Responsive Aesthetics: Remediating Digital-to-Analog Television Converters as Artist Tools
(2018)
author(s): Eric Souther, Laura McGough, Jason Bernagozzi
published in: Journal for Artistic Research
“Responsive Aesthetics: Remediating Digital-to-Analog Television Converters as Artist Tools” documents the research process undertaken to explore the reanimation of a digital-to-analog television converter box as an artistic tool for intervention with the digital broadcast image through real-time datamoshing. We define datamoshing as an exploitation and interruption of the algorithms that comprise high quality digital streaming video, resulting in the visual distortion and alteration of the image. Our goal was to create a responsive datamoshing system that would not only modulate and distort the incoming broadcast image, but also provide artists with a level of control over these variations. We approached this process as artists, rather than technologists. Inspired by a specific visual or aesthetic result, we would reflect on how this result was achieved technically and then experiment with other methods that might offer further enhancement. The final result was the creation of a responsive datamoshing tool for use in exhibition or performance, both on its own or in combination with other systems (i.e., software, apps, image processing machines).
This is not / Dette er ikke
(2018)
author(s): Anne Marthe Dyvi
published in: VIS - Nordic Journal for Artistic Research
The language of art is often poetic and abstract.
Reduced and lawless in terms of grammar. I experience the poetic and abstract language as closer to the experienced world than the more concrete and descriptive language that is the norm in the majority of formulations in society. In my artistic practice at the moment, I work with color, movement and time. In the video medium. To say that art is a language is also an assertion, or a worn metaphor. We have no written language rules we agree upon in the arts, no defined alphabet. And maybe that's exactly what the making of art is? Creating form, while challenging form? Being the practitioner, and in that sense defining, in a landscape of concrete and abstract, in definite and indefinite and fluid and solid.
To create while shaping the form of it, is something else than performing within a given formation.
This contribution to a digital catalogue for artistic research are selections of my work, and thoughts, related to it translated into pieces of texts.
Some pieces of text along with some video pieces as well as a print from a video, a so-called 'still'. They are selected to function in different constellations, and for several reasons. A collage as a method and a way to relate to my own work, and with the selection, emphasizes the content of the texts. I apply my own thesis discussed in the text upon my contribution 'here' *. My contribution appears in Vis – Nordic Journal for Artistic Research. The digital is representation. It is not. It is equally important to me that this contributed in form acknowledges that making a presence in an internet-based database is not without hyperlinks. It appears because the other is.
* Where is 'here', what is 'here'?
(Video and video with sound.)
The visual material in this exposition is from the videos 'La ditt liv vitne'(2017), 'Essay on Colour'(2017) and Perceptual Cycle (2016). By Anne Marthe Dyvi.
Peripheral Alacrity - Animation as entry into non-human temporalities
(last edited: 2023)
author(s): Devon Pardue
This exposition is in progress and its share status is: visible to all.
A master's thesis culminating in a project called Peripheral Alacrity; an audiovisual animation installation utilizing animation at 60fps to investigate the temporal relationship between us and fast-moving organisms on the edges of our senses. My work is informed by a deeply rooted interest and curiosity in the biological sciences and uses ideas found therein to explore the complicated relationships between humans and the rest of the living world. I became particularly interested in the perception of time across species and the potential for animation to serve as an axis into nonhuman temporalities.
How are our relationships with other organisms impacted by our bodies' unique temporality? Fast-living invertebrates like insects are of particular importance because their crucial role in a healthy ecosystem forces us to reconcile with our particular disdain for their speed and our desire for control over our surroundings. That desire to oversee and pin down a version of nature that is ideologically pure has roots in Europatriarchal power structures, so I sought to create a space to recontextualize these encounters as they naturally are in our day-to-day life. The work seeks to capture this particular interaction characterized by fleeting peripheral glimpses of fast-living organisms; from dragonflies to some we only see as a passing blur, and all the abstractions in between. You’re interrupted by a flash of motion and sound from the corner of your eye and by the time you crane your head to look, it is already gone. It is less about seeing, and more about our desire-to-see creating an asymmetrical dance between the viewer and the fleeting subject.
The Guava Platform
(last edited: 2023)
author(s): Thalia Hoffman
This exposition is in progress and its share status is: visible to all.
The Guava Platform, which is at the centre of the PhD thesis of Thalia Hoffman, was initiated in 2014 as a conceptual framework of my art practice and research. The aim of the Guava Platform is to research and create possible techniques of art-actions that are part of my quest to continue to live in the conflicted landscape, east of the Mediterranean, as an artist.
This dissertation assembles the Guava art-actions: i.e. a series of three short films, an online radio station, two performances, a geotagging website, and a scent collection as well as the research into a combined space. Both the art-actions and the research convey the Guava Platform. The leading questions of the thesis are: How can time-based art-actions in a conflicted landscape induce and take part in an embodiment of constructive political imagination? If both physical and conceptual ‘movement’ are the actions’ impetus, how can these actions adjust the socio-political impasse of the landscape? And how can they contribute to a socio-political discussion of the landscape I live in?
The outcome of this research is presented on a website. Here, the different components, the art-actions and texts, are not bound to a hierarchical relationship between theory and practice that might restrict their possibility to interact. Instead, the website enables the visitor to navigate between the different artistic and discursive elements in a nonlinear way.