast

Spielberg's List(2003)
Fast creates a layered work in which the idea of memory and what is real is both expanded and put under considerable duress when filmed entertainment turns (in)to history.
investigations into the relationship between past ans present
The Casting(2007)
He anchors this process in his own position as a spectator, which is only possible by involving himself on the screen

The Time Machine In Alphabetic Oder

The Time Machine in alphabetical order is a complete rendition of the 1960's film version of HG Wells Novella re-edited by us into alphabetical order from beginning to end. In doing so, we attempt to perform a kind of time travel on the movie's original time line through the use of a system of classification.

24 Hour Psycho

Url: (famous ellipsis of Stanley Kubrick’s film “2001: A Space Odyssey” (1968))

Hold on, Emilie Brout & Maxime Marion

Robert M Ochshorn

a ~60K-row relational database scraped from a German media center/archive as part of a series of artworks for their website.

Data Structure

Jake and Dinos Chapman, Bangwallop, 2011

undesigning : brandjacking


Richard Prince, Catcher in the Rye, 2011

Derek Beaulieu, Flatland, 2007

Kate Briggs and Lucrezia Russo, The Nabokov Paper, information as material, 2013

Pigeon Reader