This is the rail crossing I regularly walk across with the kids. Trains remain an elemental attractor in cinema. Mechanised, regular, industrial. Flash and movement.
We went to ACCA today to see Water Hole. The mobile in the later gallery was mesmerising in a Schwitters come Merz sort of way. The work is by two Swiss artists, Gerda Steiner and Jörg Lenzlinger. This is some of the video that I shot on my phone, one is the mobile (where you lay on a bench under it, gazing up). The other a series of shots of the shadows that the mobile made.
Click the poster movie to launch it in QuickTime Player.
[qt:http://vogmae.net.au/vogs/2009/february/WaterHolePoster.mov 320 240]
The movies are also interchangeable and easily matched to any place. By creating this new type of film viewing experience in an open, collaborative way, the artist hopes that both developers and filmmakers will begin to explore the idea even further.
seems to be recognising the importance of granularity for distributed film narratives.
A sample movie. One shot every minute or so for thirty or so minutes. This is what happens when we become sample machines, rather than our recording media.
This is another rhizome movie that is partly to illustrate the use of the templates, but also to just play a bit with some material. This is the same footage as the other recent rhizome movies have used, but I have compressed the crap out of it. Took the original, exported it to half its resolution and double its frame rate and a fraction of its data rate. Set forced keyframes to some really big number (so that there won’t be any). This is just impossible for the codec to do, so it will actually use more data than I requested since it more or less assumes I’m a dill for trying to do all that. But it helps really dirty up the video. Why? Because as the video becomes more compressed, as more artefacts appear, it shifts away from being indexical, representational video (video thought of as showing the world) towards pattern, pixels, movement, and colour. Ambient video. Ambient video is important. It is what video and the moving image becomes when it is ubiquitous, on screens, in the home, our phones. Walk past an ATM and watch the screen move, scrolling ads in bus and tram stops, pixellated signage, the list is enormous. In this world moving images move increasingly away from being of something else and become something for themselves. This is why we have VJing, for instance. So in a world where video online (just think YouTube as the banally obvious exemplar) is the norm, video can begin to free itself from being the hand maid to just mirroring (and all those efforts at narrative that seem to fall in lock step behind) and do other things. Be abstract. Make patterns. Other fragments that will only ever aspire to be fragments. Of the world. Of shape. Fragments of fragments.
This is another lumiere rhizome. One was shot while travelling from Paris to Brussels on the TGV while the other is the return journey a few days later. I really like travelling on trains. Much more room than on planes (well, I guess I might not think that if I travelled first class, but like that’s ever going to happen), and you get to see sky and land and sometimes places too.
On the weekend there was a trip to Phillip Island and on Saturday evening we headed to the beach at Cowes. Beautiful weather, the bay was calm (this is the north of the island which faces a large bay) and I sat on the sand watching.
I am rebuilding all of the rhizome movie templates. Cleaner code, larger video windows and a bit more elegant over all. This is a small sketch vog that is using the first rhizome. I’ll be making them available in the next week or so from the main vogmae site.
The shadows were filmed on the wall at home, they’re just shadows (though I’m reminded of some aspects of impressionist cinema here) while the footage from the train is from my trip to Brussels for Video Vortex in October.
This was shot on my Sony Ericsson k750i, whilst sitting on the TGV inside of an early Sunday morning. I’ve placed them in a triptych using just QuickTime Pro to lay them next to each other, stretching each to match the duration of the longest one. I’ll probably make a second, sister work, in Livestage that uses the same video as child movies so that I can make them play back at different rates based on mouse events (or some other parameters?) just to help explore the differences between hard and softvideo.
Another iteration of the like series. L loads the video. P plays, and S stops it. It uses child movies so that each of the videos live outside of this video and are loaded, um, when you click L. Each person is describing something they like, without naming it.