Deptford.TV @ Open Video Conference, NYC 9/11/11

Photo by Sara Hana for the transcript of Slavoj Žižek’s speech at Occupy Wall Street.

Just before the NYC Occupy Wall Street movement started the Open Video Conference opened in lower Manhattan, on September 11th 2011. Adnan Hadzi joined the Open Video Editing Platform editing workshop. Lightworks received a lot of buzz regarding their announcement to release the code as open source, see statement from their website: “In response to feedback from our extensive User base, we have undertaken a huge amount of work to enhance the Codecs and cross-platform support for the Mac OSX and Linux versions of Lightworks. We have been working on these updates for several months and had originally hoped to release the new version on the 29th November. However, we are not yet fully satisfied with the stability of this version with its many new features and therefore we have made the difficult decision to delay its release to our customers. Obviously we are very keen to get the new version out, but we will only do this once we are confident that it meets the high standards demanded by our user community. Therefore, we are holding back on announcing a new date for the full release, but please be assured that we will do so as soon as possible and that we will keep all users fully informed”.

Notes from the Video Editing Platform workshop:

Open Video Editors
Lifecyle of open source editors:
A good reason to not start a new video editor.
What are the dependency for pitivi
Topics for discussion:
* collaborative  video editing
* open video standards
* open document format for video production
* hardware acceleration
* Scripted interactions
* Web interfaces and interchange formats.
Shared format
* Open documented format adoption ( a very successful )
* What about FinalCutPro XML
* FinalCutPro X makes it even harder to exchange formats.
* Pitivi XML format is ~pretty human~ readable.
* Walking through a sample Pitivi xml file
Pitivi overview:
* Gstreamer based (widely supported)
* Gstreamer does not have an intermediate format.
* Disadvantage of intermediate format not all formats are seekable and work well in video editors.
* showing clip editing.
* effects do not yet have key framing.
* New “Gstreamer Editing Services” core coming in with improved performance
** (helps address the intermediate codec issues)
Color space issues (camera codecs locked up)
* gstreamer full support for 4:4:4 color space representation.
* auto color correction undone by video editors like final cut.
* Final cut pro has filters for camaras to normalize video content.
* without intermediate format hard to do this in realtime.
Final Cut XML
Piviti XML
to bring forward to OVA as project – ernest [at] openvideoalliance.org – if there is a possibility to create a consortium for open video editor standards (see open document standart) – but also check what happens lightworks
set up a mailinglist for FLOSS video editors
set up a FLOSS video editors page @ open video alliance [issues page], or within one of the following pages?:

Libre Video Lab opening in Brussels, 14th October 2011

The Libre Video Lab opened in Brussels, hosted by Constant, a Brussels organisation for media art. Peter Westenberg blogged about the opening film screenings on the OS Video blog:

Open Source Video ?

On 22 september, we showed some films in our freshly opened Libre Video Lab, which is part of Constant Variable, Constant’s new lab building dedicated to F/LOSS art, on Rue Gallait 80 in Schaarbeek, Brussels.

We showed some video’s that were in their own way give meaning to the ‘open’ in ‘open source’ video. The shorts Interdit de filmer; Une Mer; Headwar and Pov Mec; by Sarah Pleak, aka Sarah Tohn are made using free softwares such as Kino and Cinelerra and open source codecs and are available under a free license (from: http://www.c3p0o.org/larsselavy/).

Other video’s addressed issues concerning public space, border crossing, notions of identity and freedom, common spaces and collective ownership.

Le Pied by Fred Chemama; and Frontière by Jerome Giller are both released under a Creative Commons license. They were suggested for the evening by 68septante, the super sympa Brussels based organisor of cultural events and publisher of dvd’s that wants to stimulate creative production and exchange between artists and a broad public.

By clapping your hands (up to 25 claps per seconds) you could slow forward the single shot film Barca High Speed by Peter Westenberg, which was projected behind the door of the main room. The film is a portrait of a walk through Barcelona shot as a series of photographs on B/W super 8.

