1. #2

    00:07

    from La Colorada Added 29 0 0

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    • #1

      00:29

      from La Colorada Added 26 0 0

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      • Aberystwyth Arts Centre Standing

        01:12

        from sam christie Added 53 1 0

        The Standing Man series has been going on for a while. You can check out more standings at www.paynechristie.com, but pause a while and watch me stand here. Considering it was an arts centre poeple found the whole thing pretty weird. 30mins@1fps = a little over a minute film.

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        • a+c (derive one)- the quiet years

          03:27

          from Taylor Aidibi-Dotson Added 16 0 0

          Music video for the quiet years (my band) with vignettes from now and then. Video + sound done by yours truly. To listen to more music, go to: http://soundcloud.com/the-quiet-years

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          • ACHIM MAERZ @ BAALSAAL - HAMBURG - FAUXPAS MUSIK

            02:34

            from enning Added 100 0 0

            FAUXPAS MUSIK präsentiert: Achim Maerz (Dèrive) Rising Sun (Styrax) Sven Weisemann (Mojuba) visuals by Flip A Coin 10.02.12 BAALSAAL HAMBURG filmed by videoorgel.de

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            • A London Derive

              01:50

              from Megan Jones Added 75 0 0

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              • An Afternoon Without Gravity (film), 2011

                15:35

                from Film & Video Art Lab Added

                Nadija Mustapić 15' 35''
, experimental film 2011, HD, PAL, 32:9, colour, stereo The architectural setting for "An Afternoon Without Gravity" (2011) is the launching station of the old Torpedo factory in the city of Rijeka, Croatia, the author’s hometown. Component of levitation suggested by the title is visually present in the skeleton of this dilapidated abandoned industrial building, whose upper, visually heavier part stands on rusty metal columns, which are visually weakened by the pulsating surface of the sea below. Narrative problematizes the moment of action which is taking place, but also the past times. Different "timely" components are being distinguished by different sounds. The author's performative exploration of found objects, relics of functional items from the past, is in a dialogue with the sounds of nature, confirming the unity of the place and time in which the narrative is situated. The field of divergence is described by the swinging action that seems to move not only the static devastated architecture, but also the mental "time machine". A sense of discovery is being introduced through this curious swinging game, as we swing on the waves of fiction and reality, maybe in an imaginary building, maybe with an imaginary character. The two-channel image in the video sometimes functions as a mirror reflection, depending on the representations of the heroine’s symbolic appropriation of space. The documentary sound recordings of launched torpedoes, the sounds of wind and of the abandoned industrial building, and the sounds of author’s presence are intertwined into a “symphonic” reflection of spatial impressions of the industrial building. Nadija Mustapić captures the spatial dynamics in a way that could be linked to the Situationist practice of psycho-geography. She threads visual strategies to research urban and geographical environments, and measures how much spaces transform individual and collective actions and vice versa, how the individual actions transform spaces - in time of neo-liberal reality. written, directed, performed and edited: Nadija Mustapić camera: Marin Lukanović, Nadija Mustapić, Toni Meštrović sound editing: Toni Meštrović sound composition: Marin Alvir Co-financed by: The City of Rijeka Office for Culture, The Ministry of Culture of Republic Croatia

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                • An Afternoon Without Gravity (Poslijepodne bez gravitacije)

