1. PRESENTATION & FEEDBACK VIDEO PROJECTS
4. PROJECT 1 CRITIQUE NEXT WEEK!
FEEDBACK: YOUR DEFINITIONS
Early video abstraction using feedback: pointing the camera at the screen = infinite regress!
Vito Acconci—Centers (1971)
Dan Graham—Performer Audience Mirror (1975)
Dan Graham—Time Delay Rooms
«Two rooms of equal size, connected by an opening at one side, under surveillance by two video cameras positioned at the connecting point between the two rooms. The front inside wall of each features two video screens – within the scope of the surveillance cameras. The monitor which the visitor coming out of the other room spies first shows the live behavior of the people in the respective other room. In both rooms, the second screen shows an image of the behavior of the viewers in the respectively other room – but with an eight second delay.
The time-lag of eight seconds is the outer limit of the neurophysiological short-term memory that forms an immediate part of our present perception and affects this «from within». If you see your behavior eight seconds ago presented on a video monitor «from outside» you will probably therefore not recognize the distance in time but tend to identify your current perception and current behavior with the state eight seconds earlier. Since this leads to inconsistent impressions which you then respond to, you get caught up in a feedback loop. You feel trapped in a state of observation, in which your self-observation is subject to some outside visible control. In this manner, you as the viewer experience yourself as part of a social group of observed observers [instead of, as in the traditional view of art, standing arrested in individual contemplation before an auratic object].
Dennis Oppenheim—Two-Stage Transfer Drawing (Advancing to a Future State)
Lynda Benglis—Now (1973)
Jenn E Norton—Les Poupées Russes (2007)
Les Poupées Russes is a two channel video installation that uses a mise en abyme structure. On opposing sides of the gallery space are video projections of a film set. One side is the image of the subject from the point of view of the camera; the other projection is the equipment used on film set. Side one is the image of the subject from the point of view of the camera; the other is an image of the camera and camera person from the point of view of the subject.
The subject is the artist sitting in a chair, waiting for “Action” to be called. Save the film equipment, there is no detail of the space. All subjects and objects inhabit a white void; there is no horizon, no foreground or background. The camera person, also played by the artist, traverses from one wall to the other (from one projection to the other) to adjust equipment. The footsteps are audible through surround sound. The simulated environment creates a virtual/psychological space within the gallery suggesting this ‘void’ inhabits the space of the viewer. Although we do not literally see the camera person entering this middle space, we understand that two realms have been bridged through mediated suggestion. There is a continuous zoom throughout the entirety of the loop: the zoom distances itself from the subject and the mirror and into the monitor’s feed. In one continuous shot, the loop is structured in a Mobius Strip, traversing from one projection to the other, timed to reflect each other as the loop overlaps. Action is never called.
Renée Lear—Renée Taking a Sip of Water (Human and Video in Motion. Two-channel video, silent, 2 hrs., looping, 2013. (excerpt on Vimeo)
This is a companion piece to Time not a video, where I challenge the dominant mode in which we use slow motion video by engaging in a sustained daily practice of slow motion movement, conducted solely through a close study of slow motion video. In “Renée Taking a Sip of Water (Human and Video in Motion)” I enact a banal activity from my daily slow motion movement practice to combine human movement with the slow and fast frame rates of the video camera and the slow and fast playback times of video editing software. Rather than to learn about the “truth” about motion, which slow motion studies have concerned themselves with since Muybridge’s motion studies from in 1870’s to this day, my motion studies experiment with a new kind of motion that is at once human and video. The exhibition of this piece was comprised of two-channels of looping video providing ever changing motion combinations. One loop of combinations takes approximately 2 hours.
Basic importing, multiple screen arrangement, exporting.
PART 1: SLOW-MOTION ACTION
- Choose an action that takes 30 seconds to perform.
- Perform this same action in slow-motion for your mobile recorder, so that the total duration is 10 minutes. (You will have to map out in advance how long it will take in this new duration, so that you can perform it accurately. Calculation required.)
- Use your device to monitor your actions while performing them.
PART 2: SPEED-UP
- Import your video into Premiere or the editing environment (of your choice).
- Speed up your 10 minute video to 30 seconds (the duration of the original set of actions).
- View, take notes on what could be improved.
- REPEAT PARTS 1 and 2 until movement is as smooth as possible.