Nate Harrison: Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy), 2010

Anyone who appreciated Nate Harrison's works

Bassline Baseline, 2005
single channel digital video with sound, dimensions variable, total run time 19 minutes, 50 seconds
(http://nkhstudio.com/pages/popup_bassline.html)

and

Can I Get An Amen?, 2004
recording on acetate, turntable, PA system, paper documents, dimensions variable, total run time 17 minutes, 46 seconds
(http://nkhstudio.com/pages/popup_amen.html)

which I find both truely brilliant

will also be baffled by his recent work:

Aura Dies Hard (Or: How I Learned to Stop Worrying and Love the Copy), 2010
single channel digital video with sound, dimensions variable, total run time 14 minutes, 10 seconds
(http://nkhstudio.com/pages/popup_aura.html)

The Video Vortex Reader II: Moving Images Beyond YouTube (2011)

Geert Lovink, Rachel Somers Miles (eds.)

(reblogged from monoskop)

 

Video Vortex Reader II is the Institute of Network Cultures’ second collection of texts that critically explore the rapidly changing landscape of online video and its use. With the success of YouTube (’2 billion views per day’) and the rise of other online video sharing platforms, the moving image has become expansively more popular on the Web, significantly contributing to the culture and ecology of the internet and our everyday lives. In response, the Video Vortex project continues to examine critical issues that are emerging around the production and distribution of online video content.
Following the success of the mailing list, the website and first Video Vortex Reader in 2008, recent Video Vortex conferences in Ankara (October 2008), Split (May 2009) and Brussels (November 2009) have sparked a number of new insights, debates and conversations regarding the politics, aesthetics, and artistic possibilities of online video. Through contributions from scholars, artists, activists and many more, Video Vortex Reader II asks what is occurring within and beyond the bounds of Google’s YouTube? How are the possibilities of online video, from the accessibility of reusable content to the internet as a distribution channel, being distinctly shaped by the increasing diversity of users taking part in creating and sharing moving images over the web?
Contributors: Perry Bard, Natalie Bookchin, Vito Campanelli, Andrew Clay, Alexandra Crosby, Alejandro Duque, Sandra Fauconnier, Albert Figurt, Sam Gregory, Cecilia Guida, Stefan Heidenreich, Larissa Hjorth, Mél Hogan, Nuraini Juliastuti, Sarah Késenne, Elizabeth Losh, Geert Lovink, Andrew Lowenthal, Rosa Menkman, Gabriel Menotti, Rachel Somers Miles, Andrew Gryf Paterson, Teague Schneiter, Jan Simons, Evelin Stermitz, Blake Stimson, David Teh, Ferdiansyah Thajib, Andreas Treske, Robrecht Vanderbeeken, Linda Wallace, Brian Willems, Matthew Williamson, Tara Zepel.
Copy Editor: Nicole Heber
Publisher: Institute of Network Cultures, Amsterdam.
Supported by: the School for Communication and Design at the Amsterdam University of Applied Sciences (Hogeschool van Amsterdam DMCI).
ISBN: 978-90-78146-12-4
378 pages
Licensed under the Creative Commons Attribution Noncommercial No Derivative Works 3.0 Netherlands License.

publisher
Direct download

the sound of eye

great blog with rapidshare links to rare material

Open Call for Artists - ANEMIC FESTIVAL

Join us in creating the ANEMIC Festival, November 4 - 16, 2010!
2010 marks the first annual ANEMIC FESTIVAL, initiated by the organization « M77 Arts, Digital creation & Training ». The international festival of the independent creation dedicated to the short-films, animated films, documentary films, video arts, vfx & motion graphic , visual arts, digital creation, multimedia performance & installation, web art and all forms of crea(c)tion in situ & urban. The festival needs you ! We are looking for willing volunteers to help us to build an international platform gathering and displaying all independent & contemporary creations.

