Video Theory. Online Video Aesthetics or the Afterlife of Video. Transcript Verlag April 2015
Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand and attached to nearby anything, anywhere. Online Video became something vital and independent. With all the video created by the cameras around us, constantly uploading, sharing, linking, and relating, a blue ocean is covering our planet, an ocean of video. What might look as bluish noise and dust from the far outside, might embed beautiful and fascinating living scapes of moving images, objects constantly changing, re-arranging, assembling, evolving, collapsing, but never disappearing, a real cinema.
Here is the first playlist to Chapter One "Static - Ocean Blue" of "Video Theory - Online Video Aesthetics or The Afterlife of Video". Rather than being the exact videos mentioned these are related videos, which showed up on a YouTube search. Ready for Remix!
The sky above the port was the color of television, tuned to a dead channel.
WILLIAM GIBSON/NEUROMANCER Static, static, static. Be static! Movement is static! Movement is static because it is the only immutable thing—the only certainty, the only thing that is unchangeable. The only certainty is that movement, change, and metamorphosis exists. That is why movement is static.
JEAN TINGUELY/ZERO 3
BLUE. It is blue. The color of VIDEO is blue. A dead channel is black. Black is nothing. If a screen is black, then nothing is streamed, no content, no signal, and no function. Stand by? No, if the screen is black, then it is malfunctioning or defunct, or there is no reception. No signal, or no elec- tricity, no connection, no network? It defines a lack, emptiness. There is something. And this something is nothing. Restart.
Blue is the screen when there is a connection identified, a technical signal transmitted and displayed, a lack of content, another emptiness, but defined and limited. There is something and that something is technical and operational, a framework unfilled. Simple On.
When the screen is not blue, it is colorful, a change of light, frequently. The screen is emitting light—bluish, technically, in reference to its color temperature. When video is playing/streaming, it lights up its surroundings, its environment with changing colors, brightness, contrast, intensities and densities.
I wonder what would be the color of all videos, played all together at the same time, streamed at once onto a huge screen looked at from a dis- tance far, far away. Would it be blue like EARTH or would it be the color of TELEVISION referred to in the opening line of William Gibson’s novel Neuromancer?
Story Development Initiative together with Gülden Treske and Berrin Balay Tuncer
Video Vortex 10
Moving back to Ankara - Bilkent University, Department of Communication and Design
0512 - Video Vortex Zagreb: The inner life of video
An online video is never existing alone. The video is presented
inside a webpage, a browser. A text adds a title, comment, tag.
Another video is suggested aside, etc. What appears as a link or
tag is the existence of at least a pair. This other part appears
to be there at the same time as well as any time. It is a
juxtaposed pair building a common space. If we display a video
with its timeline, then the juxtaposed others or objects are
creating another axis or dimension. We just need to think of a
flow of images which expands not only in time but also each
frame expands in a space beyond the two-dimensional screen.
There is a multiplicity of screens connected to the one screen
viewed at a specific moment. In a Sloterdijktian sense a complex
ecosystem, an artificial sphere of existence with protective
walls and elaborate systems of air conditioning. Such an
ecosystem redefines the aesthetics and structures of moving
images. It aks for a new set of descriptive and analytical
tools, another kind of theory. In his now classic text “On
Video” from 1989 Roy Armes sees video as the “final link” in a
complex chain of developments in both image and sound
reproduction. In 1993 Sean Cubitt notes in “Videography”, that
there will never be a theory of video: “Not being really a
simple and discrete entity, video prevents the prerequisite for
a theoretical approach: that is, deciding upon an object about
which you wish to know.” Tom Sherman on the 2nd Video Vortex
conference in 2008 describes video as “a liquid, shimmering,
ubiquitous medium that absorbs everything it touches.” Video has
gone historically from nearby opacity to a “total” transparency.
It has become absolutely invisible. It seems that there is no
explicit video theory, which handles video on its own basic
substance. Like video vortex there are series' of practices
reflecting on video, but still there is not a discipline called
video studies or online video theory. In this presentation I
will develop a way of describing and reflecting local and
complex “atmospheric conditions” related to video and its
spheres. Therefore localizing what might be in my opinion a kind
of online video theory.