Stéfan Piat showed documentation of his interactive installation Fort Saint-Nicolas and a GPS video collage, reconstucting a walk along the canal de Charleroi in Brussels, using gps data that was captured along the video.

After enjoying some beautiful clips of the work of Stadtmusik , and a quick look at an example from the wonderful slit scan blog, Michael Murtaugh showed some results from MotionCamera, videos made with “motion” & ffmpeg, commandline tools, including Cat Motion #2.

And finally Simon Yuill was present to show his film Given to the People a film telling the story of the Pollok Free State, a Free State initiated by the actions of local resident Colin Macleod, who began a tree top protest against the building of the M77 motorway through Pollok Park, one of Europe’s largest inner city public commons, in the early 1990s. Yuill joined the original VHS footage that was shot at the time with additional interviews that contextualise the actions in an atmospheric account of the events.

For all the video’s goes: yes they can be found on line, but usually some higher resolution exists with the makers. Send a mail if you would like to show something and you think we can help.

Pictures can be found in the Constant Gallery. & Further infos can be found on the wiki.

TV hacking @ Chaos Computer Camp, Berlin

Photo by Rasda.

During the Chaos Computer Camp, August 2011, Deptford.TV joined the Dyne village & C-base village for some TV hacking. “The Chaos Communication Camp is an international, five-day open-air event for hackers and associated life-forms. It provides a relaxed atmosphere for free exchange of technical, social, and political ideas” (CCC 2011). Dyne also presented their latest release of the operating system Dyne:Bolic, DistroWatch blog post:

“Denis ‘Jaromil‘ Rojo has announced that a new public beta of dyne:bolic 3.0, a live, multimedia-oriented distribution, is now ready for testing. The biggest change in the new version is the fact that it is no longer built from scratch, but based on Ubuntu (version 9.10) instead. “The time has finally come to look together at what is going to be the dyne:III development cycle for the dyne:bolic operating system, so please, if you have some experience of GNU/Linux desktop systems and some hardware to try it on, take time to look around and comment on these ISO files up for download from some of our kind mirrors. This new major version features a core based on pure:dyne carrot & coriander, cleaned up to be 100% free (no proprietary software, binary blobs, but still there might be something to clean up. One of the technical spotlights under the hood is that we now run on the Linux kernel version 3.” Read the rest of the informal release announcement for more information and download links. Get the live DVD image from here: dynebolic-3.0-beta4.iso (1,661MB).”

Deptford.TV @ Protocol #1

During the Create Festival the Helvetic Centre organised an event entitled Protocol #1, where Adnan Hadzi presented Deptford.TV’s ‘souveillance’ series.

PROTOCOL aims to explore some shifts of the visual regime through a series of exhibitions and talks dedicated to photography. Each event will show the work of emerging talents from the United Kingdom and Switzerland. Following a recurrent procedure, the goal is to offer a laboratory that facilitates exchanges between different fields and audiences. For this PROTOCOL #1 session we chose to work around the notion of Participant Observation; the works of Yann Gross and Bronwen Parker-Rhodes trace the nexus between photographic aesthetics and ethnographic investigation.
yanngross.com
bronfilms.com

Talk series: “Sousveillance”
Guest speaker: Adnan Hadzi (Deptford.tv)
Saturday 16 July, 8pm

Adnan Hadzi’s talk will focus on the nature of CCTV images through the notion of sousveillance, that is to say the recording of an activity from the perspective of a participant in the activity. By making visible CCTV images which normally remain hidden, sousveillance is a “surveillance from above” that provide documents to create subjectives narratives of the city. PROTOCOL #1 takes place within CREATE, a unique cultural festival that’s all about taking part.

Create Issue 01 & Issue 02

FLOSSTV @ ISEA – 17th September 2011

Adnan Hadzi will be talking about FLOSSTV and Data Spheres at the ISEA conference.

Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international nonprofit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology.

The main activity of ISEA International is the annual International Symposium on Electronic Art.

Founded in the Netherlands in 1990, ISEA International (formerly Inter-Society for the Electronic Arts) is an international nonprofit organization fostering interdisciplinary academic discourse and exchange among culturally diverse organizations and individuals working with art, science and technology.

