TrustArc Webinar - Unlock the Power of AI-Driven Data Discovery
Cidoc slides
1. Short keynote for starting
points at media archiving in
Central Art Archives.
by senior advisor Perttu
Rastas
Cidoc 28.1.2010
keskiviikkona 27. tammikuuta 2010
3. Bill Viola: Reflecting pool
VR: You've written a lot on the medium. How have you redefined your ideas of what
video is, over the years?
BV: Actually, technologically speaking, I don't think video is going to exist for too much
longer. The technology is changing so rapidly that it simply won't be around in 20
years. Video with then be thought of as a limited practice with a finite life span, a
medium that flourished briefly during the late 20th century and early 21st. As a young
art student seated at his computer screen said to me, "Video? Oh yeah, that's my dad's
medium." Maybe "moving image" will eventually emerge as the overall genre label, as
video and electronic forms continue to merge into the digital domain. The practice of
video, however, the making of art with moving electronic images, will be around for a
long time and continue to grow.
Early on, the format was surprisingly perishable. As I prepared for this survey show I
realized with shock that my old open-reel 1/2-inch tapes, stored as carefully as
possible, are already unplayable, as are some of the copies I had made on 3/4-inch
tape. In one case I had to work off a 3/4-inch dub of a 3/4-inch copy of a 1/2-inch
tape; there was no other way to save that work. Lately, we've been transferring
everything to digital Betacam, securing its continued life. For me, video's impermanence
intensifies my sense that my own work is not about the medium per se, and yet that
same impermanence also makes clear that, as a medium, video is very specifically tied
to this particular moment in history.
Art at the end of the optical age - video artist Bill Viola - Interview
keskiviikkona 27. tammikuuta 2010
8. Where is the life we have lost in living?
Where is the wisdom we have lost in knowledge?
Where is the knowledge we have lost in information?
T. S. Eliot
“where is the information we have
lost in data?”
doku/ digi/ data/
digi data metadata
“where is the data we have lost in
noise?
keskiviikkona 27. tammikuuta 2010
10. Media art world history from Finland -
Erkki Kurenniemi’s DIMI-O (video organ) in Old
Studenthouse 1971 (one of the first interactive art events
and concepts in whole world!)
keskiviikkona 27. tammikuuta 2010
12. “The artist's instrument in 1983: A pocket computer
that can be connected to any screen or projector or
network. The housing contains also a colour video
camera and a small colour monitor (perhaps even holo).
The device also works as a tape recorder. You can talk to
some programmes, they can understand simplified
language. The words they understand appear on the
screen as text. You can draw on it in colour with a light
pen. The overall tone of the picture can be altered with a
programmed transformation of the level of colour. If you
want to save memory, after drawing a circle you can give
the programme an idealisation command, and all it has to
remember is the place of the centre and the radius.
Motion pictures can be animated one frame at a time by
making the desired changes in the previous image with a
pen or by spoken commands and transferring the images
to memory. Or by giving the elements of the image their
trajectories and speeds.”
keskiviikkona 27. tammikuuta 2010
13. “A personal tool is a combination of computer,
terminal, television, telephone, visiphone, radio,
tape recorder, operating table, book, magazine,
newspaper, library, school, post office, bank,
electric organ, answering machine, walkie-talkie,
cinema, theatre, typewriter, calculator, calendar,
diary, watch, camera, microscope, telescope,
workplace, entertainment, social relations, photo
album, museum, art exhibition.
The general data network integrates television,
radio, telephone and data communications into
itself.
The network is hot.”
Erkki Kurenniemi, 1971
keskiviikkona 27. tammikuuta 2010
