Category Archives: 700

One Sequence / Unlimited Feedback Loop

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The experiment includes detailed methodological procedures coming from the specific artistic interests whose goal is not redundant because it determines the medium and results of the creative endeavours. Repeating the same elements in the media-image is not only a sequence of identical shots, but is being represented as an accumulation of images that may differ in quality. The errors, deformations and gazes are multiplied, and result in aesthetic experience, mental consideration and critical stance; depending on the purpose of the experiment. Repetition of a sequence from different perspectives produces analytical approach to the image construction, which primarily bears a formal interest. System, causing a feedback loop, likewise, also produces a variety of views, but its relation to the outside world is primarily visual, and it is triggered by poetic interest. IH

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Aesthetics of the Television Image

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The aesthetics of the television is innate for those born in the 1970s. This is the TV generation that was faced with the dynamics and manipulative potential of video images. One of my earliest memories are rock music videos that have been broadcast on the public television; this was a now unknown (memory is unreliable) stylised video recorded in a studio that introduced different levels of post-production such as layering and solarisation, characteristic also for autonomous (experimental) video. It allowed the overflow, abstraction and stylisation of the moving images, which has always triggered associations on the TV. Likewise, exactly this era of 70s and 80s represented the years when TV studios presented a domicile (or at least aspiration) for many video artists who have detected the mass media as a creative platform and a possibility for ideological exploitation. They founded the “aesthetics of television” that does not represent a creative challenge for the TV generation. Video has changed substantially. MC

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New Narration

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Video creates narration from various standing points and in the context of different identities of their producers. It may tell a story like a film, and may be produced in the context of long-established ways of production and collaboration by a long string of colleagues. Video artist then plays the role similar to a film director. However, video may also tell a story quite remote to the verified processes of film production. In such a case, the video producer finds oneself on the margin of production and/or often amid the alternative scene. Video artist becomes the sole creator (auteur) and holder of artistic practice. Nowadays, video art also occurs beyond the (pre-determined) production identities and beyond (conventional) use of technology. Modern graphical programming environments for audio, video and graphics manipulation (e.g. Isadora or Pure Data) and their control protocols offer a creative impulse to the video artists, by which they create a new narration. Some examples of such narrations may be noticed in the works (video ambiences and performances) by Neven Korda. DD

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Processor and Camera

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Thinking about the difference between an analogue and a digital camera, about their relationship with the video signal and the luminiscence, we assume that these are the elements through which the camera is connected to the environment; however, we quickly realize that the basic difference is in the digital camera’s processor. The processor is an autonomous element that translates data into binary code, but also prepares the material to be compatible to all the parts of a computer. Speaking from the perspective of modern society and new media as one of the possible policy of information transfer it is in fact the processor which is the key element in which we may recognise both, the evolution of the machine and the evolution of humans, despite the fact that it initially seems to be merely an appendix to the camera or – ironically speaking – a parasite of the camera. It is therefore easy to conclude that camera is actually the parasite of the processor. AP

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Synergy of Functions in the Technical Machine

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The machine is often thought of as any other thing in the historical linearity. This implies the continuity of the development of machines. Gilbert Simondon, a French philosopher of technology, attempted to think about the character of the changing of the machine as early as mid-20th Century; not merely in regards to the usability for the humans, but also to their autonomous properties. In this endeavour Simondon shows how every technical object has particular characteristics that steer the evolution of each machine independently of man. In this view, the changes which we consider as being essential to technological evolution turn out to be common cosmetic interventions that merely mask the actual error or weakness of the machine itself. Thus the changes representing the real technological revolution, act as the dead-end street to which we were led by the lack of inventiveness of man. Reference: Gilbert Simondon and the Dual Nature of Technical Artifacts AP

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