3 Ocak 2012 Salı

Bilgi:(3) VIDEO SCRATCH / AV Remix 1965-2010


1965: San Fransisco: Kesey Bus First of Ken Kesey & the Prankster’s Acid tests, Described as an un-scripted Spontaneous Multimedia happening.Grateful Dead House Band, Be In style freeform party with projections from Kesey & Pranksters exploitation’s on their Bus ‘further’
1966: New York: Andy Warhol & Exploding plastic inevitable.
Focus around the development of several Club nights in New York, the first ‘Andy wharhol uptight
at the Film-Makers Cinematheque. The show began with a film called 'Lupe' starring Edie Sedgwick…

1969: Nam June Piak & Vietnam & PortaPakThe first artist to acquire and use a video portapak as a tool of artistic expressionPaik is famed for having said "Television has been attacking us all our lives, now we can attack it back". Paik and many other artists were also deeply interested in occupying the broadcast space of television as an expanded arena for art. The portapak was developed by Sony as a lightweight portable recording device for use in air-to-ground surveillance during the Vietnam war.
The history of video art, particularly from the early seventies until the mid nineties, is also the history of workshops, co-operatives, pressure groups and activist organisations whose aim was to provide access to the means of electronic communication and to propose an alternative to the dominant forms of communication and culture practised by broadcasting corporations and mainstream art institutions. (North America and most European countries, artists, media activists and community-based political groups)
1970’s: Video art progression, Stadium Rock & birth of spectacle.
Late 70’s Birth of hip-hop
1978: Dara Birnbaum “Technological Transformation: Wonder Woman” http://www.youtube.com/watch?v=HhMG-QCJVsE&feature=related



1983: Herbie Hancock :- Rokit/Rockit video – made by Godley & Crème (British duo) …on their first video, it was one of the first commercially released showing scratch video techniques. http://www.youtube.com/watch?v=JicmU_MtOjE
1985: May: Paul Hardcastle 19. He perfected a dramatic, arresting semi-instrumental composition based on something he'd heard about the average age of combat soldiers in the Vietnam War. The production values of the resulting track have given "19" a place in the all-time dance music winners enclosure. http://www.youtube.com/watch?v=b3LdMAqUMnM



1985: June The motorcade sped on: Steinski. what is truly revolutionary about this song is that it was composed as an audiovisual piece using TV footage as A/V samples. The actual news footage – both audio and video – of Kennedy’s murder was cut-up and re-edited into a piece in which, once you’ve seen and understood the piece, the audio cannot be separated from the video. http://www.youtube.com/watch?v=JjyFwbSNh4o


1986: Duvet Brothers - Limelight Club London http://www.youtube.com/watch?v=_A67Zb29L7c
2010: Duvet Brothers - Live Multiscreen Scratch Show http://www.youtube.com/watch?v=xVp1N3bWft0


The independent media movement had a major international impact on the growth of video and subsequent forms of electronic art.
Scratch Video, a form with close links to sampling in music and with its historical roots in political photomontage and avant garde film.– the constant re-use and re-cutting of both original and found imagery in rapid-fire electronic montages of sound and image is characteristic for his work… As a style, Scratch spread rapidly across Europe, North America and in Japan. It became a tool in the hands of media activists who instinctively understood that its deconstructive techniques could be applied to political campaigning.
A key point in the development of scratch or appropriated video is in the late 1970’s when American artist Dara Birnbaum made her series of short works Pop Pop Video, the most memorable of these being Technological Transformation: Wonder Woman.http://www.youtube.com/watch?v=HhMG-QCJVsE&feature=related This brief – and for the time – rapidly edited montage of images from the popular tv series Wonder Woman welded the irreverent aesthetics of punk to a formal avant garde tradition and the so called "drastic classicism" of New York’s post-minimalist new music milieu, typified by the noise barrage of composers like Rhys Chatham and Glen Branca. Birnbaum worked directly with musicians from that milieu, along with other emerging video artists like John Sanborn, Kit Fitzgerald and Mary Perillo, who had close ties with The Kitchen Centre for Video, Dance and New Music.
London, weekly screenings…The images would often be accompanied by music that existed at the point of transition between post-punk new wave, American hip hop, techno and Jamaican dub. in the early eighties Scratch Video quickly became a widespread form that broke with earlier, durational, performative and minimalistic forms of video art. New York clubs like Manmhattan’s Danceteria…young video artists who wanted to develop and expose their work in a social context outside of the mainstream gallery world.
In the mid eighties, London was the undisputed world centre for video graphics.
In the USA, the heritage of Scratch as a political tool for activism and cultural terrorism was reconfigured in the late eighties and nineties by artists such as Paul Garrin, a former assistant of Nam June Paik, and the group Emergency Broadcast Network who developed an early form of "culture jamming".
Drawing on the history of avant garde film – particularly the abstract film language of artists such as Viking Eggeling, Hans Richter and Oskar Fischinger.” The History of VJ, Michael
Groups like Gorilla Tapes and Duvet Brothers grabbed the recently introduced possibility of taping TV programs with a VCR, and manipulated them in the editing studio (usually a public access video workshop). // The scratch video makers used the "repeat-edit" and other video tricks to turn Reagan's and Thatcher's media images into stuttering marionettes that acted like aliens or lunatics and said things which were the opposite of the official protocol, but close, so one suspected, to the thoughts that really crossed their minds.
Scratch video was simultaneously a reaction to


