Tag Archives: softvideo

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 2010 K-Film Explaining How to Make your K-Films

I’ve made a k-film that is very linear. Well, not linear, you can listen and view the clips in any order you like, but it is not so much a k-film as using Korsakow to collect some screen casts together where I go over some things to think about in relation to making your k-film projects. This was made using Korsakow 5.0.4, and I’ve included a playhead in the interface which shows you where in the clip you are. The advantage of this is that it immediately tells you how long a clip is, since if the playhead progresses very slowly then you know it is a long clip (and vice versa).

So, the k-film. It is commentary on some of the things to think about in your final projects. I made it as a k-film because it was just much faster to talk about this stuff and record it than trying to write it all out. YMMV. Click the pic go there.

Knotes

Representational Fallacy

Students are currently using Vine or Instagram (predominantly) as their medium of choice for filming in our smuggled in Korsakow based subject. We get them to make a lot of quick, sketch video work, largely so that they can produce a viable media library, to provoke them to question their implicit model of media monumentality as their default position for making anything on video, and to get them to think quickly and critically about what makes a good shot a good shot by doing a lot of them.

A common problem, which is the same as the ten fonts in the brochure and the twenty two edit effects in the iMovie clip problem, is that even where the video clip is only going to be six seconds long (Vine) they clutter it up. This happens in two ways.

The first way is that they get worried or are unsure about what their clip is about. This is unnecessary as they are given a quite specific brief (e.g. ‘light’) that while open, also grounds it. So they will film a light (for example), but then move their camera in, out, around. As if six seconds of watching the light shimmer as the CCD and compression plays with it is not enough. So we talk about one clip equals one idea. If it is about light, and the movement doesn’t contribute to how it is about light, then it just gets in the way, it reveals an insecurity in the material and the practice.

The second way is what might be called the ‘representational fallacy’. This is where they feel obliged to have to explain everything. Even for six seconds. If they start close, and it is not immediately evident what we are looking at, then the camera will pull back, or there will be the Vine equivalent of a wide shot, so that we now know what it is. Or the reverse. Start wide, then go close. If there are several shots, a list, then there will be a closing shot that reveals what this is a list of. It is like there is an obligation to explain, account for, that ambiguity or even just abstraction, the simple pleasure of what the brief glimpse is for itself is not sufficient. The collapse of a possible poetry of the image into the rationalisation of explanation. This is the dark side of Bataille’s restricted economy where there is the logic of the bookkeeper’s double ledger so that what is spent on one side must be recovered on the other. It is a variety of epistemphilia.

Some Korsakow Sculpting

Was a beautiful day Saturday. Mid 20s, ms 7 y.o. having a sleep over. Ms A. taken over the dining room with all the furniture moved out and a quilt laid out, mix of new modernism meets Amish. Very impressive piece of work. Real coffee. Spent some time working on the sonnet Korsakow film. It’s tricky, this one.

A sonnet is all about structure. That’s part of the point. It’s a modern sonnet, which means it’s free verse, but still following the 3 stanza’s of four lines and a closing stanza of two lines structure. I have written the lines, well, more or less as they get edited, fiddled and worried with pretty regularly. I have the video. The video’s are very very simple, and repeated – that’s just part of the poetry really. But the structure, a sonnet needs to be fourteen lines, not more, not less.

A Korsakow film is all about structure. That’s part of the point. It’s shape is, essentially, musical (or poetic) and it is music that gives us the richest and simplest vocabulary to deal with repetition, rhythm, chorus and its close friend, the hook. You return, leave, come back again. Repetition, in different guises, is a fundamental architectonic principle here.

And therein lies the trickiness. I could make a simple HTML based work that you progressed through, a line or even a stanza at a time, to its close. However, in using Korsakow I’m interested in something a bit different, where each stanza’s line could be read in any order, and so letting the lines of each stanza change in their order each time you view the work. Each stanza is marked by a change in interface, but the problem of how to shape this film so that it works as a sonnet is problematic.

One option is to fake it, and provide a fixed path through each line and video. The last line of the first stanza taking you to the first line of the second stanza, and so on. That is hardly what I’m after, and I can hand code in HTML so don’t really need the generative engine that Korsakow provides. So the other option is to let the lines and videos of the first stanza be connected, in any order. This is pretty easy. I could give each clip one life, let it join to the other stanza’s, and each time you view it the order would vary simply because each line has the same chance of being connected to another as any other. The problem though is that in Korsakow I can’t write Boolean conditions, so I can’t provide a rule that would in effect say “if all clips viewed provide a link to stanza 2″. So I can provide a link from one clip to stanza two, as a bridge across, but if I wanted to constrain it to only appear as the fourth line, then my concept of letting each line appear anywhere is broken. If I let it appear at any time then you could arrive there after only one or two lines, and then find yourself in stanza two, and then the four line structure of the sonnet disappears.

korsakowInProgress.jpg

Similarly, I could let clips be able to appear more than once (what Korsakow describes as ‘lives’), but since it doesn’t count in accessible ways I also can’t write a rule that would say “once any four of these clips viewed, move to stanza two”. Now, this would be a better rule, as the rhythms I like and value in these works would be more apparent. With this rule you might read the same line in stanza one twice, and never see one of the other lines until you read the poem a second or third time. I’m very good with that. That is what should happen in these sorts of self organising systems, you read and return and in these changes between readings you learn the shape of the work (and therefore what it’s about). But I can’t write such a rule.

