T+S assignment_01

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assignment

Escape from what you think you know about what video is.

You will investigate the formal qualities of moving images through artistic expression. If narrativity is about a legible story, we can obscure it by focusing on the psychosocial poetics of feelings and sensations. Your focus will be to explore the various qualities of video art by focusing on the medium's unique qualities.

Through all the various ways that you might generate, consume and regurgitate content, stitch together a complex multitrack of manipulated video in Adobe’s Premiere Pro CC that simultaneously challenges and provokes our ”normal” senses of order.

One of the key differences between video art and theatrical cinema is that video art only sometimes relies on the conventions that define theatrical cinema. Video art may not employ the use of actors, may contain no dialogue, may have no discernible narrative or plot, and may not adhere to any of the other conventions that generally define motion pictures as entertainment. This distinction also distinguishes video art from cinema's subcategories such as avant-garde cinema, short films, or experimental film.

 
 
 

requirements

  • create ten, 10-second video clips that all differ from one another (using one Premiere file)

  • write a final statement that relates to the clips that you have created

  • be an experimental non-narrative

    • this includes the visual content & visual structure

    • way to approach this:

      • poetic

      • transmediation—translating anything into the format of motion images

  • Integrate at least three meaningful uses of green screening/chroma key (called “ultra key” in Premiere)

  • use at least 10 different sources of content:

    • at least half of your footage must be self-recorded

    • each of the ten clips should have at least a few sources used

  • Use ample effects to alter all content from its original representation:

    • all content in your final export should be modified in at least one way

    • several clips should be utilizing keyframing to transition these effects over time

  • use at least 4 different transition effects

    • at least one transition should be custom-built through effect controls (modify a top-most video layer to ‘reveal’ the next video layer).

  • do some sketches in your sketchbook to get you thinking about how you might approach your editing. These can be traditional storyboard-type doodles or anything else that helps you organize concepts, such as a systematical list. sketchbooks reviewed at the end of the term.

 
 

technical tips

  • *VERY IMPORTANT* start a “master folder” for your project now

    • move ALL of your content to that folder (and rename) before importing to Premiere.

    • Every time you move/copy/backup/upload your project, use the entire master folder so that you do not have any issues- a few extra minutes for this is worth the wait.

  • When recording at least one of your own “video” clips, think outside the box…

    • screens/gels/other translucent objects to use in front of the lens to distort/transform your captured video.

    • obstructing the picture through tool manipulation such as locking focus or dramatic angles

  • check out this list of Premiere settings to check if your machine is lagging (repeat on each computer you use)

 

Restriction Notes:

  • There are no real restrictions on content (profanity, nudity, etc)

    • If you plan to use any on-screen content that is questionable (i.e. killing, domestic abuse, etc.), please speak to me first

    • using weapons as props when shooting on campus, please first get permission from AU’s public safety.

 

submission

  1. Premiere project file (prpoj)

  2. rename content in your project folder BEFORE importing to Premiere

    • renaming files after importing will break links

  3. ALL used content:

    • 2a - imported content

      • any found footage

      • personal video recording(s)

      • any image(s)

    • 2b - any folders that have “Adobe Premiere Pro…” in the name

  4. an mp4 export:

    • H.264 format

    • 30 fps

    • 1080P (“full HD”)

  5. project statement:

    • 75-100 words (length is reviewed)

    • “save as” a .txt file

      • a “txt” file can be created from any word processing program (save as…)

    • a proper statement should include:

      • your name

      • a title (for all ten clips as a whole):

        • given titles are italicized

        • If you do not wish to title your work, you may list it as ‘Untitled’ (not italicized)

      • one single paragraph:

        • Your first sentence should be a topic sentence that demands our attention while introducing us to the rest of the statement.

        • pairs to your final visuals (giving any context that we may need).

        • While speaking in the first person is perfectly acceptable in art, speaking in a passive voice (about your own work) is not. Treat statements as if they were on a gallery wall with the work for the public. For example, do not say things like “I tried” or “I wanted to”. You may include a blurb on your process, but do not dwell on it.

        • Do not speak on behalf of others (such as using “we”), or make other such assumptions

6. submit - Ensure that you name this project folder “First_Last-assignmet_01-video” and upload that file as your submission to the class OneDrive.




grading

This project will be graded on (in order of importance):

• creative and effective approach to a non-narrative structure
• demonstration of technical proficiency with Premiere Pro
• fulfillment of project requirements
• written presentation of solution
• punctuality

Your score and feedback will be given to you via Canvas within 10 days of the deadline. If this is not met or you wish for it sooner, please let me know so that I can try to accommodate.





 
 
 

references

movements/collectives

  • Fluxus

  • The Kitchen — performance venue in NYC by the Vasulka’s — Wiki

sites hosting video art

  • Video Databank — fosters awareness/scholarship of the history/practice of video/media art.

  • Art21 — presents thought-provoking, sophisticated content about contemporary art.

  • Vimeo — like YouTube, only more professional/academic.

experiments for recording video

 
 

other

  • editing examples :
    —(you should mute the video as to pay attention to the video only)—

selection of video artists to study

1960’s

  • Nam June Paik — performance art, installation — Wiki – SFMOMA

  • Vito Acconci — performance art, installation — MoMA

  • Valie Export — performance art, feminist art, identity politics — Wiki – Tate

  • John Baldessari — incorporating text & photography into video — Wiki – artists_website

  • Bill Viola — focus on the ideas behind fundamental human experiences — Wiki – Tate

  • Shigeko Kubota — performance art, installation — MoMA

1970’s

  • Peter Campus — interactive installations — Wiki – MoMA

  • Joan Jonas — performance art — Wiki – MoMA

  • Steina & Woody Vasulka — DMS Founders — Wiki – foundation_site

  • Tony Conrad — DMS Founder — Wiki

  • Richard Serra — sculptor — Wiki

  • Bruce Newman — multidisciplined — Wiki

1980’s

  • Pipilotti Rist — large-scale video installations, experimental video

2010+

 
 
 
 
 

considerations for ongoing study

interactive examples

  • Rafael Lozano-Hemmer - Bilateral Time Slicer Bilateral Time Slicer. An active work that utilizes a live video feed. It is not directly useful for this (non-interactive) project, yet itSlicer is Intera a powerful example of what video can be.

  • Matt Romein - In Triplicate - Another interactive work yet this time in the hands of the artist. Romein uses himself as live performance to then rework the content as live video DJ (using Max/MSP/Jitter)

 
 
 
 
 
 

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