the ubiquitous television environment, a tactical attack against its role as the mouthpiece of conservative politics, and a new way of personal expression, of asserting one presence in the egotistic world of media. Of course, it all ended up in a failure. The main problem was access. Broadcast television ignored scratch video until it had been cleaned off its political content and turned into a new "refreshing" stylistic formula for music videos, comedy programs and hamburger commercials. Scratch features also survived in video art, but neutralised and "sublimated" by museum and gallery walls.” Michael Heap (The History of VJ)
“..in the late 1980s by the American multimedia ensemble Emergency Broadcast Network (EBN). In video scratching, short clips from television programs or other found footage are edited rhythmically to give the effect of spoken lyrics to accompanying music.”
http://see-this-sound.at/compendium/maintext/54/4
1991 Emergency Broadcast Network (EBN)
Queen song We Will Rock You-g.bush   http://www.youtube.com/watch?v=PUDR9RckfEU
Newtek Video Toaster allowed real-time mixing and effects to be performed on a desktop computer.
http://www.newtek.com/
1997 Coldcut&Hextatic: Timber. Albumle birlikte cikardiklari Vjamm programı Vjliğin ve AV remiksin yaygınlasmasına onayak oldu. best-known audiovisual performance ensembles. http://www.myspace.com/coldcut
1990: Coldcut <TIMBER>Having synchronized the individual video segments with the sounds, they were then edited into whole video pieces that re-contextualize our understanding of the word "natural" through the technological manipulation of these "natural rhythms"...The result is a tightly edited series of audiovisual songs woven together through an underlying message about living life through music. The boundaries between the image and audio information continually dissolve as spoken interviews become lyrics atop music performed thousands of miles away, and where the sounds and images of disparate cultures join in a symphony of unified existence made possible through the technologies of audio-visual fragmentation.
The unification of audio and visual information is becoming increasingly present in theoretical circles as well. Of particular note is French film theorist Michel Chion whose book Audio-Vision espouses the notion of trans-sensorial perception, an understanding that the organs we usually attribute to sense perception are only a part of how our bodies experience sensory information. Just as what we call taste is often heavily reliant on smell, so too sound is often processed on visual terms and vice-versa (as the term "stereo image" illustrates). Similarly, Canadian film theorist William C. Wees has explored the visual apparatus in his book Light Moving in Time. Here Wees draws on increasing scientific information that suggests sight is largely processed by the brain in conjunction with other areas of perception, and that the eyes actually play only the smallest of roles in our experience of vision.
In keeping with this increasing dissolution of the boundaries between audio and visual perception, and drawing on experimentation’s such as the visual soundtracks of Canadian animation master Norman McLaren and the audio-visual computer programming of John Whitney, Coldcut have since forged new territory. Becoming what they call Digital Jockeys, Coldcut have designed and made available custom software enabling their live performances to be extensions of the studio processes used to make Natural Rhythms. Together the "digital duo" manipulate audio and video samples live, as DJs would manipulate their records. Here, however, Coldcut transcend the traditional material manipulations of the DJ and move into the limitless realm of digital exploration where sound and image can truly become one.” Michael Heap (The History of VJ)

2004 DVJ Video klibiyle birlikte dvd olarak piyasaya çıkan müzik parçalarını videoyla eş zamanlı değiştirebilen Pioneer marka mikser.http://www.pioneer.eu/uk/products/archive/DVJ-X1/index.html





2010 KUTIMAN:



Eclectic Method: http://vimeo.com/32156214


AV Alien Remix by VJ GOTO10:

While society, corporations and politics use images and medias to exert a control on the masses, V-Atak challenges common sense and ideas through images and sounds. The process that has become our trademark, distorting contemporary media icons to recreate an original sense, offers the public an opportunity to question with irony and violence the mass media representations.”


GIOVANNI SAMPLE

2011 TASMAN RICHARDSON 


2011 AV REMIX HISTORY notes@VJ FEST ISTANBUL, June 2011 by Quananiche (AV artist from Canada)


Cover: Play the original song again with instruments
Quating: Using small part of the original eg.Fashion design using Mondrian pictures/Classical Music
Sampling: Copy somepart of the original and create (by editing) sth new from it. You can recognize the original. Collage in eg.pop art, Jungle music.
Renoting(?) Electronic way of making a cover of the music. Several small parts to make sth new with them. You can recognize the original sometimes not.
Mash-up: To take at least two songs and mix them. Principle is you can recognize both songs.
*The oldest videomusical remix: Hextatic "Timber" First time (i think) people recognized audio-visual remixing that much.
*Most interesting one (i think) is Restman. Just by cutting the video (no sound editing) and then putting them side by side.
*1997. From Toronto. Media critic.

Examples:
Coldcut&Hextatic

France:
AV Label: V-Atak: RKO/Nohista http://www.v-atak.com/
Israel:
KUTIMAN: Thru You http://thru-you.com
Canada:
Ounaniche
Nwodtlem
Pete o' Hearn
Jubal Brown
Tasman Richardson: JAWA MANIFEST
http://www.tasmanrichardson.com/
Label: Dropframe

Kaynak ve Baglantilar:
http://www.fringeonline.ca/

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