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ADELA MUNTEAN for BIEFF 2016
V I R T UAL TOUR S engage with the real in creative ways
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ncorporating and making reference to diverse media, including audio, video, text, archival materials such as objects, photographs, drawings, these virtual tours are unveiling different levels of „reality” from the past, giving access to micro-narratives through memories told in the style of testimonies, where the “personal” and “cultural” can be distinguished, but they never can be separated.
AVA N T - G A R D E A S S O F T WA R E
Lev M a n ovic h ana l yses th e n ew media revolut ion by comp ar ing it w it h t he ava nt- ga rde revo l ut ion of t he 1910s-1920s in th e v i su a l a r ts, design and film .
| MEDIA SOCIETY | M E TA - M E D I A S O C I E T Y
Ci n é ma Pu r, t he avant gard e film m ove me nt i n the e a r l y 20th ce ntur y inve nte d a who le set o f new fo r m al l a nguage s and c i ne ma wa s exc i ti ng “a g a i n” b e c a u se o f it s rad ical “newnes s”- i ts abi l i t y to produce spe c tac l e wi t h i mme d i ac y and im p ac t : t he ar t ists foc use d on the pure e l e me nts of film like motion, visual composition, and rhythm and sought to accomplish t h e i r g oa l by m inim izing sto r y and pl ot, foc usi ng i nste ad on vi sual co n ce r n s by u sing clo se -u p s, d o lly s hots, monta ge, supe r i mposi ti ons, l e n s d i sto r t i o ns, fast and slow m o t ion, stop -ac ti on c i ne matogra phy, d y n a mi c c u t ting and o t her cinem at ic te c hni que s. I n t h e 19 20 s a nu m b er o f p ho to gra phe r s be gan to use unor thodox v i e wp oi nt s i n t heir p ho to grap hs: aer ia l a nd “ wor m’s- e ye” vi e ws, di agonal came ra p o si t io ns, elim inat io n o f t he hor i zon l i ne, ex tre me c l ose -ups.
Th e se d efam iliar izing p o ints of vi e w func ti one d i n a numbe r o f ways, b eing p ro m o ted at the sa me ti me a s the re cords of t h e ex p er ience o f m o d er nizati on and as the tool s to he l p to b r i n g m o d er nizat io n ab o u t. O n t he sim p lest level, the y we re re cordi ngs of ne w, q u i ntessent ially m o d er n visua l expe r i e nce s—the re sul ts of se e i n g realit y fro m a sk yscrape r, a movi ng c ar, a n a i r pl a ne. They were at the same time per fect metaphors for modernization, wi t h it s sp eed, chao s, new r hy thms a nd ge ome tr i c a rc hi te c ture ( a n d it was new architec t u re w hi c h was a favour i te subje c t of n e w visio n p ho to grap hy).
CI T Y SYM PHO NY Filmm a ke r a f te r f i lm m a k e r cre ate d a m ovi e d ep ic t i ng t he c i t y li fe: fo c used o n hum ans with i n hum a n-m a d e e nvi ro n m e nts a n d a s th e n am e suggest s, t hese f i lm s are usually b ased aroun d a ma j or me tro po l i ta n ci t y a re a a n d s e e k to c ap t ure t he lives, event s and ac t ivi t ies of th e c i t y fe at ur i n g pe o p l e a s p ro d u c ts o f th e ir enviro nm ent. Par i s, B er li n, New Yo r k and K iev we re c a p t ure d i n a n ex p e r i m e nta l m a n n e r co nsequent ly by Alb er t Cavalc ant i R ien les h eu re s ( 1926) , Wa lte r Ru ttm a n d i re c te d B e r l i n : Sy m p ho ny o f a M et ro p o li s ( 1927) , p ainter