So at the moment building it is feeling like a bit of a clunky hack. Any of the first four lines are set as start films, so we can begin anywhere. Thinking it through the solution is to have the four lines of a stanza all linked equally to each other (they all share the same in and out keywords in Korsakow). They have only a single life and the interface only allows for one thumbnail to be shown. This means a clip loads in the current stanza, you only get one choice of where to move to next from this clip, but this choice is only constrained by being any of the remaining clips for the current stanza (remaining as with clips only having a single life the current clip cannot be returned as a possible connection). Then every clip in the first stanza also contains a second keyword which links to the second stanza. This second keyword is listed on the second line of the out keyword, and so if the first keyword doesn’t match then the second is used. In this way the film is able to cycle through the four lines of the stanza, in any which order, and once four have been viewed it then links to anywhere (as all four clips in the second stanza contain the same keyword that all four clips in the first stanza are pointing out towards) in the second stanza.

(Brief note, the second keyword search is on a line by itself because if you list them like “keywordOne, keywordTwo” on the same line then Korsakow treats this as an ‘or’ search – so it will search for keywordOne or keywordTwo. This means you end up in the second stanza quickly, whereas listing the keywords on individual lines means the first search is performed, if a match is found, it is selected, if a match does not exist then it performs the next search – I only found that out by testing both options.)

So, that’s my current solution, which I think achieves the desire to have a sonnet which has stanzas, where the lines of each stanza can be viewed in varying orders, where the four lines in three stanzas and two lines in a final stanza can all be realised, while still allowing multiple passages. Yes, you have to start again each time, if you want, but, much like the strange prohibition on repetition, poetic networked objects can only be understood through reviewings, the old model of a single, comprehensive (start to finish) reading is not merely redundant here but hermeneutically wrong.

Yet More Ways I Get to Feel Old

Just needed to share that in Keynote I added a Vine clip as a background, scaled up to 800 x 800, plays automatically and loops. Text on top with dissolves in and out. Then over 30 seconds I zoom in 10x closer onto the video, then over 30 seconds back out again. Plays fine. Then I stuck it on my iPad and it still works.

F$*k me. When I started working in video 120 x 120 was the viable window size for online work. Maybe 12 fps. To have a little sliver of a screen in my hand that could do this. If you’d told me that back then. I really would not have believed you. Seriously.

Documentary and Systems

Hot off the new documentary list.

Jeni Thornley on September 24 wrote:

“Sure the digital turn beckons in the era of the active co-creator-maker of the text, as Gaudenzi’s four interactive modes indicates, but a sentence like this seems quite a sweeping statement: “….to move documentary studies from its obsession with representation to a wider focus on documentary systems. From questions of what does documentary mean to questions of what does documentary do?” (Aston, Dovey & Gaudenzi 2013: 124)
I don’t think that documentary studies is ‘obsessed’ with representation; and also plenty of documentarists and scholars have investigated deeply ‘what documentary does’. I am thinking of Thomas Elsaesser’s application of being ‘stung into action’ by one’s own intense and empathic engagement and response to a film – in his terrific essay: ‘Subject positions, speaking positions: from Holocaust, Our Hitler, and Heimat, to Shoah and Schindler’s List’, in The Persistence of History, Routledge, 1996.”

Again I think Jeni’s picked a really important part of this essay. The shift from representation to ‘doing’ is picked up in lots of recent theoretical work, part of the stuff being critiqued via ‘new materialism’ and the ‘media archeology’ sort of stuff. This work argues that media (and we’ll stick doco studies in there for now) has been fascinated with representation, with what things mean, what people do with them, and what institutions do with or around them (the audiences, texts, institutions which defines media, communication and much cinema studies). The criticism of the recent work is that this research looks straight ‘past’ what the media is, to what we think it does in relation to whatever social system we want to investigate it through, but in that moment we don’t see or can’t see what the thing is in itself. I think Jeni’s point from Elsaesser is a good one, though still within the regime of ‘documentary doing’ that is representational or at least as a call outside of itself towards something else. (This could well be an elegant definition of documentary in relation to fiction.)

On the other hand I don’t think Aston and Gaudenzi quite get to where they could. Documentary systems is where the research needs to go. Partly to pick up and intersect with all the work being done in software studies, platform studies, new media and so on. I’m currently writing about how Korsakow, We Feel Fine, and Cowbird could all be thought of as documentaries, but as systems they are qualitatively different and this is a difference that makes a difference. (Bettina F. also used Cowbird as an example at Visible Evidence last year in Canberra.) The shift we are now defining is post digital to the extent that it is computational (procedural and processual) and networked. Yes it relies on the digital but the first wave digital was really only about access and ease. Just because I shot and edited digital I could still make the same sorts of things in much the same sorts of ways. But once we think of them as systems, then representation falls to some extent by the wayside, certainly to begin with because system dynamics (different systems produce different representational epistemes and experiences), and it is the relations afforded by the systems (between content and its parts, people, other systems, as well as procedural and computational processes) that matter.

Why don’t I think it quite gets there? Because the focus on what ‘documentary does’ risks becoming another way to representation, of what it means. Which is fine. But there is a lot to be learnt and understood by first thinking and answering what documentary systems there are, where system is closer to systems theory (let’s not forget Burnham’s system aesthetics either) and Actor Network Theory than socio-political conceptions of system. Different systems, different documentary possibilities, at all points/moments/facets of these systems.