Cory Arcangel - Arnold Schoenberg, op. 11 - II - Cute Kittens

"ARTFORUM goes CRITICALARTWARE" - jonCates (2009)

ARTFORUM March 2009

i've written a short response to the Media Art Histories approach that the current ARTFORUM takes in relation to their cover feature: "IN CONVERSATION: DARA BIRNBAUM AND CORY ARCANGEL" (an interview/discussion between (Video) artist Dara Birnbaum and (New Media) artist Cory Arcangel). the response is on my blog:

http://joncates.blogspot.com/2009/03/artforum-goes-criticalartware.html

video vortex reader

http://networkcultures.org/wpmu/portal/files/2008/10/vv_reader_small.pdf

as proposed by ana peraica and googled by die gabi!

Uncompressed Symposium

Symposium
Uncompressed
11 December 2008
Symposium about the preservation of video art focussing on technologies and the possibilities for a new fase in the developments.
Dutch spoken.
More information:www.nimk.nl/nl

VinylVideo

Gebhard Sengmüller, Austria
VinylVideo™, 1998
Audio-visual technology
In cooperation with Martin Diamant, Günter Erhart, and “Best Before”
http://www.vinylvideo.com
© Gebhard Sengmüller

"VinylVideo™ is a fake archaeology of media. We designed a device that retrieves video signals (moving image and sound) stored on a conventional vinyl (LP) record. The discontinuity in the development of electronic film technology constitutes the historical background for this fictitious video-disc technology: Even though television, the electronic transmission of moving images, had been feasible since the late 1920s, storage of these images became possible only after development of the video recorder in 1958. Recording images for private use did not become available until the mass introduction of the VCR in the early 1980s (!). Before, the average consumer was confined to use Super-8 film, a technology dating back to 1900, usually without sound. Recording of television was not possible at all."

(http://www.mitpressjournals.org/doi/pdfplus/10.1162/002409402320774321)
(it's an article from Leonardo Magazine, so you can only read it if you are a subscriber or pay for the article)

Montevideo: Sustainability of Videoart (pdf)

http://new.montevideo.nl/en/pdf/CONSERVERING_1tm80.pdf

Video Art History Project

http://www.arthistoryarchive.com/arthistory/videoart/








Nam June Paik's "TV Clock"

VideoArt Denmark

http://www.videoart.suite.dk/
http://www.videoart.suite.dk/preservation/start-2.htm

The second link is for preservation guidelines.

Excerpt from their introduction:
"This paper concentrates in the first hand on the preservation of video tapes. Also other forms of immaterial variable media art works - or unstable media - might of course need preservation. When the paper concentrates on art works on video tapes it is in the first hand because THE DANISH VIDEO ART DATA BANK has it's point of origin in a video workshop -in the second hand on the evaluation that it just now is urgent to do something with the old video tapes to save the art works created with and on the "traditional", "old-fashioned" video tapes - especially out of experiences with the older U-matic tapes in the Archives of THE DANISH VIDEO ART DATA BANK."

Their definition of terms:
"Preservation
... covers all the activities and functions which help to make a suitable and safe environment for the video tapes – the comprehensive programs and activities to safeguard the tapes, both old and new and both now and for the future. This also includes conservation and restoration.

Conservation
... should stabilise and prevent further deterioration and damage to the video tapes and may include cleaning tapes and maintaining equipment and providing proper storage and handling procedures.

Restoration
... covers both the restoration of the physical media and of the recorded information and may include actions to repair damaged tapes and equipment and to stop further deterioration in order to be able to access and playback the recorded information."


and:
"The artist’s intent versus the Archives’ intent

We have already quoted some of the critical remarks from RHIZOME DIGEST: April 13, 2001 to the idea of the questionnaire and the comments in RHIZOME DIGEST: April 20, 2001 from Jon Ippoliti, Guggenheim.

Anyway you might say that just because a museum or archive has acquired a video art work or the artist has deposited it with the museum/archive it does not imply that the museum/archive can do whatever it likes with it. There has to be a mutual agreement between the artist and the museum/archive clearly stating the intent of the artist concerning how and if the museum."