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33. The Future of Art
1 year ago
The Future of Art
an immediated autodocumentary
What are the defining aesthetics of art in the networked era? How is mass collaboration changing notions of ownership in art? How does micropatronage change the way artists produce and distribute artwork? The Future of Art begins a conversation on these topics and invites your participation. (twitter hashtag: #futureofart)
This video was shot, edited and screened at the Transmediale festival 2011 in Berlin, Germany.
Conceived and Edited by Gabriel Shalom
Produced by KS12 / Emergence Collective
Executive Producer: Patrizia Kommerell
Assistant Editor: Clare Molloy
Production Assistant: Annika Bauer
Featuring:
Aaron Koblin aaronkoblin.com
Michelle Thorne thornet.wordpress.com
Caleb Larsen caleblarsen.com
Régine Debatty we-make-money-not-art.com
Heather Kelley kokoromi.org
Vincent Moon vincentmoon.com
Ken Wahl depthart.com
Reynold Reynolds reynold-reynolds.com
Bram Snijders sitd.nl
Mez Breeze unhub.com/netwurker
Zeesy Powers zeesypowers.com
Joachim Stein joaoflux.net
Eric Poettschacher shapeshifters.net
Including Video Material From:
Vincent Moon
Achim Kern achimkern.de
Born Digital borndigital.nu
Daniel Franke daniel-franke.com
Christopher Warnow brian-steen.com
Memo Akten memo.tv
Ian Mackinnon ianmackinnon.co.uk
Taj Dhami
Liisalotte Elme
Zeesy Powers
Reynold Reynolds
Patrizia Kommerell & Gabriel Shalom
Aaron Koblin
Alessandro Ludovico neural.it
Paolo Cirio paolocirio.net
Iepe iepe.net
Akiz myspace.com/bornhak
Music, Sounds and Performances by:
The Arcade Fire, The Crowd, Daniel Franke & Christopher Warnow, Monolake, Daito Manabe, Zeesy Powers, Arlt, Ei Wada, Gabriel Shalom (8 years old), kom.post by Laurie Bellanca
Special Thanks:
Elyse Harrison, Studio Neptune, Cifarelli Art Consulting, Henrik Moltke, Beckie Darlington, Open Design City, Cara Bell Jones, Ela Kagel
CC 2011 BY-NC-SA
KS12 / Emergence Collective
emergence.cc
Join the conversation!
#futureofart
============================
We've made English subtitles for this video using the Universal Subtitles tool: ow.ly/41lBK
If you'd like to help translate the video into your own language, you'll just need Firefox 4 beta: ow.ly/41lAT
============================
an immediated autodocumentary
What are the defining aesthetics of art in the networked era? How is mass collaboration changing notions of ownership in art? How does micropatronage change the way artists produce and distribute artwork? The Future of Art begins a conversation on these topics and invites your participation. (twitter hashtag: #futureofart)
This video was shot, edited and screened at the Transmediale festival 2011 in Berlin, Germany.
Conceived and Edited by Gabriel Shalom
Produced by KS12 / Emergence Collective
Executive Producer: Patrizia Kommerell
Assistant Editor: Clare Molloy
Production Assistant: Annika Bauer
Featuring:
Aaron Koblin aaronkoblin.com
Michelle Thorne thornet.wordpress.com
Caleb Larsen caleblarsen.com
Régine Debatty we-make-money-not-art.com
Heather Kelley kokoromi.org
Vincent Moon vincentmoon.com
Ken Wahl depthart.com
Reynold Reynolds reynold-reynolds.com
Bram Snijders sitd.nl
Mez Breeze unhub.com/netwurker
Zeesy Powers zeesypowers.com
Joachim Stein joaoflux.net
Eric Poettschacher shapeshifters.net
Including Video Material From:
Vincent Moon
Achim Kern achimkern.de
Born Digital borndigital.nu
Daniel Franke daniel-franke.com
Christopher Warnow brian-steen.com
Memo Akten memo.tv
Ian Mackinnon ianmackinnon.co.uk
Taj Dhami
Liisalotte Elme
Zeesy Powers
Reynold Reynolds
Patrizia Kommerell & Gabriel Shalom
Aaron Koblin
Alessandro Ludovico neural.it
Paolo Cirio paolocirio.net
Iepe iepe.net
Akiz myspace.com/bornhak
Music, Sounds and Performances by:
The Arcade Fire, The Crowd, Daniel Franke & Christopher Warnow, Monolake, Daito Manabe, Zeesy Powers, Arlt, Ei Wada, Gabriel Shalom (8 years old), kom.post by Laurie Bellanca
Special Thanks:
Elyse Harrison, Studio Neptune, Cifarelli Art Consulting, Henrik Moltke, Beckie Darlington, Open Design City, Cara Bell Jones, Ela Kagel
CC 2011 BY-NC-SA
KS12 / Emergence Collective
emergence.cc
Join the conversation!
