Manifesto for CCTV Filmmakers

Filmmakers render aspects of nature, human activity and imagination visible. The documentary film continues to be a potent form in all its variety, from the personal video diary to “objective” fly-on-the-wall shoots, to the hybrid fact/fiction (“faction”) film. But the most prolific documentarists are no longer to be found in film schools and TV stations. In some European and American cities, every street corner is under constant surveillance using recording closed-circuit TV (CCTV) cameras. Such cameras are typically operated by local government, police, private security firms, large corporations, small businesses and private individuals, and may be automatic or controlled (zoomed and panned) from a remote control room. Filmmakers, and in particular documentarists of all flavours, should reflect on this constant gaze. Why bring in additional cameras, when much private and public urban space is already covered from numerous angles?

link: http://publication.nodel.org/The-Filmmaker-as-Symbiont

link: http://www.ambienttv.net/content/?q=dpamanifesto

link: http://vimeo.com/307940

Contact microphone

A contact microphone, otherwise known as a pickup or a piezo, is a form of microphone designed to transmit audio vibrations through solid objects. Unlike normal air microphones, contact mics act as transducers which pick up vibrations and convert them into a voltage which can then be made audible. Often used as acoustic leakage probes, they also enjoy wide usage by noise music artists experimenting with sound. Plain contact microphones are passive and high-impedance and this can cause them to sound ‘tinny’ unless used with a matching preamp.

wiki: http://en.wikipedia.org/wiki/Contact_microphone

google: http://www.google.nl/search?hl=nl&um=1&q=contact%20microphone&ndsp=18&ie=UTF-8&sa=N&tab=iw

Spatial sound perception

Classic psychoacoustic experiments showed that, when excited with simple sine
waves, the hearing system uses two strong cues for estimating the apparent
direction of a sound source. Namely, interaural intensity and time differences
(IID and ITD) are jointly used to that purpose. IID is mainly useful above
1500Hz, where the acoustic shadow produced by the head becomes effective,
thus reducing the intensity of the waves reaching the contralateral ear. For this
high-frequency range and for stationary waves, the ITD is also far less reliable,
since it produces phase differences in sine waves which often exceed 360

linkt to article: http://www.faqs.org/docs/sp/sp-181.html

David Claerbout

Beeldmanipulatie neemt in Claerbout’s werk een bepalende rol in. Foto’s worden met films gecombineerd of verschillende films worden over elkaar gelegd en in versneld of vertraagd tempo afgespeeld. Zijn technieken zijn weliswaar gestileerd van aard maar hebben verbluffende beelden tot gevolg. De video installaties verrassen in hun ogenschijnlijke eenvoud. door de zorgvuldig gekozen composities.

link to article: http://www.metropolism.com/reviews/the-shape-of-time-david-claerbou/

Bruce Nauman

Mapping the studio

link to article: http://www.artinfo.com/news/story/25077/artist-dossier-bruce-nauman/

http://images.google.nl/imgres?imgurl=http://www.artinfo.com/media/image/20701/InstallationViewDia.jpg&imgrefurl=http://www.artinfo.com/news/story/25077/artist-dossier-bruce-nauman/&usg=__v5yMOKz-eSGGS4XNZu2etpgUTNc=&h=325&w=613&sz=99&hl=nl&start=2&um=1&tbnid=fHHFU_8dWdse5M:&tbnh=72&tbnw=136&prev=/images%3Fq%3Dbruce%2Bnauman%2Bmapping%2Bthe%2Bstudio%26hl%3Dnl%26sa%3DN%26um%3D1

Mnemonic Present Un-folding

Dr Elena Cologni1

University of the Arts London, Central Saint Martins College of Art and Design

 

FRUITION: perceptual time ‘gap’ as location for knowledge –

Mnemonic Present Un-folding

 

Abstract. In developing my practice/research I analyse the interchange that takes place between audience and performer from within the paradigm. My own art practice is grounded in Merleau-Pontì’s concept of chiasm and intertwining and Amelia Jones’s reading of it, although I take a conceptual distance from Jones’s, constituted by considering time travel in artist-audience interchange taking place during mediatised performative events, here addressed as fruition stage. The time element comes from the production and incorporation of the video documentation in the event itself. The purpose of my review will be to introduced the implications and significance of the perceptual gap between audience and performer’s in the moment of fruition of the piece Mnemonic Present Un-folding.

link to full article: http://people.brunel.ac.uk/bst/vol05/elenacologni.html