Ch ar l e s S he e l e r a n d ph o to gra ph e r Pa u l Stra n d ’s M anhat t a ( 1921) and Dz iga Ver tov f i lm ed M an w i t h a M ov i e Ca m e ra (1 9 2 9 ). W B er lin, Symp hony of a Great Cit y (di r. Wa l te r Ru t t ma n , 1 9 2 7 ) The M an wit h a M ovie Cam era (di r. Dz i g a Ve r tov, 1 9 2 9 ) M anhat t a (d ir. Paul St ra n d, 1 9 2 1 ) Par is Not hing b ut t he Hour s (d ir. Al b e r to Cava l c a nt i , 1 9 2 6 ) Twent y Four D ollar Island (d ir. R o b e r t Fl a h e r t y, 1 9 2 7 ) Et ud es sur Par is (d ir. Audre S a u va g e, 1 9 2 8 ) The Br id ge and R ain (d ir. Jor i s I ve n s, 1 9 2 8 a n d 1 9 2 9 )
WATC H I N G M O V IE SC E N E S TO M O RR O W ( :
Th e avant- g arde o f th e 1920s a l so cor resp ond s to t his p er iod o f m e d i a accu mu l ati o n , h e w r i te s- “M od er nism (ap p rox im ately f ro m t h e 186 0s to th e 1960s; o r from M anet to War hol; or from B au d e l aire to M cLu h a n ) , i n cl u di n g t he avant- gard e of t he 1920s, co r re s p o n d s to th i s per i o d o f med ia acc um ulat ion. Th e ar t is t s a re co n cer n ed w i th rep resent ing t he out sid e wor ld ; w it h s e e in g i t i n a s ma ny di f ferent ways as p ossib le.� ME D I A ACC UM UL ATI ON
B y t h e e ar l y 1980s, cu l tu re n o longer t r ies to “make it new ”. R at h e r, t h ere i s en dl ess rec ycl ing and quot ing of p ast med ia co nte nt, ar ti sti c st y l es a n d fo r ms, whic h has b ecom e t he new “inte r n at i o n a l st y l e” o f a medi a-sat urated soc iet y. I n s h o r t, cu l tu re i s n ow bu sy re -wor k ing, recom b ining and an al ys i n g th e medi a mater i a l alread y acc um ulated. R E C YC L I N G A N D Q U OT I N G O F PA S T M E D I A CO N T E N T, A R T I S T I C S T Y L E S A N D F O R M S
A L L OF T H E N E W VI S I O N BE C AM E STAN DARD SO FT WA R E TECHNIQU ES THE V IS UA L E P I S T E MO LO G Y RE C E IV E D A N E W L IFE IN THE COM PU TER AGE 1.Th e n e w m e d i a ava nt- g a rd e i s a b o u t n e w ways o f accessing and m anip ulat ing in for mat i on. I t s te c hn i q u e s a re hy p e r m e d i a , d atab ases, searc h engi nes, dat a min in g, i m a ge p roce s s i n g, vi s u a l i z ati o n , s i m u l ati on. 2. Th e n e w ava nt- ga rd e i s n o l o n g e r co n ce r n e d w i th seeing o r rep resent i ng t he wor ld in ne w ways b ut rath e r w i th a cce s s i n g a n d u si ng p revio usly acc um ulated media in ne w ways. I n th i s re s p e c t n e w m e d i a i s p o st- m edi a o r m et a- m edi a, as it u se s ol d m e d i a a s i ts pr i m a r y m ate r i a l.
“Computers allow a different way of structuring filmic narratives. With computers we can create nonlinear narrationsstories without a moral, without an opinion: stories that allow seeing more clearly, narrations that enable us to see a variety of relevant patterns and sense the connectedness of the things around”. VR 360 V I D E O GOOGLE STREET VIEW GOOGLE EARTH I N F R A C A M E R A | D R O N E | G O P R O | K I N E K T | W E B C A M | S C R E E N R E CO R D E R | 3 D V I R T UA L C A M E R A | P H O N E , E TC .| VERTICAL FILM HYPERLAPSE/TIMELAPSE EVEN IN GOOGLE STREET VIEW A R C H I V E M AT E R I A L / P U B L I C D O M A I N Q R CO D E | G I F
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2016