"j'observe, je transforme, je transfere,
je rabote ce qui depasse, c'est tout" (Godard)









From Opinions to Images: Essays Towards a Sociology of Affects

Theory on Demand #37 From Opinions to Images: Essays Towards a Sociology of Affects By Ulus S. Baker Edited by Aras Özgün and Andreas Treske

Free download from the Institute of Networkcultures (link)


"OOI:BNC-T No. 2: Melody of Life" exhibited at Perve Gallery Lisbon 20th Anniversary 2020 Catalogue

Video Vortex Reader #3: Inside the YouTube Decade

INC Reader #14 Video Vortex Reader III: Inside the YouTube Decade Editors: Geert Lovink and Andreas Treske

Free Download from the Institute of Networkcultures, Amsterdam (link)


Gobekli Tepe Live at CerModern, Ankara 2019

I am one of the project advisors, working with an amazing team. BILNEWS


Video Vortex XII - Malta

Video Vortex XII: art, archive, algorithms, activism Video Vortex, an artistic network concerned with the aesthetics and politics of online video, gathered again in Malta for a two-day conference in late 2019. We were in particularly focussing on bringing new research, theory and critiques of online video– in addition to questions around its integration with social media – to Malta. Given its ease of access and use, video has historically been aligned with media activism and collaborative work. Now, however, with video’s prevalence across social media and the web, its dominance of the internet of things, the role of the camera in both the maintenance and breaking down of networks, in addition to the increasing capacity of digital video to simulate that which has not occurred – we require novel theories and research. That is new practices of archiving and curation, modes of collaboration and political mobilisation, as well as fresh comprehensions of the subject-spectator, actors and networks constituted by contemporary video and digital cultures. LINK


Let's Dance or Nothing New on Interactivity

Once, when entering my private room, I wanted my room to understand me. Still, my carpet is not reacting to my endless monologues, but at least my fridge signals that we are out of eggs, and the hair dressers around our university are promoting a new “green” shampoo. What was I looking at on my smartphone?


Michelle’s Eye’s (Febr. 2019)

A human reflection on filmmaking inspired by Jan Bot’s film “2018–11–10.007-michelle_obama.mp4" on Medium


A commentary on Narrative Platforms, Cinematic Universes, and Consumers Formerly Known as the Audience

Treske, Andreas and Ozgun, Aras (2018) "A commentary on Narrative Platforms, Cinematic Universes, and Consumers Formerly Known as the Audience," Markets, Globalization & Development Review: Vol. 3: No. 3, Article 6. DOI: 10.23860/MGDR-2018-03-03-06
Available at: https://digitalcommons.uri.edu/mgdr/vol3/iss3/6https://digitalcommons.uri.edu/mgdr/vol3/ iss3/6


Drei Monitore schlagen Purzelbaum (Performance, Bilkent September 2018)

Performance - 10/09/2018 With 3 17" Apple Studio Displays, assisted by Boran Aksoy, Melih Aydinat, Andreas Treske, camera op Mehmetcan Sarikaya

Performance Video


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.

PLAYLIST to Video Theory Chapter One

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.
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.

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?


SINETABIP (www.sinetabip.com)
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

Clip: Nigel Ashley - Kimleri Sevdim (Turkish Tango)
Watch here: http://www.youtube.com/watch?v=g1ZyTxSIaVE


Documentary Summer School

Izmir - Lesvos 2014

Genius Voci - Documentary Development Workshop

Documentarist 2014


Bornova Belediye Belgesel Atölye




Summer School in Audiovisual Arts and Communication
1st July - 7th September, 2013
Lesvos island, Greece

Out now: THE INNER LIFE OF VIDEO SPHERES, INC Network Notebook 06

Network Notebook 06

Lüneburg, Leuphania University

VIDEO VORTEX #009 - Re:Assemblies of Video

28.02. - 02.03. Lüneburg, Germany


Izmir University of Economics

Department of Cinema & Digital Media: Sounds, Images, Cultures II Department of Media & Communication, Film Option: Film Studio II and Senior Project II


0912 - New article: Was ist Medienkunst? / What is media art?

(de) (en) (tr)


0612 - WEBDOCS Workshop Istanbul

Youth Mode Istanbul and Documentarist


0512 - Video Vortex Zagreb: The inner life of video spheres

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.


April 2012 - North Aegean Narratives

Creative Documentary Workshop in Adatepe

January 2012 - Mode Istanbul Creative Documentary Workshop


November/December 2011: CILECT Conference Prague

August 2011: We(Gulden, Miyav, Pepe & Andreas) are moving our house - new location: Bademler/Urla (info)


July 2011: Video Vortex #07 Yogyakarta Indonesia (more info)
Links:Veronika Kusumaryati's'pravdakino'-blog, EngageMedia, Indonesian Visual Art Archive, Langgeng Art Foundation, Kedai Kebun Forum,

"Video Spheres and Bubbles" - Public lecture @ Sanata Dharma University Yogyakarta, Monday, July 18th -
check out the report from Kunci Cultural Studies Center,
Abstract and notes on this talk can be found here ...



05/30/11 The CARMEN video is online. Thanks to everyone for their great efforts.




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 Degim.
Design: Katja van Stiphout, DTP: Margreet Riphagen
Printer: ‘Print on Demand’
Publisher: Institute of Network Cultures, Amsterdam 2011
ISBN: 978-90-816021-5-0
Download the 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


Moderator @
"Topographies of 'Turkish Cinema' - Hyprids, hyphens, and borders"
International Conference Izmir University of Economics,
Department of Media and Communication, Izmir April 21., 2011


04/11 "Carmen" Music Video (Making Of by Jörn Fröhlich on YouTube)


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 Filmfestival
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


03/11 Moderator of Country Reports @ Video Vortex VI


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 world.
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 downloaded here



"Iyi bir kitap okursun...
Iyi bir filme gidersin...
..." (L.Gülden Treske)

© 2011 at