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Courses

Spring 2012 @ Izmir University of Economics

Film Studio II

Senior Project II


Fall 2011 @ Izmir University of Economics

Film Studio I

Documentary Production


Spring 2011 @ Yasar University, Izmir

RCTV 352 Documentary Cinema

RCTV 364 Applications in Editing

RCTV 492 Video Art II

 

Fall 2010 @ Yasar University, Izmir

RCTV 353 Television Studio Production

RCTV 365 Editing - Theory

RCTV 491 Video Art I

VCDS 205 Interactive Multimedia I

 

Spring 2010 @ Bilkent University, Ankara

COMD 482 - Visual Communication Project II (in collaboration with Yusuf Akcura)

GRA 518 - Image, Time and Motion II: "Doing Things With Video"
There is more to video than just uploading to YouTube or immitating a movie …
In a series of lab projects students will explore various aspects of video as artistic material and practice.

Fall 2009 @ Bilkent University, Ankara

GRA 351 - Introduction to Video Production I

GRA 517 - Image, Time and Motion I
Through digital technology our moving image culture is being redefined. The computer enables the mixture of images captured through many different means (cinema, stills, and drawings), and enables new levels of representation. Video gave the birth to simultaneity; the computer extends simultaneity to multiplicity. “Cinema becomes therefore a particular branch of painting - painting in time. No longer a kino-eye, but a kino-brush.” (Manovich)

 

Lectures - Lectures Archive (coming soon)

Advertising for Television - Bilkent 09

Media, Documentary and Visual Anthropology - Rural Europe/KADA 09

On Video Technique - Rural Europe/KADA 09

Post-Production for Television - TRT 09

Medya - Bilkent 09

“Machinima – Making Movies with Computer Games”, March 2007, if Istanbul

“Alman Video Sanatýnýn 40 yili i Almanya ve Türkiye’de Video Sanatý’ndaký Gelisimler ve Perspektifler – Dijital Miras”, April 2007, K2 Izmir

 

Talks - Talks Archive(coming soon)

Detailing and Pointing - Video Vortex Amsterdam 08
Video produced for the internet or for small devices like the iPod, the iPhone, or any mobile phone has to be composed according to the conditions of the medium, the way it can reproduce moving images, technically as well as in reference to the viewing circumstances and assumed environment. Aesthetically, leaving hereby outside the aspects of media convergence and recycling, which could be seen as one major characteristic of video-sharing websites, artists are confronted with a strong emphasis on less detail and closer shots - a tendency which was already a characteristic of Television. The source material might be recorded in high resolution, or high definition video, the delivery will result in a not just simple technical but also aesthetical compression of the frame/image. Conscious and consequently made compositions or framings will have to increase the amount of close ups for small mobile devices. Even people might watch complete movies on mobile devices, or streaming over the Internet - in general complex films are downloaded and watched under different more cinema like viewing conditions. The viewed short span or ultra short movies with apparently less detail are pointing towards the viewer. Was the close up seen before as something coming to but pulling the viewer into the kinematic experience - a movement from the screen to the viewer, here now we might observe a different opposite directed movement pushing towards the content as a challenge for the artist. Media convergence here forces a reduction of content towards a simplified movement in the object space. (Following Flusser we cannot talk any more about an object subject relation, cause the media we are using has already transformed this.) The image has to be read/viewed as a whole. Again here in the time of the merge of TV, Internet, and Telephone we are in a phase of transition. These small devices might be or will be replaced in a very short time for devices we are just about to imagine. There is of course a strong aesthetic difference between the cinema, the television, the video and the net. The format of these technical appearances dominates each different aspects of a common language. It seems like a spoken regional dialect outside of the grammatical. This common language is or was developed as a language of cinema, means dominated by the aesthetic condition of the apparatus cinema. The transformation of the cinematic through television and video practice added as a major factor simultaneity to the repository of the formed cinema language - meaning emphasizing the live event. Of course, cinemas imitation contrasts to the development of its own form of expression in video. The artist in transition, a transition technically caused by or through changing tools and their availability, aesthetically caused by or through expanding image formats and their availability, will have to use techniques of simplified or adapted design and gestures in or through time, gestures like pointing to or emphasizing this detail, while detailing her/his work strategically politicizing the formation of an aesthetic of an medium in becoming, a medium which is not there but already there in its formation. Machinima movies point back on the game as simulation. Moving images produced in Second Life point towards the “real” character of a simultaneous experienced mass medium. What is called in German "Gestaltung", the design, the presentation of the moving image, here exaggerated in reference to the close up, the pointer, the detail, emphasizing simple shapes in a minimized area of change through moving images, strengthen a reduced number of colors, increasing the influence of sound therefore the characteristics of radio for the small screen , might be conscious or unconscious influential factors on art works in the experienced transition. While cinema was like Kafka claimed shutting down the senses to take you in to one illusion space, here the artist is competing with the senses, the circumstances, and the environment. Therefore forced to create that immersive impact for a short span of time, to point and focus, to point and shoot. The pointer as the close up is called here in this abstract is a relative of the joke, the fable, the aphorism, the haiku - short literature forms. In a multiple viewing environment the small screen is only one part of the attractions. While cinema is necessary a two-eye view, the aesthetical conditions of the small screen are referencing only one eye and may be only one point in the field of view of the viewer.

Screens and Skins - Pikselist Istanbul 09
... As any material any where at any time can become a screen or is a potential screen video will have to divorce itself from cinematic language and cinematic structures.
Following my interest in the question of how does the diverse development of screens, and the emergence of online as well as mobile video influence the way we compose and create moving images and narratives, this talk is another attempt to apply formal theoretical approaches to these already existing forms and appearances.

Frames within Frames - Video Vortex Split 09
“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?

SecondHand FilmMaking, Clever TV and ArtHouse Pirates - Open Video Conference New York 09
On festivals, you tube screenings and films you can’t get anywhere around the corner in Ankara, Turkey ....
In 2009 Turkish Cinema is booming and its box office is impressive. While this development is continues over the past years, the amount of small festivals and public screenings of home grown videos is expanding the former realm of established film festivals. What might have started as a trend of student video festivals around 10 years ago, converts in a different type of public entertainment, which is closer related to a culture of online video and P2P sharing then traditional cinema even they might have similarities. This presentation based on observations in Ankara and Istanbul tries to localize this variety of public and individual media usage.

Montage - Editing after YouTube - Ulus Baker Conference, Ankara 09

“Digital Media, Mobile Video and Social Impact”, December 2007, NIHAnkara

 

Articles - Article Archive (coming soon)

Son Adam ve "Zincirlerinden Bosanmis Kamera". K E B I K E Ç 2009 Yil: 14 Sayi: 28 Insan Bilimleri için Kaynak Arastirmalari Dergisi

“Detailing and Pointing” in Video Vortex Reader: Responses to YouTube, (Edited by Geert Lovink and Sabine Niederer), pp. 215 – 222, Amsterdam: Institute of Network Cultures, 2008. ISBN: 978-90-78146-05-6.

“Evvel zaman icinde – Ýnternet Protokol Televizyonu Ýçin Etkileþimli Anlatý ve  Katýlýmcý Televizyon Programlama Modelleri”, IPTV book, Bilisim  Dernegi and RTÜK, December 2007

“Kamerayi Merak Oldurdu”, Belgesel Sinema, Volume 1-2, p. 20 -28, Fall 2003


© Andreas Treske 2002 - 11 / Last updated April 2011

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