{"id":3197,"date":"2018-03-21T21:37:42","date_gmt":"2018-03-21T21:37:42","guid":{"rendered":"https:\/\/deptford.tv\/?p=1969"},"modified":"2018-03-21T21:37:42","modified_gmt":"2018-03-21T21:37:42","slug":"displaying-video-as-theory-and-reference-system-2","status":"publish","type":"post","link":"https:\/\/dorothea.tv\/?p=3197","title":{"rendered":"displaying video as theory and reference system"},"content":{"rendered":"

What\u2019s Visible \u2013 the mechanics of i-docs<\/a><\/h1>\n

The interactive timeline<\/strong><\/p>\n

This presentation explores the structural tensions between narrative and navigability
\nin interactive documentary by focusing on the role of the on-screen timeline.
\nThe challenges of mapping \\ onto space extend at least as far back as the Middle
\nAges, when historical genealogies appeared in visual forms including branches of a
\ntree and rivers. However, the timeline as we know it \u2013 a straight horizontal line
\nwhose length precisely measures a given duration \u2013 only dates as far back as charts
\ndesigned by Thomas Jefferys and Joseph Priestley in the mid-17th century
\n(Rosenberg & Grafton 2010). Over recent decades, the horizontal timeline has
\nfurther evolved into a pervasive technological and conceptual framework for the
\nmaking and viewing of moving images. From the sequence window of \u2018non-linear\u2019
\nediting software to the play bar of online videos, the horizontal timeline shapes how
\nwe engage with video. It also encapsulates the paradox of interactive documentary:
\nalways just a swipe away, it is metonymic of the hegemony of linear narrative in
\ncontemporary media, yet it also makes possible non-linear navigation through
\nmoving images.<\/p>\n

Using examples including the interactive documentary Filming Revolution (Alisa
\nLebow, 2015) and the VR artwork Timescrubbing (Rachel Rossin, 2016), this paper
\nexplores different ways in which timelines have informed the structure of interactive
\nnonfiction, and how they can also be used by film-makers and artists to disrupt linear
\nnarrative. The paper concludes by exploring how the concept of the timeline applies
\nto virtual reality, and how the gesture-based interactive toolset of VR may make
\npossible works that follow a predetermined narrative trajectory but still allow real-time
\ninteraction. It does so with reference to research currently being carried out by the
\nauthor and VR studio Vrtov on the interactive documentary Cinema Unframed, which
\naims to use gesture as a tool for temporal navigation through moving images.<\/p>\n

References
\nRosenberg, Daniel, and Anthony Grafton. 2010. Cartographies of Time: A History of
\nthe Timeline. Princeton N.J.: Princeton Architectural Press.<\/p>\n

after.video: displaying video as theory and reference system<\/strong><\/p>\n

After video culture rose during the 1960s and 70s with portable devices like the Sony Portapak and other consumer grade video recorders it has subsequently undergone the digital shift. With this evolution the moving image inserted itself into broader, everyday use, but also extended it s patterns of effect and its aesthetical language. Movie and television alike have transformed into what is now understood as media culture. Video has become pervasive, importing the principles of \u201ctele-\u201d and \u201ccine-\u201d into the human and social realm, thereby also propelling \u201cimage culture\u201d to new heights and intensities.1 YouTube, emblematic of network-and online-video, marks a second transformational step in this medium\u2019s short evolutionary history. The question remains: what comes after YouTube? How might we understand a time when global bandwidth and multiplication of \u2013 often mobile \u2013 devices as well as moving image formats \u201cre-assemble\u201d both \u201cthe social\u201d2, as well as the medium formerly-known-as video itself? What is one supposed to call these continuously re-forming assemblages? Or: how should one name the ubiquitous moving images in times when they are not identifiable any more as discrete video \u201cclips\u201d? Are we witnessing the rise of Post-Video? Extended video? To what extent has the old video frame been broken?<\/p>\n

This paper discusses the use of video as theory in the after.video project6, reflecting the structural and qualitative re-evaluation it aims at discussing design and organisational level. In accordance with the qualitatively new situation video is set in, the paper discusses a multi-dimensional matrix which constitutes the virtual logical grid of the after.video project: a matrix of nine conceptual atoms is rendered into a multi-referential video-book that breaks with the idea of linear text. read from left to right, top to bottom, diagonal and in \u2018steps\u2019.<\/p>\n

Unlike previous experiments with hypertext and interactive databases, after.video attempts to translate online modes into physical matter (micro computer), thereby reflecting logics of new formats otherwise unnoticed. These nine conceptual atoms are then re-combined differently throughout the video-book \u2013 by rendering a dynamic, open structure, allowing for access to the after.video book over an \u2018after_video\u2019 WiFi SSID.<\/p>\n","protected":false},"excerpt":{"rendered":"

What\u2019s Visible \u2013 the mechanics of i-docs The interactive timeline This presentation explores the structural tensions between narrative and navigability in interactive documentary by focusing on the role of the on-screen timeline. The challenges of mapping \\ onto space extend at least as far back as the Middle Ages, when historical genealogies appeared in visual…Read more displaying video as theory and reference system<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,14,21,22],"tags":[],"class_list":["post-3197","post","type-post","status-publish","format-standard","hentry","category-events","category-presentations","category-reports","category-research"],"_links":{"self":[{"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/posts\/3197","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dorothea.tv\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3197"}],"version-history":[{"count":0,"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/posts\/3197\/revisions"}],"wp:attachment":[{"href":"https:\/\/dorothea.tv\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3197"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dorothea.tv\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3197"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dorothea.tv\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}