space cloud vision system mobile dub video projection combined digital, analog and concrete modification drone and chop AV
more videos
youtube.com/dronetube
see stills
flickr.com/photos/videostatic/
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Friday, 3 August 2012
Saturday, 28 July 2012
Scratch Video
"Scratch video was a British video art movement that emerged in the early-mid 1980s. It was characterised by the use of found footage, fast-cutting and multi-layered rhythms. It is significant in that, as a form of outsider art, it challenged many of the establishment assumptions of broadcast TV - as well of those of gallery-bound video art.
Scratch video arose in opposition to broadcast TV, as (anti-)artists attempted to deal critically and directly with the impact of mass communications. The context these videos emerged in is important, as it tended to critique of the institutions making broadcast videos and the commercialism found on “youth” TV, especially MTV. This it did in form, content and in its mode of distribution.
Much of the work was politically radical, often containing images of a sexual or violent nature, and using images appropriated from mainstream media, including corporate advertising; using strategies inspired by the Situationist concept of detournement and William S. Burroughs’ theories ofElectronic Revolution."
"The primary audience for scratch video in the early to mid 80s, was in nightclub performances by “industrial music” bands such as The Anti-Group Company, Cabaret Voltaire, Nocturnal Emissions, Psychic TV, SPK, Test Dept, Autopsia, etc. Some of those involved described their work as a form of “cultural terrorism” or as a form of “anti-art”.
In the mid 1980s typical London venues would be screenings at artist-run spaces such as the Ambulance Station, in independent cinemas such as the Brixton Ritzy Cinema, or the Fridge nightclub, which boasted an array of dozens of recycled colour TVs. There was also significant distribution on VHS tape, following similar networks to cassette culture.
After Andy Lipman’s City Limits feature contextualised the “art” values of this practice, material began to be featured in small screenings in official art galleries such as the ICA and Tate. TV stations like Channel 4 began late night screenings of art videos, including “scratch video”. However, because much of the material was constructed using domestic VHS equipment, it was deemed both technically and legally unsuitable for broadcast (TV stations are particularly wary of copyright violations). Being highly politicised, some of the material also broke with the broadcaster’s criteria of “balance”."
More TG with Chris and Cosey
Gorilla Tapes
Scratch video arose in opposition to broadcast TV, as (anti-)artists attempted to deal critically and directly with the impact of mass communications. The context these videos emerged in is important, as it tended to critique of the institutions making broadcast videos and the commercialism found on “youth” TV, especially MTV. This it did in form, content and in its mode of distribution.
Much of the work was politically radical, often containing images of a sexual or violent nature, and using images appropriated from mainstream media, including corporate advertising; using strategies inspired by the Situationist concept of detournement and William S. Burroughs’ theories ofElectronic Revolution."
"The primary audience for scratch video in the early to mid 80s, was in nightclub performances by “industrial music” bands such as The Anti-Group Company, Cabaret Voltaire, Nocturnal Emissions, Psychic TV, SPK, Test Dept, Autopsia, etc. Some of those involved described their work as a form of “cultural terrorism” or as a form of “anti-art”.
In the mid 1980s typical London venues would be screenings at artist-run spaces such as the Ambulance Station, in independent cinemas such as the Brixton Ritzy Cinema, or the Fridge nightclub, which boasted an array of dozens of recycled colour TVs. There was also significant distribution on VHS tape, following similar networks to cassette culture.
After Andy Lipman’s City Limits feature contextualised the “art” values of this practice, material began to be featured in small screenings in official art galleries such as the ICA and Tate. TV stations like Channel 4 began late night screenings of art videos, including “scratch video”. However, because much of the material was constructed using domestic VHS equipment, it was deemed both technically and legally unsuitable for broadcast (TV stations are particularly wary of copyright violations). Being highly politicised, some of the material also broke with the broadcaster’s criteria of “balance”."
here is some later work by key player George Barber
TG members at work as Psychic TV
More TG with Chris and Cosey
CRACKED RAY TUBE
"Cracked Ray Tube is a collaborative realtime project by James Connolly and Kyle Evans that breaks and disrupts the interfaces of analog televisions and computer monitors to produce flashing, screeching, wobbulating, self-generated electronic noise and video."
they have just published a huge update on there site with some awesome images, videos and tutorials
http://crackedraytube.com/textstutorials.html
they have just published a huge update on there site with some awesome images, videos and tutorials
http://crackedraytube.com/textstutorials.html
Václav Peloušek Hurikán I Videosynthesizer
Hurikán I Videosynthesizer
http://www.pelousek.eu
Hurikan I from Václav Peloušek on Vimeo.
http://www.pelousek.eu
Hurikan I from Václav Peloušek on Vimeo.
"This videosynthesizer Hurikán I. is experimantal device to make live visuals. Its lo-fi character enables to make real-time animation through the interface that also has its gestural part in Wii-nunchuck controller. The second part of this synthesizer is a Hurikán TV that is circuit bent TV with dirty videomixer and added coils and coil signal generators."
This equipent is used in VJing with band Hugo & Zoe
brownshoesonly
http://www.brownshoesonly.com/modules/
Brown Shoes Only video work and LZX format triple video VCA
moss folk - red from brownshoesonly on Vimeo.
Com Truise - Hyperlips from brownshoesonly on Vimeo.
Brown Shoes Only video work and LZX format triple video VCA
moss folk - red from brownshoesonly on Vimeo.
Com Truise - Hyperlips from brownshoesonly on Vimeo.
Tuesday, 24 July 2012
Scratch The Surplus
http://scratchthesurplus.tumblr.com/
Two-day screening event organised by Re-make and part of Deptford X 201
Scratch the Surplus opens up a dialogue around archives, their distribution and mediation, from our own personal hoardings to more formal collections and the ever expanding terrain of the internet.
The event is set within a recently built Big Yellow Self Storage Unit in New Cross, London. Its studio-like storage cells are rid of the customary boxes filled with carefully catalogued and stored belongings. Once home to personal archives of material stuff, the Self Storage Unit, for this weekend, hosts the immaterial image; drawn from within archives, salvaged from forgotten collections or screen-grabbed from the accumulating data of our online clouds and YouTube collated media hits.
The weekend programme is made up of one-off, on the hour screenings. Saturday sees work selected by practitioners who are engaged in distribution within specific UK film and video collections including REWIND, Dundee and Women's Art Library, MAKE. Sunday's programme of artist moving image work, moves from scratch video of the 1980s to new video work that delves into the vastness of the internet.
Two-day screening event organised by Re-make and part of Deptford X 201
Scratch the Surplus opens up a dialogue around archives, their distribution and mediation, from our own personal hoardings to more formal collections and the ever expanding terrain of the internet.
The event is set within a recently built Big Yellow Self Storage Unit in New Cross, London. Its studio-like storage cells are rid of the customary boxes filled with carefully catalogued and stored belongings. Once home to personal archives of material stuff, the Self Storage Unit, for this weekend, hosts the immaterial image; drawn from within archives, salvaged from forgotten collections or screen-grabbed from the accumulating data of our online clouds and YouTube collated media hits.
The weekend programme is made up of one-off, on the hour screenings. Saturday sees work selected by practitioners who are engaged in distribution within specific UK film and video collections including REWIND, Dundee and Women's Art Library, MAKE. Sunday's programme of artist moving image work, moves from scratch video of the 1980s to new video work that delves into the vastness of the internet.
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