Friday / Cuma
Meet Video Vortex
1400 Opening @ SALT BEYOĞLU
1415 Natalie Bookchin and her project LONG STORY SHORT, with Natalie Bookchin, Introduction by Lewis Johnson
1530 SCREENING – Rabih Mroué’s “Pixelated Revolution”, introduced by Ozge Celikaslan (Koza Visual)
Syria, 2011. In the streets, right in front of the eyes of the entire world, men are shot down and film their own deaths. Images of a revolution. Revolution of the image. A captivating theatrical lecture.
Rabih Mroué @ SALT http://saltonline.org/en/727/rabih-mroue
1600 SCREENING – Peter Snowdon’s THE UPRISING and Q&A with Peter Snowdon
The Uprising shows us the Arab revolutions from the inside. It is a multi-camera, first-person account of that fragile, irreplaceable moment when life ceases to be a prison, and everything becomes possible again.
This feature-length documentary is composed entirely of videos made by citizens and long-term residents of Tunisia, Egypt, Bahrain, Libya, Syria and Yemen. The film uses this footage, not to recount the actual chronology of events or analyse their causes, but to create an imaginary pan-Arab uprising that exists (for the moment) only on the screen.
1900 Meet Vortex (Place to be announced)
Saturday / Cumartezi
VIDEO VORTEX 10 – ROUND TABLE
Meetings & Talks & Discussions @ SALT GALATA
0930 Intro – Framing Video Vortex
Open Doors – “Cay ve Simit” / VORTEX #10 / Introduction to the Round Table Format / The Istanbul-Ankara Team
1000 – 1200 Session I – Ways Machines See with Boaz Levin, Adam Kaplan, Daniel Herleth, Facilitator: Ekmel Ertan
For the occasion of Video Vortex #10 we would like to present a panel revolving around the subject of machine vision. The panel is set to explore the nature of this prevalent mode of vision, not as neutral, or given, but rather as a contested and dynamic sphere, prone to be influenced by a variety of elements
– philosophical, technological, political or economic. The conceptual infrastructure at the basis of digital video and images will be contextualised and historicised in order to further understand the biases and preconceptions they are inclined to.
Adam Kaplan and Boaz Levin will present last person shooter (working title), a performative videoessay which explores machine vision by way of a series of scene’s reconstructed as 3d architectonic models. The models are explored by an invisible protagonists, using the familiar yet antiquated aesthetic of a firstperson shooter. Accompanying the journey is a historicalessayistic narration.
The work starts with a reconstruction of the Assassination of Ahmed Jabari, a Palestinian militant who was killed by an Israeli drone, consequently launching the most recent war in the Gaza strip. The documentation of his assassination was filmed simultaneously both by Palestinian bypassers and by the IDF’s drone, these narratives were then uploaded to youtube and tweeted, in what was in effect a war of images.
What follows takes place in a dreamlike digital desert, where the case of the cuban missile crisis in the 1960s and it’s significance for the development of Satellite reconnaissance is evoked. The protagonists embodies a birdseyeview, exploring the blind spots and prejudices of such a varying perspectives. Finally, the film concludes with a model and reenactment of a video shot by an american soldier in Afghanistan in a first person perspective, which depicted the moments of his injury in battle. The dramatic moment spread virally online, reaching tens of millions of viewers, and mediating a distant war.
Daniel Herleth, who together with Boaz Levin wrote the text upon which the video is based, will contribute an essay titled Remote Images. The essay traces the development of the photographic image since the inception of satellite surveillance and until the digital turn, focusing on the role of photo analysis and interpretation in political processes. Herleth expands upon the historical context within which digital images and video gained prominence, exploring the implications of these “aesthetic” developments on the public sphere.
Finally, the panel aims to contribute an array of perspectives, from both artistic and theoretical standpoints, regarding the ways videos and images are conceived, perceived, disseminated and archived under contemporary conditions.
1215 – 1245 INTERVENTION I – Towards the clouding audiovisual aesthetics by Milena Szafir (Brazil via Skype)
This paper aims to examine the Brazilian mobile live streaming from street manifestations (2006-2013) to discuss part of these possibilities of affective memorable – or remarkable – “immaterial distribution of storage and means of retrieval” as online audiovisual aesthetic representations. We will be pointing the array of aesthetic possibilities that can be placed under the concept “clouding audiovisual aesthetics”, in our PhD current writing description and analysis in challenge through the cinema montage & reception studies.
An especific art of cinema in the Post Remix Era – ie the images movement montage practices through rhetorical stance resorting to the enormous [un]found database material which can be appropriated on the Internet –, by examining the affective memorable (or remarkable) political live streaming to discuss these possibilities of effective clouding dialogical-discourse through the huge flow of data sharing of storage as audiovisual aesthetic representations, the construction of meaning & senses. Thus, online databases and archives [memories’ shadows in the ‘public space’ of the collective minds] provide “us with our stock figures, our subliminal points of reference, our unspoken point of address” and “serve as ready-made commentaries on our contemporary and political lives”.
These abundant audiovisual clouding live production – that institutions have classified pejoratively (ideologically) as ‘amateurism’ – wouldn’t it be a symptom of a change of roles (against those who are authorized to speak whereas others are condemned to hear)? There’re some receivers’ waves which are crafting the response forms to break the mainstream media monologue. In other words, beyond Aaron Koblin and Chris Milk (the Google Labs) database interactive video or the found footage, essay film, telematic or remix aesthetic discourses, isn’t there a lack on the “new” audiovisual formats to face the complexity of clouding appropriation experiences? What about these chaotic-fuzzy TV & cinema’s grandchilds, the enunciatives subjectivities through intensive dataflow?
