1 / 18

NMED 3850

NMED 3850. Experimental Video Production. NMED 2030. Today’s Class… David Rokeby Distribution & Exhibition Answers to Questions. NMED 2030. David Rokeby (born 1960 in Tillsonburg, Ontario) is an artist who has been making works of electronic, video and installation art since 1982.

herrod-carrillo
Télécharger la présentation

NMED 3850

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. NMED 3850 Experimental Video Production

  2. NMED 2030 Today’s Class… David Rokeby Distribution & Exhibition Answers to Questions

  3. NMED 2030 • David Rokeby (born 1960 in Tillsonburg, Ontario) is an artist who has been making works of electronic, video and installation art since 1982.

  4. NMED 2030 • His early work Very Nervous System (1982-1991) is acknowledged as a pioneering work of interactive art, translating physical gestures into real-time interactive sound environments. Very Nervous System was presented at the Venice Biennale in 1986.

  5. NMED 2030 • Several of his works have addressed issues of digital surveillance, including Watch (1995), Taken (2002), and Sorting Daemon (2003). Other works engage in a critical examination of the differences between human and artificial intelligence. • The Giver of Names (1991-) and n-cha(n)t (2001) are artificial subjective entities, provoked by objects or spoken words in their immediate environment to formulate sentences and speak them aloud.

  6. NMED 2030 • David Rokeby's installations have been exhibited extensively in the Americas, Europe and Asia. • In 2002, Rokeby represented Canada at the Venice Biennale of Architecture with Seen (2002).

  7. NMED 2030 • In 2007 he completed major art commissions for the Ontario Science Centre and the Daniel Langlois Foundation in Montréal. • For his installation n-cha(n)t, he was awarded the Prix Ars Electronica (Golden Nica for Interactive Art) in 2002. In 2002 he was awarded the Governor General's Award in Visual and Media Arts

  8. NMED 2030 • Rokeby’s work is primarily distributed for and exhibited in galleries. • http://homepage.mac.com/davidrokeby/shows.html

  9. NMED 2030 • “When and how do you know that you're making it in the film industry?” • Pablo de Ocampo: I think it all depends on the artist and what goals you set for yourself.

  10. NMED 2030 • Pablo de Ocampo: Artistic Director, The Images Festival • Kelly Langgard: Coordinator, Audience and Market Development Office, Canada Council for the Arts • Erik Martinson: Distribution Coordinator, Vtape

  11. NMED 2030 • Why when submitting to some showcases/film festivals/competitions ask that the desired format of the submission be in 8mm film with a audio synching CD rather than a DV tape or 8mm tape or even dare I say a DVD or VHS tape? • Pablo de Ocampo: This does seem like a strange request for a festival to make. • Would this most likely be that they would show the film on for both the submission preview and actual show date(s)? Where would it actually be possible to get your digital footage converted onto real film stock? • Kelly Langgard: You can research those services online and find a transfer facility near you or with competitie prices. It can be expensive but you can apply for post-production funding to underwrite the process if it’s an integral part to your production or distribution strategy.

  12. NMED 2030 • “How will humanity benefit from (increased) experimental video production?” • Kelly Langgard: Try to image a world without art. Media art fulfills an important function in our society especially because media is so commercial. We need voices in this using this media who are not try to make a profit from us.

  13. NMED 2030 • "What is your morning routine“ • Erik Martinson: Lots of coffee. Lots of email. Lots of phone calls. • Pablo de Ocampo: Lots of coffee. Lots of email. Lots of phone calls. Lots of screenings. Lots of travel. • Kelly Langgard: Kind of what you’d expect from an Ottawa day job. Lots of meetings. I travel quite extensively.

  14. NMED 2030 • “Is a viewers understanding of the artists intentions in an experimental film more important than their interpretation of that artists work, or vice-versa? If so, why? Or are they equal?” • Pablo de Ocampo: I think they are equal. From a festival organizers point-of-view the audiences interpretation might be more important because I create programs for the public. • Erik Martinson: We are very artist-centred at Vtape. But we exist to bring works to the public. The public interpretation is very important. • Kelly Langgard: It depends on the artist’s intention. Maybe some work isn’t meant for public consumption. For established artists the audience is an integral part of the work. They have to be.

  15. NMED 2030 • In light of stance on 'technology is making the world smaller' - do you think that where an artist lives is important or not in building a career as a filmmaker? In your opinion as active members in the industry, does living in Vancouver, Toronto or Montreal open up advantages that living in a smaller centre may or may not offer?     • Kelly Langgard: Act locally. Act locally. Act locally. • Pablo de Ocampo: I come from Portland, OR a large centre but not an “Art Capital”. I volunteered wherever I could for years and really got a great foundation for building art communities. • Erik Martinson: I went to school in Kingston, ON at Queen’s not a huge art centre. There were people who developed great festivals and events. Seek out community locally.

  16. NMED 2030 • Information for Students: • Images Festival 2009 Deadline November 14 • http://www.imagesfestival.com/call.php?id=17

  17. NMED 2030 • Information for Students: • Vtape Internship • Volunteer-based and require about 4 hours a week, a morning or an afternoon. • If you happen to be visiting Toronto contact Vtape and stop by for a tour and orientation to the space. • On the main page (vtape.org), they can explore some clips and critical materials on the Video Art in Canada website which has three curatedonlinevexhibitions using the Bell Canada award winners in Video Art. • Regarding distribution questions, they can ask me any specifics by email, info@vtape.org.

  18. NMED 2030 • Information for Students: • Vtape does accept submissions all year long and like to see a growing body of work with a few pieces (one or two) made out of school. This is our general guideline as we want to collaborate with an artist on distribution of their growing body of work. There are always exceptions and it really is up to the individual to decide when they are ready to submit, and of course you can always submit again further down the line. • (see class website for more information)

More Related