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FILMTEXT 2.0
FILMTEXT 2.0 is an elaborate work of net art that investigates emerging forms of electronic literature in relation to interactive cinema, live A/V performance, games, and remix culture. It remediates formal experiments from older media like film, video art, and the visual/metafiction novel.
(Source: Author's abstract at narrabase.net)
"FILMTEXT" is a digital narrative created for cross-media platforms. It is has appeared as a museum installation, a net art site, a conceptual art ebook, an mp3 concept album, and a series of live A/V performances. In the initial 1.0 iteration of the net art site, commissioned by PlayStation 2 in conjunction with Amerika's "How To Be An Internet Artist" retrospective at the Institute of Contemporary Art in London, Amerika referred to "FILMTEXT" as "the third part of my new media trilogy," following his two other major works of Internet art, "GRAMMATRON" and "PHON:E:ME."
(Source: Description for the 2008 ELO Media Arts show)
Scott Rettberg - 16.03.2011 - 16:51
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Trade Tattoo
Experimental film with kinetic typography and analog filtering techniques produced by Lye in the 1930s.
Scott Rettberg - 09.04.2011 - 16:52
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Reconstructing Mayakovsky
Inspired by the poet Vladimir Mayakovsky who killed himself in 1930 at the age of thirty-six, this hybrid media novel imagines a dystopia where uncertainty and discord have been eliminated through technology. The text employs storylines derived from lowbrow genre fiction: historical fiction, science fiction, the detective novel, and film. These kitsch narratives are then destabilized by combining idiosyncratic, lyrical poetic language with machine-driven forms of communication: hyperlinks, "cut-and-paste" appropriations, repetitions, and translations (OnewOrd language is English translated into French and back again using the Babelfish program.) In having to re-synthesize a coherent narrative, the reader is obliged to recognize herself as an accomplice in the creation of stories whether these be novels, histories, news accounts, or ideologies. The text is accessed through various mechanisms: a navigable soundscape of pod casts, an archive with real-time Google image search function, a manifesto, an animation and power point video, proposals for theatrical performances, and mechanism b which presents the novel in ten randomly chosen words with their frequencies.
Scott Rettberg - 15.04.2011 - 15:38
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Intermission
Intermission is a performative redadaction of the poetics of cinema. The performance and media platform utilizes René Clair’s short film Entr’acte (1924, a collaboration with Picabia and Erik Satie) as a starting point, reimagining cinema as if the Dadaist vision for the medium had become the prevalent form.
Talan Memmott - 17.06.2011 - 12:41
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//**Code_Up
//**Code_UP investigates digital images particularities and interrogates the role of the code in the meaning construction.
The research is based on a conceptual dialogue with "Blow up" (1966), by Michelangelo Antonioni, one of the deepest discussions ever made on the nature and the place of the image in contemporary culture, permanence and transitory, and on how we deal with the visible and the invisible phenomena.
The film tells the story of a photographer (Thomas, interpreted by David Hemmings) who may registered, by chance, a crime in a park. On developing his pictures he is startled to find what appears to be a man with a gun in the bushes and, in a later shot, a body.
Rushing back to the park in the middle of the night he finds the body, but on his return to the studio all his pictures have disappeared. When he returns to the park in the morning the body, too, has gone and Antonioni seems to say: It all might never have happened�
His investigation about the crime is made through successive magnifications of the photographic registers he shot accidentally.
Scott Rettberg - 16.06.2012 - 22:42
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Something That Happened Only Once
In a slowly revolving and evolving animated double panorama that takes the form of a mobius strip, the work follows a female protagonist, a male counterpart, and other characters in a manner that suggests narrative but never becomes it; instead it's an expression of temperament or a consciousness—a searching, a longing, a loneliness.
Scott Rettberg - 09.01.2013 - 15:48
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Waxweb
"Wax..." was my first feature, executed from 1985-1991 with a variety of arts funding, and a co-production commissioning from ZDF in Germany. The narrative is grotesque, an unresolved and unresolvable tragedy revolving around the perceptual and ethical misperceptions of one Jacob Maker, flight simulation systems programmer, and amateur beekeeper. Half-way between suspense and suspension, the movie moves through space, as the protagonist is translated from his home in Alamogordo out to the Army's Deseret Test facility, and beyond, to caves or the world of the dead, and perhaps even further, if his endless talking voice is to be believed (it should be). Dislocated, disoriented, fragmented, and finally flying, the hero and all those bees and other pictures accompanying him fly backwards and forwards through time. And in a sense the viewer does too.
Scott Rettberg - 19.01.2013 - 01:39
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Odyssée 3 min 50
Le point de départ "d'Odyssée, 3mn50" est un film d'une traversée d'un pont d'une durée de 3mn50. A partir de ce point de départ l'espace cinématographique se déploie dans sa temporalité, offre des ouvertures. Ce film délivre bifurcations: il ouvre des cheminements vers une structure plus profonde, secrète, qui se révèle au spectateur.
(Source: http://www.epoetry2007.net/)
Marthin Frugaard - 11.04.2013 - 10:40
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Rhythmus 21
This nonverbal piece juxtaposes a single dancer with Hans Richter’s 1921 Dada film. In this film white, black, and grey rectangles move in and out of the screen, shrinking, growing, and changing shapes. The dancer’s movement cast shadows upon this surface as she spins, poses, reaches out with her arms and legs in ways that make me wonder whether she is interpreting letters upon this stage and screen. Is she writing on these spaces? If so, her letters are not the static things we’re used to inscribing on a page or word processor. These are letters that feel at home on a time-based medium, such as the stage and this film by Richter. And in good Dada tradition, they are freed from meaning.
Choreography: Shelley Hain
Film: Hans Richter (1921)
Music: Sue Harshe
Dancer: Danielle Delong(Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 03.05.2013 - 17:30
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Anemic Cinema
Early example of animated text on film.
Jill Walker Rettberg - 28.06.2013 - 10:36
