How Man Many y Words s in n an an Imag age? e?
NARRATI TIVE A E ASPECTS ECTS OF THE A THE ART T PROJECTS ECTS B BASED ED O ON DIGIT GITAL IMA IMAGE GE C CREATION/ N/MA MANIP NIPULATION
DIGIT GITAL IMA IMAGIN GING G REFLECTS THE RICHNE NESS A SS AND ND D DIVE IVERSIT SITY OF F NEW W MEDIA AR A ART VISI VISION N = P PRIMA IMARY SE Y SENSE NSE IN P IN PRIMA IMATES S AND ND HUMA MANS NS MA MANY NE NY NEW ME MEDIA IA ART P PROJ OJECTS H S HAVE VE PROMINE MINENT NT VISU VISUAL Q QUALIT ITIE IES
DIGIT ITAL IM IMAGIN ING ALSO R O REFL EFLEC ECTS THE HE K KEY E ELEME MENT NTS/ S/ASPE SPECTS S OF DIGI GITAL AL P PAR ARAD ADIGM GM: ABSTARC RCTION ION SYSTE TEMATI TIZATI TION ENC NCODING NG PROGRAMMI PR MMING SELF LF-RE REGULATION ION VI VIRTU TUALI LIZATI TION
CHA CHARILE LE GERE RE DIGIT GITAL CUL ULTUR URE LON ONDON ON: R REAKTION ION BO BOOKS KS, 2 2008 008
Golan Levin & Kyle McDonald - 2011 - Eyeshine
Vladimir Todorović - 2002-2003 - Selfportrait (Web Art, Prints)
Luke DuBois - 2005 - Play (CV)
Shinseungback Kimyonghun - 2012 - Cloud Face
Shinseungback Kimyonghun - 2012 - Cloud Face
Matt Richardson - 2012 - Descriptive Camera (Mechanical Turk)
Daito Manabe & Ryuichi Sakamoto - 2015 - Sensing Streams 80MHz-5.2GHz
Hiroyuki Masuyama - 2002 - 01.01.2001-31.12.2001 (loop)
Evan Roth - 2010 - Graffiti Analysis - Vienna
CHECK CHECK OU OUT Aaron K n Kobl blin n - 2005 005-2009 009 - Flight P t Patter tterns Matth tthieu C eu Cher erubini - 201 010 0 - Afg fghan an War ar D Diar ary (onl nline) Rober ert L t Laz azzar arini - 2001 001 - Sk Skulls ls Pa Pablo lo G Garc rcia - 201 010 0 - Pro rofilo lograph (after after M Muyb ybridge) e) Tamás amás Wali licz czky - 1997 997 - Sculptur tures es Eti tien enne-Ju Jules Mar arey ey - 1887 887 - Flight o t of f th the e Seag eagul ull (p (plas aster ter cas ast)
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Ani nima mati tion and and Fil ilm
TWO WO MA MAIN IN ASPECTS ECTS/AR AREAS AS OF OF CR CREA EATI TIVE INTER TERACTI CTION BETW BETWEEN EEN DIGIT GITAL TECH TECH AND ND ANIMA NIMATION/FIL ILM: M: COMME MMERCIA IAL CINE INEMA MA PROD RODUCTION ION EXPERIME IMENT NTAL NE NEW ME MEDIA IA ART RT
THI THIS LECTU LECTURE ANIMA NIMATION/FIL ILM M AND ND COMME MMERCIA IAL CINE INEMA MA AS AS A A THEM THEME AND ND SOURC RCE MA MATERIA IAL IN IN EXPERIME IMENT NTAL NE NEW ME MEDIA IA ART RT
INN INNOVATIVE IVE OP OPEN-MIND MINDED SU SUBVE VERSIVE SIVE/CRIT ITICAL REV EVELA ELATO TORY PROJECTS ECTS
Douglas Gordon - 1993 - 24 Hour Psycho (double projection)
Alexandre O. Philippe - 2017 - 78/52 Documentary about the shower scene in Psycho
Chris Bors - 2005 - 24 Second Psycho
Martin Arnold - 2002 - Deanimated - The Invisible Ghost - Comparison
Ryland Wharton - 2009 - Palette Reduction No. 4 (Surrogates trailer)
MORE STATISTICAL APPROACH Frederic Brodbeck - 2011 - CINEMETRICS Shinseungback Kimyonghun - 2013 - Portrait
STATISTICAL APPROACH DERRIVATIVES
Christian Marclay - 1995 - Telephones (speed up)
Ma Marco co B Bra rambilla la, , Sync nc: : Sex ex/Wa Watch/Fight ht , , 2005 005 (jo join ined) Ke Key el elem emen ents of of film, lm, subtle le tra rans nsitions ns bet etween een sho shots.
