fwd: World WIde Video Festival

[integer at www.god-emil.dk]

From: "**-- WeWeJe - NeTWorK --**" <    @cicv.fr>


Mon admiration, en attach.

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About : René Beekman and Bruce Gremo

Route: Inter-routing audio and visual improvisation using MAX msp and NATO 0+55 


 In video, the opportunities provided by digital and electronic techniques are almost exclusively used within the traditional mindset of film. René Beekman offers a sharp analysis of this in his essay ' Composing Images'. A fish on the screen is still interpreted as a fish, whilst it really is nothing more than a stream of digital data, i.e. picture lines. In painting this has been an accepted idea since the twenties(!) of the previous century. Take René Magritte's painting ' ceci n'est pas une pipe '. The method and software of digital video continue to demonstrate a way of thinking based n film: virtual splicer with wich you assemble virtual film strips. Beekman resists this and aligns himself with pionners like Steina and Woody Vasuka. With his anti-narrative work, he demonstrates how limited this way of thinking is. A world of opportunities opens up when one leaves old assumption behind and starts working from the objective properties of the medium itself. For Beekman, vid!
eo has much more in common with music than film. This applies not just to the creative process, which is comparable to composing music, but also to the tools. Curently, the most innovative software for digital video comes from the field of electronic music (MAX) [ added line note: The base is MAX algorythm, the video work is made from NATO 0+55 from Antiorp AKA Netoshka Nesvanova, in Java R.E. ] in which sound is judged by its physical properties. Beekman approaches his material in the same way: he selects images according to intensity of light and colour, their forms and temporal development. They do not refer to the object from which they are derived, and certainly not to all the connotations attached to it. In this respect, Beekman takes Lemmertz and Kvium's principle one step further: In ' the Wake' they avoid any use of words because of the guiding interpretative effect that they have. [...]
  They have developed an instrument with three computers and they improvise on these using a large number of processing strategies. The basic material for this consists of previously recorded images and sounds that are first fed into the computer and then completely transformed through successive processing over a large number of stages. During the performance, both computers import and generate a flow of control data, a third-part computer acts as an interface between the two and is the control hub ( O.Center. ) at the same time.
[...]
 The audio performer can send the data from a musical line to influence the image colours. The video performer can reject this and send it back in a modified form, or send a stream of colour data to add new genes to rythm. But you can also look at it as a continuous cross-Pollination between video data, audio data, and control data. These domains are constantly being redifined through control routing, and inter routing.
 
 Video data becomes control data, audio data becomes video data, etc.

 In doing so, they jointly create new surfaces or tomographies for their interface - a process in which they constantly lern and relearn to lose control.


Copyrights: World WIde Video Festival 2000 catalogue, Amsterdam
WWW.WWVF.nl





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