The main activity of ISEA International is the annual International Symposium on Electronic Art.

Freedom of Art – 1st July 2011

During the Open Knowledge Conference (1) Richard Stallman talked about how computers can not be trusted to run voting machines. Deptford.TV organised an afternoon workshop and we discussed the notion of ‘Freedom of Art’, also part of the constitutional law of Switzerland.

  1. Sebastian Hellmann, Philipp Frischmuth, and Soeren Auer, eds., CEUR-WS.org/Vol-739 – Open Knowledge Conference (OKCon) 2011 (Berlin: OKCon, 2011), http://sunsite.informatik.rwth-aachen.de/Publications/CEUR-WS/Vol-739/.

Austrian Surveillance Techno – 14th May 2011

Deptford.TV was exhibited at the LiWoLi festival, under the motto Art meets Radical Openness:

Observing, comparing, reflecting, imitating, testing, combining

12th – 14th of May 2011
LiWoLi (1) is an open lab and meeting spot for artists, developers and educators using and creating FLOSS (free/libre open source software) and Open Hardware in the artistic and cultural context. LiWoLi is all about sharing skills, code and knowledge within the public domain and discussing the challenges of open practice.

This year’s event offers an exhibition, artists’ workshops and – like every year – lectures, presentations and sound-performances.

Deptford.TV’s part of the exhibition tried attempt to identify and document secret (covert) places, strategies and messages in our everyday surroundings. We will use overt, co-operative tactics and practice openness and transparency to push the covert into clearer view. The participants of the Deptford.TV workshop produced a one minute ‘Austrian Surveillance Techno’ video which was then transmitted over the local TV station DorfTV.

A series of ludic interventions in downtown Linz. The narrative is focused on generating awareness on invasive surveillance technologies. Utilising cool and awesome ring-tones sounds!

“Politics, like theater, is one of those things where you’ve got to be wise enough to know when to leave.” Richard Lamm

“A real artist never sleeps in front of new technologies but deforms them and transforms them […]” Paul Virilio

The workshop  introduced participants to Surveillance and CCTV filmmaking where material and images from the Deptford.TV archive were edited to submissions from the Deptford.TV database. Footage taken from Deptford.TV was filmed during a previous TV hacking workshop where participants equipped with CCTV surveillance signal receivers were lead through the city by incoming surveillance camera signals. CCTV video signal receivers cached surveillance camera signals into public and private spaces and were made visible: surveillance became sousveillance. By making images visible which normally remain hidden, we gain access to the “surveillance from above” enabling us to use these images to create personal narratives of the city. The workshop looked at constructing a possible narrative.
Finally we did a ‘live’ hack and connected Ali’s Kebab shop ‘live’ to DorfTV under the title CC Reality TV.

  1. 11 Moments, EXCHANGE RADICAL MOMENTS! (Linz: Die Fabrikanten, 2011), http://exchangeradicalmoments.wordpress.com/magazine/

24hr Olympic State – 6th May 2011

We went for a CCTV sniffing tour around the Olympic Stadium during the 24hrs Olympic State event at See gallery.

All night talks, discussions, films and artist’s work + performance.

In conjunction with Jim Woodall’s Olympic State installation, ‘See’ will stay open for a full 24 hours from 6pm on the 5th May until 6pm on the 6th May.

For two weeks in December 2010, artist Jim Woodall occupied the rooftop of a building overlooking the Olympic Park construction site. Sleeping in a self-made hunter’s hide constructed from locally found materials he watched the vast site through a bank of CCTV monitors. For this exhibition, the hut is reinstalled in the gallery, acting as a monument to the legacy of the performance. The entire two weeks of recorded CCTV footage will be replayed on the interior screens. Lining the walls, screen shots of dawns, dusks and ‘events’ will show an abstracted timeline.