#futureofart
============================
We've made English subtitles for this video using the Universal Subtitles tool: ow.ly/41lBK
If you'd like to help translate the video into your own language, you'll just need Firefox 4 beta: ow.ly/41lAT
============================
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KS12Producer -
Aaron KoblinInterviewee -
Zeesy PowersInterviewee -
Gabriel ShalomConcept / Editor -
annika.Production Assistant -
Vincent Moon / Petites PlanètesInterviewee -
Memo AktenVideo Contributor -
Artstudio ReynoldsInterviewee -
Achim KernVideo Contributor -
Liisalotte ElmeVideo Contributor -
Daniel FrankeVideo Contributor -
Christopher WarnowVideo Contributor -
Bram Snijders / SITDInterviewee
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Casey Cripe8 hours ago -
Javier Longobardo1 day ago
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Douglas Kime2 days ago
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Michele Picci6 days ago
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Svetlomira Minkova1 week ago
MP4
00:21:40
41 Related collections
- Categories / Animation & Motion Graphics
- Categories / Processing
- Designflux
- The Art Pack
- Documentaries
- Independent Films
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But I took the time to watch it completely. Content is ace! Great documentation of a fantastic event and the people, artists and thoughts behind it.
Since I first started making videos I have always disregarded the rules of continuity editing which prescribe jump cuts as disorienting or confusing to the viewer. I believe we've gained the media literacy to understand we're being manipulated, no matter how smooth the video is.
In point of fact, I would say that more than 75% of what I edit out of interviews is "ums", awkward pauses, phrases like "you know" and "like". Seen this video? vimeo.com/3829682
That basically sums up my feelings about why I ruthlessly jumpcut interviews.
In any case, I'm glad you watched it through and also glad for the feedback. You're the first person to ever take issue with this aspect of my editing and voice it to me directly. I appreciate the feedback.
We'll be posting a couple more of the full interviews in the coming weeks. Aaron Koblin's is also already available: vimeo.com/19256856
In regard to Aaron's statement about the information available at our fingertips, I think it could be worth acknowledging Aaron's capabilities with computer code and software and the fact is that for creative software developers the tools and resources have never been better or more fluid and they're accelerating every month.
In many ways those of us working in other creative media are playing catch up. So while you are totally correct about the example with the guitar, the actual experience of writing code can be accessed directly over the net.
The points you make seem to me to be reinforced by the comments made by Reynold Reynolds, Zeesy Powers and Caleb Larsen in the second half of the video.
Thanks for the feedback!
We shared it on TISCO:
facebook.com/pages/THIS-IS-SO-CONTEMPORARY/89359248691
DP.
Keep on the good work:)
I can really identify with most of the questions and subjects presented...in this and in most of your videos!!
thanks you!
thanks for putting it into words .
2 or 3 points ,
-first , yes , the media world , is going faster and faster ,
i actually have to split my weeks between coding ,
and , looking up for what new things peoples have done wile i was coding
-second , in relation with the nomad-ism ,
it is a good thing to met up with peoples you have the same source of interest and language (art wise) , being able to push futher ...
but after traveling for a wile , my opinion is that , it is good stop that attitude of wandering , to actually be able loose any kind of environmental distraction ,
and dedicate everything to the project you re develloping in the present .
(for some people it is quite difficult)
-3
to push it further i would say , the most extreme case would be to cut any kind of communication (social networking, emails ... maybe even internet ) that is not in relation with your actual project
(i am actually envisaging this to see how that goes) , because if you keep in touch with what s is being created , it pushes you emulate and go further , then your actual project , as you planed it , is already obsolete , because it is in a way finished in your mind , and you already have new ideas
or it is never ending because you can t really stop hading ideas
i am "waiting" for the point in time where technology make possible that only the final thought about your design-art would actually make the project materialize into space
until then , i am affraid , i ll be continuously drown into my next and next , next, .... , idea
or maybe totally cutting of my self from society wile give me the extra thing i need
time will tell
LK
Enjoyed it muchos!
In regards to the 'nomad existance', there's an International French film festival called "Les Recontres Internationales". For me there's a lot of humor in the name - "The international meetings" in English - as many artists/creatives/audience are only with their crowd at the festivals.
Keep up the good work/m
I found it quite thoughtful to juxtapose not only a mix of different minds but also ages/generations here.
I also felt passion and honesty that I felt from some of the speakers...
Which naturally creates some friction, especially when somebody like Eric Poettschacher is followed by a synthetic voiced fast pacing 3d avatar. Also I noticed that too many snipped out pauses and uhms from the interviewees take away this feeling of honestey
Anyway...interesting stuff.
©
When I reflect further on the choppy editing I realize that it is indicative of the generally tense and high-pressure environment in which this video was produced. Remember, the edit came together in about 3 days or so.
I would like to have the luxury to produce a new work in the near future which does not have the same sort of time pressure as this process, and yet at the same time there is something very rewarding, both for me and the participants, in churning through such concepts and material so quickly.
So in the end I guess it's a compromise. Several of the interviews in this video would have been unusable if they hadn't been chopped down this way. Maybe that means they should have been cut out entirely. I'm not sure.
Ultimately I will say that I feel like this is more of an essay than a documentary, and that by editing the way I do I feel I am expressing my own views through the voices of the interviewees. In any case, I feel that happens in every interview-based video. Perhaps in this work it's just more radically apparent.
You forgot to interview me.
fantastic.