GMU:Procedural Cut: Difference between revisions

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==Procedural Cut: Algorithmic Micro-editing==
==Procedural Cut: Algorithmic Micro-editing==
Micro-editing is a technique of rearranging tiny fragments of media to form a new work. In the context of music, [[wikipedia:Microhouse|microhouse]] is a subgenre of house which employs this technique. [[wikipedia:Akufen|Akufen]]'s ''Deck the House'' from 2002 may serve as an example. Experimental filmmaker [[wikipedia:Martin Arnold|Martin Arnold]] compiled his 1989 work “Pièce Touchée” entirely from one found-footage by copying frames in a specific order with an [[wikipedia:Optical printer|optical printer]], emphasizing and amplifying gestures from the original movie.  Steina Vasulka, Granular Synthesis and many other artists followed in exploring an aesthetic of deconstruction and reassembly of the timeline in moving images. In pop culture this “audiovisual cut-up” was used to expand the visual language of music clips and to have the audiences of live performances spellbound. This technique is used in different contexts from media art, experimental filmmaking to music clips and advertising.  
Micro-editing is a technique of rearranging tiny fragments of media to form a new work. In the context of music, [[wikipedia:Microhouse|microhouse]] is a subgenre of house which employs this technique. [[wikipedia:Akufen|Akufen]]'s ''Deck the House'' from 2002 may serve as an example. In the context of experimental film, [[wikipedia:Martin Arnold|Martin Arnold]] compiled his 1989 montage “Pièce Touchée” entirely from found-footage by copying frames in a specific order with an [[wikipedia:Optical printer|optical printer]], emphasizing and amplifying gestures from the original movie.  Steina Vasulka, Granular Synthesis and many other artists followed in exploring an aesthetic of deconstruction and reassembly of the timeline in moving images. In pop culture this “audiovisual cut-up” was used to expand the visual language of music clips and to have the audiences of live performances spellbound. Micro-edits are used in different contexts ranging from media art, experimental film-making to music clips and advertising.  


Today digital video is an almost infinite source of found footage which has been made accessible to anyone, anytime through platforms like YouTube, essentially databases for moving images of almost any kind. They enabled pop culture phenomenons like supercuts: compilations of short shots of the same action. In the context of those subcultures Arnolds’ tedious montages from 30 years ago appear like archaic YouTube Poop.
Digital video has become an almost infinite source of to-be-found-footage which is accessible to anyone, anytime through platforms like YouTube, which are essentially databases for moving images of almost any kind. They enabled pop culture phenomenons like [[wikipedia:Supercut|supercuts]]: compilations of short shots of the same action, or [[wikipedia:YouTube Poop|YouTube Poop]] mashups of videos with a comical and at times immature humour:


Today, meta information, close captions, machine learning analysis and advanced tools of music information retrieval can provide the means to generate edits and real time reassembly of media
Today, meta information, close captions, machine learning analysis and music information retrieval can provide the means to generate automated edits. Real-time reassembly of media fragments based on databases, feature extraction or meta-information has become entirely feasible.


In the class Procedural Cut: Algorithmic Micro-editing we are working with audiovisual material bridging Audio and Video. We will survey and discuss examples of creative Works from media art, experimental filmmaking and popular culture and create own works with the possibilities of today. On the way we will learn the tools which enable us to do so: Pure Data and Open Frameworks.
In the class Procedural Cut: Algorithmic Micro-editing we will learn to let algorithms cut and edit.


This class builds upon previous classes like [[GMU:Breaking the Timeline]] and [[GMU:Bits, Beats & Pieces]].
This class builds upon two previous classes [[GMU:Breaking the Timeline]] and [[GMU:Bits, Beats & Pieces]].


==Syllabus==
==Syllabus==

Revision as of 13:48, 13 August 2019

Lecturer: Max Neupert
Credits: 6 ECTS, 4 SWS
Date: Mondays, 09:15-12:30
Venue: Marienstraße 7b, Raum 204
First meeting: Monday, 15th of October 09:15-12:30

Procedural Cut: Algorithmic Micro-editing

Als der Experimentalfilmer Martin Arnold 1989 mit „Pièce Touchée“ Micro-editing mit Found-Footage betrieb, war dieser Begriff noch nicht erfunden. Steina Vasulka, Granular Synthesis und viele weiter Künstler folgten in der Untersuchung einer Ästhetik der zeitlichen Dekonstruktion und Neu-Zusammensetzung von Bewegtbildern. In der Popkultur wurde dieses „audiovisuelle Cut-Up“ genutzt um das Bildsprache des Musikvideo zu erweitern und das Publikum von Live-Performances in den Bann zu ziehen. Cut Chemist und Ninja Tunes’ Coldcut und Hextatic wurden mit ihren audiovisuellen Shows und Videoclips bekannt. Heute ist digitales Video eine schier unerschöpfliche Quelle an „Found Footage“ welche durch Plattformen wie YouTube, als eine Datenbank an bewegtem Bildern fast aller Art jederzeit und jedem zugänglich ist. Sie machten popkulturelle Phänomene wie Supercuts möglich: Aneinanderreihungen von kurzen sich gleichenden Szenen. Martin Arnolds mühsame Montagen von vor 30 Jahren erscheinen im Kontext dieser Subkulturen wie archaischer YouTube Poop.

Im Kurs Procedural Cut: Algorithmic Micro-editing schlagen wir die Brücke von Audio zu Video. Wir untersuchen und besprechen Beispiele künstlerischer Arbeiten aus Medienkunst, Experimentalfilm und Popkultur und schaffen eigene Arbeiten mit den Möglichkeiten von heute. Dabei lernen wir die Werkzeuge kennen die uns diese Arbeiten ermöglichen: Pure Data und Open Frameworks.


Procedural Cut: Algorithmic Micro-editing

Micro-editing is a technique of rearranging tiny fragments of media to form a new work. In the context of music, microhouse is a subgenre of house which employs this technique. Akufen's Deck the House from 2002 may serve as an example. In the context of experimental film, Martin Arnold compiled his 1989 montage “Pièce Touchée” entirely from found-footage by copying frames in a specific order with an optical printer, emphasizing and amplifying gestures from the original movie. Steina Vasulka, Granular Synthesis and many other artists followed in exploring an aesthetic of deconstruction and reassembly of the timeline in moving images. In pop culture this “audiovisual cut-up” was used to expand the visual language of music clips and to have the audiences of live performances spellbound. Micro-edits are used in different contexts ranging from media art, experimental film-making to music clips and advertising.

Digital video has become an almost infinite source of to-be-found-footage which is accessible to anyone, anytime through platforms like YouTube, which are essentially databases for moving images of almost any kind. They enabled pop culture phenomenons like supercuts: compilations of short shots of the same action, or YouTube Poop mashups of videos with a comical and at times immature humour:

Today, meta information, close captions, machine learning analysis and music information retrieval can provide the means to generate automated edits. Real-time reassembly of media fragments based on databases, feature extraction or meta-information has become entirely feasible.

In the class Procedural Cut: Algorithmic Micro-editing we will learn to let algorithms cut and edit.

This class builds upon two previous classes GMU:Breaking the Timeline and GMU:Bits, Beats & Pieces.

Syllabus

Student Works

Workshop files

Literature

  • Hillerson, Tony: Programming Sound with Pure Data: Make Your Apps Come Alive with Dynamic Audio ISBN 978-1-93778-566-6

See also