Therefore, towards the emergent clouding video aesthetics – with their immaterial and cognitive gestures through the live streaming political images and sounds as well –, how could we analyse these audiovisual online dialogues which manifest “the desire for immediacy”!? What does actually happen with this emergent aesthetics after the found footage & essay film, telematic & database aesthetics!? What’s about this chaotic-fuzzy cinema’s grandchild as enunciative subjectivity through the intensive flow data?
1245 – 1430 Session II – The Spectacular & The Power of Images with Oliver Lerone Schultz, Adnan Hadzi, Ersan Ocak, Paola Barreto, Facilitator: Ebru Yetiskin
Spectrals of the Spectacular (Oliver Lerone Schultz & Adnan Hadzi)
We know by now, that the social is also visually constructed, that there is a struggle for ‚The Right to look‘ and that social visions are projective, contested as well as fractal. We want to present the outcome of the ‘Spectrals of the Spectacular’ workshop, held at the Brazilian BTS (http://www.bts.re) conference, discussing how centralized visual event streams and orchestrations are producing alternative visual splinters, fractions and specters that also travel in fragmentary ways across the globe, making visible new landscapes and hidden horizons of meaning, i.e. ‚specters‘ to the current system and ‚mode of projection‘.
While we are interested in the geopolitical aesthetic of a (to be) pirated reality of the ‘non-territories’ which resist the address of the ‚national (interest)‘ and subsumption to the current globalized society of control and spectacle, we present some results from the ‘Spectrals of the Spectacular’ workshop, reviewing in an exemplary fashion the particular resistancies to the FIFA World Cup 2014, how they travel around and haunt the global imaginary and feed from and back to the non-aligned social intellect.
In this presentation/talk we aim at introducing some conceptual entry points into this longer term project, which in future engagements also wants to engage with the topic of pirating and (broken) projections around the New Global Spectacle and their relevance to a contemporary theory of the ‘moving image’.
Part of the reflection will be a discussion around reasons to organize this theoretical engagement by building a trans-local repository around ‚Spectrals of the Spectacle‘. We hold that a theoretical reflection of these spectralities is itself to take on the form of a decentral project, engaging with fleeting images and spectralities.
The Power of Images: Non-ficition Storytelling of the Gezi Resistance within a Co-Creative Act – Ersan Ocak
As an aftermath, several Gezi Documentaries are produced in Turkey. Most of them are screened in film festivals and activist/NGO meetings. Some of them are broadcasted online, i.e. online video documentaries of Gezi Resistance. The problem with these films is that, they could not satisfy the viewers, especially the ones who were in the Gezi Resistance as protesters. In this presentation, I will critically elaborate the reasons of the unsatisfactory position of Gezi Documentaries. Parallel to that, I will try to constitute a framework for the Nonfiction Storytelling of Gezi Resistance.
From Ghost Cinema to Live Cinema – Paola Barreto
1430 – 1500 Snacks & Chats
1500 – 1530 INTERVENTION II – Albert Figurt
What exactly is a music video?
A visual stream that “illustrates” a pre-existing audio content? A short cut that follows the pace of a song? An emotional trip evocated by sounds? A videorecording of people playing instruments in unusual locations?
And what happens to this already slippery balance in the era of proliferating DIY videoproduction (where a lot of famous youtube stars are somehow musicians or music- related)?
A reflection on the fruitful match of multi-tasking and multi-instrumentalism, the helical proliferation of audiovisual mash-up, the rise of videosong (as opposed to the ordinary videoclip, where narration or look is more important than pure expertise or creative cleverness), and ultimately on what loop-stations / audio sampling procedures / standards & covers / renovated love for theremins & ukuleles can metaphorically teach us about life [on the web?] in 2014.
1530 – 1700 Session III – Video Generations. Artists Round Up with Baris Doğrusöz, Hale Tenger, Didem Pekun, Facilitator: Lewis Johnson
The questions directed at the artists and the round table participants: a) What part has video played in your practice and in what ways does this concern remembering or memory? b) How do archives play a part in your work? How do you think that the programmed functioning of digital archiving – of video, but also of any other digitized materials – have changed ways of viewing, thinking, remembering and senses of future?
1715 – 1745 INTERVENTION III – Istanbul Do/Redo/Undo : Waters, Streets, Faces by Nezih Erdoğan
1745 – 1945 Session IV – The Archive: Preserving Now & Then with Ahmet Gürata, Sebastian Lütgert, Jan Gerber, E. Belit Sag, Alper Sen, Shaina Anand, Facilitator: Ozge Celikaslan
2000 – 2100 Outro – Video Vortex 11 UK
with Adnan Hadzi as round table facilitator
(Live streaming will be announced.)
03.11.2014 – 04.11.2014
Monday – Tuesday / Pazartezi – Salı
ARCHIVE BOOTCAMP ANKARA
Bootcamp with Sebastian Lütgert and Jan Gerber @ Bilkent University
Starting @ 1340 in FB114 on Monday, 3rd (MFA Graduate Lab), Bilkent GSTMF, Merkez Kampusu
December / Aralik 2014 & January / Ocak 2015
Video Vortex EXHIBITION
Works by Yetkin Yilmaz, Ahmet Said Kaplan, David Guez, Endam Nihan, Ezgi Kilincaslan, Gonca Gumusayak, Cornelia Sollfrank, Video Occupy, and others …
Dates and places Ankara/Istanbul to be announced