05/30/11 The CARMEN
video is online. Thanks to everyone for their great
19. April 2011: Out now
: Theory on Demand #7 Image, Time and
Motion: New Media Critique fromTurkey, Ankara (2003 – 2010)
Edited by: Andreas Treske, Ufuk Onen, Bestem Büyüm and I. Alev
Design: Katja van Stiphout, DTP: Margreet Riphagen
Printer: ‘Print on Demand’
Publisher: Institute of Network Cultures, Amsterdam 2011
TOD#7 reader here. about this publication: This reader is a
collection of essays written by Turkish graduate students
between 2003 and 2010 for Andreas Treske’s seminar ‘Image,
Time and Motion’ at Bilkent University in Ankara, revised and
actualized in 2010. Coming from a wide range of disciplines
they had studied before, very rarely media or cultural
studies, these students brought in their various viewpoints
and methods, and tried to integrate their observations and
understandings in a seminar related to cinema and new media to
discuss and sometimes just to describe the influences of
digital media technologies for themselves and their
colleagues. Starting from the premise that digital technology
redefines our moving image culture, the authors reflect in
their essays various kind of approaches and methods,
experiences and practices, descriptive, critical and
interdisciplinary. Contributors: Pelin Aytemiz, Bestem Büyüm, I.
Alev Degim, Bilge Demirtas, Fulya Ertem, Deniz Hasirci, Cagri
Baris Kasap, Zeynep Kocer, Rifat Süha Kocoglu, Leyla Önal,
Ufuk Önen, Didem Özkul, Segah Sak, Alper Sarikaya, Ayda Sevin,
Umut Sumnu, Andreas Treske and Funda Senova Tunali.
1st Symposium of Art and Design Education
"Past, Present and Future"
Interdisciplinary Workshop leader April 22 - 29th, 2011
Baskent University, Faculty of Design and Architecture, Ankara
03/11 "Fernsehrauschen" for 22nd
International Ankara Filmfestival
a limited edition of 12 unlabled DVD's with analogue TV Noise
for sleepless nights distributed @ Goethe Institute Ankara on
Sunday, 27th March 2011
03/11"Touch, Jump and Dance"
Interactive Video Workshop @ 22nd International Ankara
How can visitors influence the video installation they are
watching? How can kinetic objects move, how can we change
light and atmosphere of an artistic space? This workshop on
interactive video will introduce interfaces (Arduino, Kinect)
for artists who want to realize multimedia installations,
interactive projects or kinetic objects by using sound, light
and movement to control machines, generate sounds, lights and
motion, and influence on-screen events.
03/11 Festival Screening Teslimiyet,
Dirtected by Emre Yalgin, edited by Emrah Dönmez and Andreas
Treske in 2010,
22nd Ankara International Film Festival Competition
Article:Frames within Frames –
Windows and Doors. “Doors, windows, box office windows, skylights,
car windows, mirrors, are all frames. The great directors
have particular affinities with particular secondary,
tertiary, etc. frames. And it is by this dovetailing of
frames that the parts of the set or of the closed system are
separated, but also converge and are reunited.”
Gilles Deleuze, Cinema I: The Movement-Image
As Anne Friedberg already referred to in “The Virtual Window”
(2006) the frame within a frame or the shot within a shot is a
“common figure” of/in cinema. The moving image is formally
split in parts, re-composed and re-centered through an
additional act of framing equal an exaggeration. The “cadrage”
includes a second “cadre” replacing the traditional way of
cutting to the object to be seen as well as its reverse shot.
The act of entering by the viewer is not formed between the
shots and their single “cadrages” rather a multiplicity is
presented online and constantly available, not one window, a
sum of windows. While split screens mark and separate
historically spaces in cinema, frames within frames create
traditionally a new element in the narrative or fictional
Following my interest in the question of how does the diverse
development of screens, and the emergence of online video
influence the way we compose and create moving images and
narratives, this talk is another attempt to apply formal
theoretical approaches to the existing forms of online video
and the interface, where it is embedded. Are we in the need of
re-assessing frames in its forms as windows or doors or how
does the form and forms presented by and with online video in
its specific interface position the viewer? In: Geert Lovink and Sabine Niederer (eds.):
Video Vortex Reader 2 pp. 25 - 34. The reader can be
"Iyi bir kitap okursun...
Iyi bir filme gidersin...
..." (L.Gülden Treske)