Jennifer & Kevin McCoy - 2001 - Every Shot, Every Episode (installation)
Ju Julian Pala lacz cz - 201 010 0 - Algor gorit ithmic ic Search for or L Love ove Ke Keyword-bas ased ed (subti titl tles), ), auto toma matc tc gene nera ration fro rom arbi rbitra rary ry pool ool.
Dav ave Dymen yment - 201 010- - Timel meline 20, 20,000 000 years co condensed into 9 to 90 mi 0 minute tes of esta tabli lishing g shots ots f from m ci cinema ma and T TV.
MORE STATISTICAL DERRIVATIVE AND GENERATIVE/PARTICIPATORY Perry Bard - 2010 - Man With the Movie Camera - Remake (online) Jono Brandell & G. M. Brower - 2010 - Life in a Day Touchscreen Gallery
Nico cola las Mai aigret et - 201 012-2014 14 - The e Pirate C te Cinema ema Mon onitor ors and nd pl plays ys snippe ppets from P2P m P2P tra rans nsactions ns in in real al ti time me ( (Pi Pirate teBa Bay top op 100) 00).
Nico cola las Mai aigret et - 201 012-2014 14 - The e Pirate C te Cinema ema (str tream eam)
Or Original Smas mash Up Par arag ag K Kumar umar Mital al, , YouTube S e Smas ash U Up , , 201 012 Resy synthe hesi size zes s #1 Y YouTube AV AV wit ith AV AV fr frag agmen ents from re remaining ining 9 9 of of Top 10 Y YT v vide ideos (PhD hD pro roject). ).
Jeff eff Desom om - 2011 11 - Rear ear W Window Timel melapse (tr trai ailer er) Pano nora ramic re recons nstru ructio ion of of the he full ll wind window POV in in Hitck tckock ock’s Rear Rear Win indow (1 (1954). ).
MORE FREE-STYLE TRANSFORMATIONS Virgil Widrich - 2003 - Fast Film
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Ben Slater GAMES, NARRATIVES & REPETITION 12/2/2019 Main points from Interactive Narratives Lecture: 1. The fantasy of interacting w ithin a story presumes vast freedom of choice/ agency 2. The most effective interactive stories have very limited choice/ agency We want to be inside the narrative – to role-play – but perhaps our role as participant in interactive narratives is more complex. In linear/ conventional narrative works, we identify with characters, but we aren’t them. Can we interactive with narratives, while not expecting total character immersion? (Which always disappoints). Two things I ‘played’ at Christmas: 1. Nancy Drew & the Ghost of Thornton Hall. A point & click adventure game from 2013. Limited Map. A house with 6 rooms, a graveyard, the pathway between them. Three characters to talk to. New spaces and characters are unlocked as the game progresses. The map changes. You move back and forth between the spaces MANY times.
Pleasure in the familiarity of the spaces. Pleasure in see new things in the familiar. A clue found in one part of the map, opens up a new element in another part. 2. Black Mirror: Bandersnatch ‘Interactive Film’ on Netflix, 2018 A choice-based interactive experience that tells the story of a games designer making a choice-based game. It has a limited, temporal “map”. Stefan’s home (kitchen, bedroom), the game company’s office, the psychiatrist’s office, Colin’s apartment. When you ‘complete’ a version of the story, you are sent back to an earlier stage, this happens 3-4 times before you can finish, plus there are other ‘loops’ built into the story. Pleasure in seeing subtle/ large changes in sequences already seen. Pleasure in discovering new possibilities in the familiar. Repetition in Games: Bad: “Backtracking” as a way to extend the life of a map/ environment, force the playing to travel through it again. Good: The theory of the ‘Gameplay Loop’, that all games are made up of a series of actions/ responses that are essentially repeated in new environments or with greater intensity. First Person shooters, platformers, puzzle games but also ‘narrative games’ Papers Please, Her Story, Firewatch Irreversibility Vs Repetition
In linear fixed narratives choices matter, have significance and weight, actions can’t be undone. “Knowledge gained through a previous play throws up a deep problem… ” Stephen Poole, Trig g er Ha p p y . Or does it? Repetition has always been a fundamental component of narrative. Archetypes and story constructions repeat endlessly. Children love to consume the same story repeatedly. (Familiarity is pleasurable) Repetition of ‘text’ in Philosophy (Derrida, etc). True Repetition is impossible – there is always difference, even if the text is identical we have changed (knowledge, emotion, experience). Theatre – rehearsal is repetition – performance is repetition. Life is repetition! So – we are fascinated by repetition/ difference – reflected in narratives. - In particular the idea of alternative choices/ versions. It’s a Wonderful Life, 19 4 3 Foregrounding repetition – a primary tool of Modernist strategies to disrupt narrative. Nouveau Roman – Alain Robbe-Grillet. La st Yea r in Ma rienb a d , 19 6 1 A story about déjà vu, about time-loops, being stuck in an eternal, repeating present. Television – A commercial, industrial process that only exists because of repetition.
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