Category Archives: softvideo

Poetics of Networked Video

Abstract for an essay that is underway:

Much writing on online video uses a media and cinema studies tradition that relies upon a tripartite separation of critical theoretical frameworks that considers either audiences, institutions, or the texts themselves. In the specific case of critical writing on online video these three broad models have remained largely untroubled, epistemologically, as they have been used to examine online video. As a consequence much scholarly attention in regard to online video has looked to the ways in which it challenges, disrupts, or reconfirms what has already been said about cinema and TV more broadly.

This is unfortunate, as these traditional approaches risk missing the specificity of digital video including its engagment with the formal properties of the World Wide Web. Networked digital video has a material thickness and obdurate recalcitrance that is neutered when the digital is treated as immaterial and virtual, or merely as an avatar of earlier media.
This essay will develop a series of propositions for a poetics of networked video. It will begin with Deleuze’s concept of the ‘minor’ as something that makes a major language ‘stutter’. Networked video will then be seen as a stuttering media in itself that, in turn, also makes traditional institutional forms of cinema and TV stutter. This stuttering of network video will be literally and figuratively described, much as Latour’s actor–network theory advocates, to critically articulate the things that networked digital video can do.

This descriptive method evades the acculturation of online video to existing theoretical frameworks. It wil not account for what happens through the lens of audiences, institutions or the texts in themselves. Such description allows us to approach digital networked video in the manner advocated by recent scholarship in speculative realism (for instance Ian Bogost’s work) and materialist media studies (Jussi Parikka) and will eschew the correlationist impulse to elevate story and narrative as an explanatory deity.

The terms of a poetics of minor video are that networked video no longer has ownership of the screen, as has been the historical case with film and TV. The screen is now personal, owned and controlled by its user, and subject to local and minor affective action. Hardware, software, and an economy of codecs and protocols aligns to network characteristics of an algorithmic making, while glitch, compression artefacts, interruption and pause are features (and not bugs) of a network specific practice that, as in lo–fi music, offers its own aesthetic autonomy. In relation to TV and cinema’s traditional literal occupation of time, digital video offers new paradigms for cinematic duration and, finally, cinema’s immanent granularity — it’s ability to be cut and rejoined through editing — shifts from a historical subservience to narrative toward other, machinic, associative, poetic, and relational ends.

IDFA DocLab Academy 2014

From their blurb (see

More and more, our reality is entwined and submerged in digital technology. While the consequences are both far-reaching and disturbing, these technologies have also led to an explosion of new ways to tell stories and create documentary art. But how do you tell a documentary story well? What artistic opportunities are opened up by new technologies such as virtual reality and the Oculus Rift? How do digital pioneers such as the National Film Board of Canada and ARTE utilize the internet without getting lost in its boundlessness? How do you finance an interactive documentary, find the right partners and reach your audience?

IDFA’s new media program DocLab and interdisciplinary arts center De Brakke Grond present, in cooperation with the Netherlands Film Fund and the Flanders Audiovisual Fund, an exclusive talent development program for 20 innovative documentary makers and interactive storytelling talents from The Netherlands and Belgium. The DocLab Academy takes place November 20-26 and offers a comprehensive and adventurous program on the cutting edge of documentary storytelling and interactive media.

Same old, same old.

Stuttering Video

From an abstract I am currently working on:

This essay will develop a series of improvisational propositions for a preliminary poetics of online video. It begins from Deleuze’s concept of the ‘minor’. The minor will be understood as something that makes a major language ‘stutter’, and so is both a stuttering media in itself, and in turn makes traditional institutional forms of cinema and TV also stutter. Considered as minor, stuttering online video is not only digital but can be claimed as a network specific media form and practice. This stuttering will be literally and figuratively considered and is evident when we describe, much like Latour’s actor–network theory advocates, the existing things that networks and videos can do.

Such description evades the acculturation of online video to existing theoretical frameworks that seek to account for what happens through the lens of audiences, institutions or the texts in themselves. This description also allows us to approach digital networked video in the manner advocated by recent scholarship in speculative realism (for instance Ian Bogost’s work) and materialist media studies (Jussi Parikka is exemplary here) as it eschews the correlationist impulse that elevates story and narrative to an equivalence with light in a vacuum for physics.

Sovereign Temporality (not)

Lives in a Korsakow film proffer themselves as a profound proposition in relation to cinema. Cinema and video are technical media, which is to say that they consist of a technological apparatus for the indifferent recording of what falls within view. They are indifferent because they do not care. A camera does not speed or slow in anticipation of what is there, nor complain because the view is too dark or light. This indifference is most deeply marked in its rhythmic consistency — ‘metronomic’ does not come close — established and then enshrined through the standardisation protocols of international convention.

Technical media occupies time the way a twentieth century army invades territory. This is no guerilla activity, minor tactic or smooth flow but industrial, rigid and fixed. Thirty seconds on that video camera is thirty seconds on this one, and every other one. This is why cinema is, in the first instance, a temporal rather than spatial media. And why, barring technological misadventure, a twenty eight minute film will be a twenty eight minute film all the time and everywhere, on every screen. Technical media’s temporal indifference is also preserved after these moments of capture and repeated in the industrial segmentation of our day by the radio and television broadcast, and the constancy of the record, CD, projector, cassette, and DVD player.

Cinema becomes then principally a temporal rather than a spatial medium. Obvious but always forgotten (for instance the edit is an intervention – the only possible – in time, its use to create a spatiality or to maintain continuity of space is secondary and at best parasitical to time) as this temporal writing and rewriting gets reduced to being merely narrative’s handmaiden. As if. Time though, no matter how quickly one cuts, or what to, is inexorable.

Korsakow offers an alternative temporality to this constancy (a constancy that can regarded as a joy or a prison) through an attribute which constrains how often its individual clips can be played. These are simply known as lives. If a clip is selected by a user while a Korsakow film plays this counts as a life, and once the set number of lives has been reached that clip will never appear again. This means Korsakow films shrink as they are viewed, they consume themselves (much like Gibson’s famous collaboration Agrippa) in the very moments and activities of their being watched. A performative combustibility. This inverts cinema’s existing relation with time as in Korsakow a film’s temporality is no longer sovereign.

A Poetic Approach to Documentary

Freshly minted PhD Bettina Franham’s thesis is now available from the University of Technology, Sydney’s library. This is a major contribution, read it, and an enormous congratulations to Bettina for some exemplary scholarship.

A Poetic Approach to Documentary: Discomfort of Form, Rhetorical Strategies and Aesthetic Experience

Working in the borderlands between art and document, a poetic approach to documentary disrupts commonsense understandings of what documentary can be. However, it is frequently viewed as marginal to the main body of documentary practice for its foregrounding of aesthetic choices around form and materiality.

Pushing to the extremes of what is recognisable as documentary, a poetic approach to documentary highlights the rhetorical impact of aesthetic choices within the broader field of practice. Experiential ways of knowing are emphasised so that the work is conceived of as an experience in itself rather than a replication of reality.

Moving beyond realist representations of evidence, a poetic approach can make use of techniques of defamiliarisation as a strategy to renew perception and enable a reimagining of preconceived connections. In diverging from established pathways unexpected combinations can occur, allowing complex and changeful conceptions to emerge.

Utilising a methodology of practice based research to produce a 28 minute single channel documentary and the close examination of pertinent creative works, this thesis argues that a critically engaged poetic approach to documentary can work to encourage thoughtful contemplation as part of an ongoing conversation in the process of knowing.

(UTS ePress)