Artist Jim Woodall (CutUp Collective), Isaac Marrero (Birkbeck College) and Cristina Garrido Sánchez (Centre for Urban and Community Research, Goldsmiths) have programmed the 24 hour event, presenting talks, discussions, films and artist’s work. A performance by Solina HiFi (CutUp Collective), barbeque and plenty of whisky coffee will keep you up all night. No beds available.

The Olympics can arguably be described as a laboratory for the neoliberal city utopia; after all, the Games represent the success of a brand and an event based on a combination of massive urban renewal, dodgy governance, hugely profitable advertising and broadcasting contracts, the corporatisation and militarisation of public space, and the criminalisation of dissent.

The Olympics depend, to a large scale, on their ability to operate on a clean, consensual space: without history, without discontents, without opposition. The Olympic Park is the fantasy of such space, Jim Woodall’s Olympic State installation is one of its disruptions.The Olympics Games is the strategic occupation of the social and economic space of the city, but they allow, or even invite, for a tactical response. The goal of this 24h marathon of activities, echoing the 24hr surveillance of the site, is to bring together artists, activists and researchers challenging the Olympic dream.

We wish to amplify Jim Woodall’s radical gesture by summoning an assemblage of talks, films, interventions, performances and concerts which are part to the myriad of militant productions taking place in the city right now. In particular, we are interested in exploring the dynamics of urban renewal brought to East London by the Olympics and the issue of surveillance and control of public space. This day-long event aims at providing a generous and welcoming space for discussion.

Social Centre Plus – 12th April 2011

Participants from the Social Centre Plus created through Deptford.TV a 3 min. documentary about the eviction attempt, which was then published on indymedia.

Local residents who occupied the old Job Centre on Deptford High Street with the aim of “converting it into an anti-cuts space for the community” have responded to a legally binding eviction order for this Tuesday by announcing a series of events, culminating in a “mass meeting of anti-cuts activists” the night before. The collective – who go by the name of Social Centre Plus – also plan to bring the local community together against the government’s budget cuts, with spoken word concerts, children’s days, film showings and market day cafés.

Members of the Social Centre Plus collective were in Woolwich Crown Court on Wednesday 30th March to hear the Judge accept the argument of Paul Jackson from Victory Land, the owners of the site on 122 Deptford High Street, and rubber-stamped an order that allows Jackson and bailiffs to forcefully evict the occupation. “They’ve notified us that they’ll arrive this Tuesday morning,” Nasser Khan said. “So we’ve got a raft of activities to keep us busy in the meantime, and we’re calling on the local community to come down and participate. It’s your space, so we want to hear your ideas!”

When asked what the SCP Collective had planned for after the eviction, Khan replied that they hadn’t discussed the issue. “What’s important now is that we all work together to use the space as an effective space to counter the brutal cuts being implemented both by the Tories and Lib Dems in Westminster, and the Labourites running Lewisham Council,” Khan continued.

On the morning of Tuesday 12th April, SOCIAL CENTRE PLUS successfully resisted an attempted eviction. Around 60 people gathered outside the space, linking arms and blocking the front door so as to prevent High Court bailiffs and builders – backed up by a vanload of police – from entering.

Scp-medium
photo by Transpontine

The victory was achieved following an hour-long stand-off, during which the bailiffs – from Locks Bury Services – met with Paul Jackson, the site’s landlord, were spotted outside the Deptford Project, the café opposite Social Centre Plus, whose owner also wanted the space for a high society art exhibition. There they made a series of frantic phone calls in which they spelt out their reluctance to confront the occupiers inside the anti-cuts space, some of whom were positioned on the building’s roof.

Eventually the police informed the bailiffs that they had no intention of intervening, and recommended that they come back another day. Members of the local community remained outside SCP for most of the morning, savouring the success for South East London’s anti-cuts movement.

However, the SCP Collective is well aware of the continued threat to the space. A second eviction attempt must be expected, and this time Locks Bury will come unannounced, and with the necessary tools and thugs to remove the occupiers. Despite this, SCP remains committed to hosting and facilitating the local anti-cuts movement, even if they do have to move on from 122 Deptford High Street.

From the blog http://socialcentreplus.wordpress.com