                  14:41

                  from Nadija Mustapic Added 26 1 0

                  “An Afternoon Without Gravity” / “POSLIJEPODNE BEZ GRAVITACIJE” Author: Nadija Mustapić Year: 2010 Specifications: Two-channel video installation with four channel sound, HD video, PAL, color, 16:9, 14’41’’, loop, 4.0 surround sound Production specifications: Nadija Mustapić: director, producer, performer, camera, editing, image/color correction Marin Lukanović: camera Toni Meštrović: camera, quadriphonic sound editing Marin Alvir: sound composition Ivana Meštrov: from her text for the exhibition catalog at SC Gallery (08.12.-22.12.2010.) “A sense of discovery is being introduced through a curious game, in this space where location’s hermetic quality and the porosity of time continuously alternate. The two-channel image sometimes function as a mirror reflection, depending on the representations of the heroine’s symbolic appropriation of space. The sound is also treated as a “symphonic” reflection of spatial impressions of the industrial building, where documentary sound recordings of launched torpedoes, sounds of wind and of functionless space, and the sounds of author’s presence, simultaneously exchange. Nadija Mustapić captures the spatial dynamics in a way that could be linked to the Situationists’ practice of psycho-geography. She threads visual strategies to research urban and geographical environments, and measures how much spaces transform individual and collective actions and vice versa, how the individual actions transform spaces - in the time of neo-liberal reality.” Dalibor Pranjčević: from his text for the art magazine Kontura "The architectural frame for "An Afternoon Without Gravity" (2010) is the launching station of the Torpedo factory in Rijeka. The levitational component suggested by the title of this two-channel video installation is visually present in the skeleton of this dilapidated abandoned industrial building, in which the upper, heavier part stands on rusty metal columns, which are visually weakened by the pulsating surface of the sea. The narrative problematizes the current moment, but also the past times. Different "timely" components are being distinguished by different sounds. The author's exploration of found objects, relics of functional items from the past, is in a dialogue with the sounds of nature, confirming the unity of the place and time in which the narrative is situated. The field of divergences in this piece is described by the swinging action that seems to move not only the static devastated architecture, but also the mental "time machine". The sound then becomes artificial and reminiscent of sliding and launching of torpedoes, while the time-lapse method enables the visualization of the "enveloping" of time. It becomes clear that Nadija Mustapić references the places of her own identity, and questions the stability of her geographic origin." Ksenija Orelj: from her text for the exhibition catalog at Gallery MKC (05.11.-19.11.2010.) ''We swing on the waves of fiction and reality, maybe in an imaginary building, maybe with an imaginary character. The experience of a logical action in a real time is being baffled by the use of close ups, inserted sequences and double editing, and cedes in front of an overall sense of parallel development of different events, interpretations of two-folded meanings – simultaneous immersion and distancing of the actors and the scene. These passages through time are being used to interrupt the one-dimensional level of representation, and point at the author’s thoughtful use of the medium. They disrupt our frames of view and our frames of personal reference. The internal world of the character lives in the internal world of the video medium, the very immaterial reality, which is experienced in the mind of the subject, and exists as a lucid reminder of the answer to the question where does “I” live.''

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                  • Andrej Holm: Das Recht auf die Stadt von Morgen

                    01:22:29

                    from dérive - Stadtforschung Added

                    Weltweit haben sich soziale Bewegungen in den Konfliktlinien neoliberaler Neuordnungsprozesse des Städtischen positioniert. Neben existentiellen Forderungen nach angemessener Wohnungsversorgung, einem freien Zugang zu städtischen Infrastrukturen und einer umfassenden Bewegungsfreiheit artikuliert sich in den Protesten auch das Begehren auf Mitbestimmung, Selbstverwirklichung und Gestaltung künftiger Entwicklungen. Im Unterschied zu den sozialen Kämpfen der fordistischen Ära müssen soziale und politische Rechte heute jedoch immer öfter privaten AkteurInnen abgetrotzt werden. Der Abschied von der Wohlfahrtsorientierung und die Etablierung unternehmerischer Strategien in der Stadtpolitik sind mit der Durchsetzung von Formen des Regierens verbunden, in der die Herstellung eines Konsens die Austragung von Konflikten ersetzt, in der ein technokratisches Management an die Stelle von demokratischen Verfahren tritt und ein depolitisierter Populismus die Fragen der Macht und struktureller Widersprüche aus den öffentlichen Auseinandersetzungen verdrängt. Recht-auf-Stadt-Bewegungen stehen für die Praxis der Aneignung und bieten eine Klammer zur Kooperation verschiedener stadtpolitischer AkteurInnen. Insbesondere in der Fähigkeit der neuen städtischen Bewegungen, aus den vielfältigen Fragmentierungen etwas Gemeinsames zu erschaffen, erlangen städtische Utopien und Perspektiven der Repolitisierung konkrete Gestalt. Die in den Protesten aufblitzenden Momente der Aneignung, der Selbstermächtigung und der Solidarität zeigen: Die Stadt von Morgen entsteht nicht auf Reißbrettern und in Lesesälen, sondern liegt auf der Straße. Andrej Holm ist Sozialwissenschaftler, Stadtsoziologe und wissenschaftlicher Mitarbeiter am Institut für Stadt- und Regionalsoziologie der Humboldt-Universität zu Berlin. Er forscht zu Themen der Stadterneuerung, Gentrifizierung und Wohnungspolitik im internationalen Vergleich. Mehr Informationen gibt es auf Andrej Holms Gentrification Blog: http://gentrificationblog.wordpress.com/

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                    • Area

                      13:59

                      from GH Added 534 5 0

                      a public performance based on commands and rules. remotecontrollmodelled yet within liberation. this is an edit of our performance in freiburg, sept 2009.

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