The nouns are “Shape and size of a book, e.g. In doing so, the sound and visuals of Future City span the main definitions of format in the Oxford English Dictionary (OED).ĥThe OED lists several definitions for format, but there are three main ones, two nouns and one verb. This dynamic works with different material and media types to bridge time and space, meanings and sensory experiences.
Lightpaper computer screen archive#
In common with my other video art, the basis of Future City (Canucci) is video recorded inside a games world, edited with work that came from the outside or “real” world, and in so doing crosses the boundaries into literature, film and archive material. Indeed, technologies are never obvious or unambiguous, but are an interpretation of what we learn from experience, and from others (Grint and Woolgar, 32). Space and time are essential and integral to both place and practice where I work, but in each it is perceived in different ways going beyond size and shape as a simple defining format.ĤIn this paper I will take Future City (Canucci) as an example of my video art, and discuss how formats alter both going into and coming out of it, from the component parts to the creativity that emerges as printmaking. In taking my practice into printmaking, I was aware that audiences interpret moving images and still images differently and I wanted to work and play with that. It permits – indeed encourages – the idea that creativity can be reworked, and so that format is mutable and can be re-interpreted imaginatively.
As such, it rejects the idea that only one creative image is possible or allowed.
Lightpaper computer screen free#
I work with spaces that are free of copyright restrictions, are often public domain or creative commons, and what I produce follows the same principles. Each work is experimental and unique, and not definitive or exclusive in terms of either the artist or the format. When making video in Second Life, I regard just recording the three-dimensional objects made by others as a failure – I should add my own creative interpretation, and it is in the rhythm of editing that I introduce my ideas of meaning (Merleau-Ponty 1964, 57). The technical aspects of the process are secondary, although still relevant and of interest.ģIn this way of working, formats cease to be simple categories or labels or fixed dimensions, but are available to be played with in a process of constant reinterpretation and translation. I see this as playing with the light-space-time structures to allow the image to shine (McKenzie 71).
Going from moving image to still images changes the relationship with time and distance, and from ratios in pixels to dimensions in millimetres. Taking still images from that video art into printmaking using photogravure etching, a hand-crafted method of mechanically pressing ink on paper, considers the translation of light on screen to ink on paper, and explores format from another position. Editing this virtual world digital video with digitised archive film, contemporary music and literature explores how the formats used by multiple creators across time can interact, so exploring meanings through reinterpretation and translation. I make video art out of the virtual world of Second Life with its interplay of two-dimensional textures and three-dimensional objects. Video art can play with space, light and sound, through a choice of materials, including visuals and audio. Formats have an interacting range of qualities that practice based research can explore, so testing and questioning theory they are more than dimensions.
0 kommentar(er)
