1. Hand-held (2012)

    04:59

    from David Rokeby / Added

    2,425 Plays / / 1 Comment

    Hand-held is an installation I created as invited artist at Le Fresnoy studio national des arts contemporains in France in 2011 - 2. It consists of an apparently empty space which reveals itself as you explore with your hands. It is a three-dimensional field of images, occupying the space like an invisible sculpture, which appears on your skin as you encounter it. Images emerge blurry then slide into focus as your hand approaches. The visual content is comprosed of images of hands. They touch each other, or pass along objects in social, practical, financial and symbolic gestures. The space is haunted by specters of tactility and intimacy. It represents a kind of social network, like the ones around us, suspended in the air supported by wifi and smartphone signals, only present where it touches down at the sender and receiver. While this documentation shows only one person interacting, this installation works equally well with up to 10 people.

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    • Tjing Tjing - Interactive Video Installation

      02:10

      from August / Added

      497 Plays / / 0 Comments

      AUGUST made an interactive video installation for Tjing Tjing bar in Cape Town that syncs live music information into a mix of pre-recorded video footage. The video seamlessly shows the current song information every 30seconds so bar patrons don't have to ask what's playing. The pre-recorded footage was shot at Tjing Tjing and cut into short clips that are randomly spliced together by a piece of software we wrote. Visit Tjing Tjing bar for a drink and to check it out in real life. http://www.tjingtjing.co.za

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      • urnothere - interactive installation by giselle beiguelman & fernando velázquez

        06:19

        from Giselle Beiguelman / Added

        170 Plays / / 0 Comments

        URnotHere is a machine to create cities that confronts the hyperlocative discourse of social media interfaces. It challenges us to create a new geography of nomadic territories on transitory maps. Moreover, the project aims to discuss the landscape art in the age of images production mediated by handheld devices, like mobile applications, geolocation features and all sorts of tagging resources. URnotHere was commissioned by Itau Cultural for the International Art and Technology Biennale Art.ficial Emotion 6.0, http://www.emocaoartficial.org.br/ Like it? Go: http://www.facebook.com/urnothere

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        • RE/MAX Regional Services Howard McPherson Online Video

          05:44

          from Amy Lokken / Added

          30 Plays / / 0 Comments

          Concepting and Copywriting www.krop.com/amylokken

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          • Why would it be wrong? (Still life)

            04:26

            from Yasmina Morán / Added

            107 Plays / / 0 Comments

            Why would it be wrong? (Still life) is an interactive, reactive installation, composed of a frame and a projection in front of it. The rotation of the frame would affect the image of a classic still life: It would make it rotate and move imitating the natural movement of gravity and inertia. Most of the times these movements seem natural, but the illusion of natural inertia will vanish when the objects move in a totally improbable way. Why would it be wrong? (Still life) attempts to make us reflect playfully on concepts such as normality and the normalization of the experience. The way in which our expectatives mold to our habits, to what happens in a certain way in our daily life and can´t happen differently, leaving us in a position in which the extraordinary is not expected anymore.

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            • THE CRONE. PART 1 (first 30 min).

              30:00

              from KINETIC THEATRE / Added

              77 Plays / / 0 Comments

              Recorded March 2012, Aktovy Zal, Moscow.

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              • SITUATIONLESS (exhibition video)

                04:50

                from Hard Flow / Added

                75 Plays / / 1 Comment

                6m16s / Time-based interactive video / Hong Kong / 2012 Guy Debord’s critique on the society of the spectacle made in 1967 could become “description” in today’s images overloaded era. Debord pointed out that under capitalism, the spectacle makes human life recede into a representation and forms false consciousness of time. Spectacle has turned the world upside down. Nevertheless, instead of how spectacle dictates people, we shall also focus on how people want to be dictated by spectacle. Due to the very strong desire of spectacular images, there is indeed no “mere” image in the society of the spectacle. Instead, people have to live with spectacle. They can’t survive without “good” images. “Situationless” attempts to subvert the situation-less-ness in the really upside side down world by inviting viewers to reveal that whole thing living with us is mere representation. It hopes to give viewers an impact of how spectacle is really living with people. The work is a time-based interactive video. A "video layering" form is designed to present the video images. The form could be regarded as two channels – two juxtaposed video layers. Viewers have to be on a tracked area in order to watch the under layer. Such closed-circuit interactive form attempts to force viewers taking part in the whole process of the work. Debord’s film “The Society of the Spectacle” is basically made by collage of spectacular images to “satisfy” audiences in an ironic way. “Situationless” brings the issue into spectacular spaces. Instead of mere images, we shall also look at “mere space”. The work borrows the Debord’ film to further illustrate the issue. The voice over that making critique on spectacle is used as “public announcement”. Moreover, when viewers are on the tracked area, they can see themselves as TV noise on the screen. It attempts to deteriorate both the images and the spectacular spaces. When all things including viewers are gradually immersed in TV noise, when viewers can barely see themselves in TV noise, when viewers can only listen to Debord saying “the spectacle” again and again, the spectacle is (re-)presented in the most direct sense. Such process seems not involving any sort of “visual development”. However, it is rather prominent to the perceptual experience by viewers. They are invited to deteriorate images but hold no right to manipulate the flow of the work. The time they spent on the whole development of the work would be against the spectacular time. ------------------------------

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                • Mirror Mirror

                  00:32

                  from Jordan Burnett / Added

                  51 Plays / / 0 Comments

                  A mirror with a difference. Instead of showing your own image, it shows the face of the person who looked at it before you, creating an endless loop of past moments.

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                  • Out of sight

                    00:21

                    from Jordan Burnett / Added

                    39 Plays / / 0 Comments

                    An interactive video experiment. The video only plays when you aren't watching.

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                    • Olivier Otten on Order (2012)

                      04:42

                      from V2_ / Added

                      Olivier Otten interviewed on "Order," his interactive video, 2012.

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