Miha Vipotnik: Videogram 4 (1976-1979)

Miha Vipotnik, Videogram 4

Watch preview of Videogram 4 at DIVA Station

(Vstop v TV studio) Sredi 70-ih let je Miha Vipotnik na ALU v Ljubljani študiral slikarstvo in zanimalo ga je, ali lahko slika v skladu s časom. To je bil vstop v video, in kot prvi je tam zaključil tudi podiplomski študij iz videa. In to s kompleksnim eksperimentalnim projektom Videogram 4. Kako je bilo to mogoče, glede na to, da video oprema v jugoslovanskem prostoru v tistem času enostavno ni bila na razpolago posameznikom? Ni bilo enostavno. Vendar je s svojim entuziazmom in prepričljivostjo le uspel prodreti v profesionalni televizijski studio in v sodelovanju s tamkajšnjimi strokovnjaki izrabiti tehnične zmožnosti za eksperimentiranje z elektronsko sliko. Sprva v seriji Videografike in naprej vrsto let vse do Videograma 4. Continue reading

Interview with Neven Korda: Pleasure in Discipline

Interviewed by: Nika Grabar

The video Discipline was created as a part of Borghesia’s music video series. The series is entitled The Triumph of Desire, which clearly refers to Leni Riefenstahl’s Triumph of the Will. Why did you choose such a title and how did you refer to the film?

Indeed, The Triumph of Desire is my title and it does refer to Riefenstahl, but on the other hand, it refers especially to the situation in which these videos were made. I made some parts of it after I was no longer part of Borghesia. Approximately six months after the break-up of the band, I chewed on The Triumph of Desire music video collection. I wanted to create a whole, and suddenly everything went down the drain. Despite this, I wanted
to realise the project. The videos were made, which for me meant that a desire had triumphed. Hence, the title – The Triumph of Desire. The video series was then released in an edition of approximately 300 copies. The premiere took place at Kinodvor, then Kino Sloga, which still screened pornographic films. But it was the only cinema with a cinema video projector.

ENGLISH: Interview with Neven Korda Pleasure in Discipline (pdf)

SLOVENE: Intervju z Nevenom Kordo Užitek v disciplini (pdf)

The interview was first published in April 2012 in the book entitled From Consideration to Commitment: Art in Critical Confrontation to Society (Belgrade, Ljubljana, Skopje, Zagreb: 1990-2010) co-edited by SCCA-Ljubljana.


Processor and Camera

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

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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Narrative – Experimental

If narrative video presents a clearly defined linearity, then its experimental form is a completely open semantic platform. With their artistic research, the early experimental video artists showed their fascination with (then) new media in order to celebrate the era of new possibilities of communication and artistic expression. Even without a clearly structured dramaturgy these works offer also a lot of content. Experimental moving images are not entirely controlled endeavour, they rather test the ability of the media without (fully) expected results; therefore they do not convey an explicit message, but rather open the fields of possible interpretations. Despite their formalist approach, they are making a significant testimony of the context of the space and time, which inspired them. MC

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