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05 JULY 2015

Agora: From Democracy to the Market by Yorgos Avgeropoulos

"Το ντοκιμαντέρ του Γιώργου Αυγερόπουλου «Αγορά» (Agora), συνθέτει ένα ανακεφαλαιωτικό χρονικό της κοινωνικής τραγωδίας που μαστίζει την Ελλάδα την τελευταία πενταετία, θέτοντας κρίσιμα ερωτήματα για μια παγκόσμια συστημική κρίση σε εξέλιξη και μία ευρωπαϊκή διακυβέρνηση που διεξάγει οικονομικά πειράματα υψηλού ρίσκου χωρίς να υπολογίζει το ανθρώπινο κόστος."

(Γιώργος Ρούσσος, 10 Ιανουάριος/January 2015, TVXS)

Translated using Google Translate: "The documentary of George Avgeropoulos "Buy» (Agora), composes a summary chronicle of social tragedy plaguing Greece the last five years, posing critical questions for a global systemic crisis in progress and a European economic governance carried out risky experiments without count the human cost."

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2014agora • Agora (2014) • Al Jazeera • Alexandros Mavropoulos • Alexis Barzos • Anastasia Skoubri • ancient heritage • Andreas Vagias • assembly place • austerity measuresbanking system • central area • citizenship • city centre • city-state • commercial transactions • common currency • debt crisisdemocracydocumentary film • Elena Apostolidou • euro area • European Central Bank • European economic governance • European ParliamentEuropean Union • eurozone • Evangelos Venizelos • financial crisis • Georgia Anagnou • global systemic crisis • governanceGreek crisis • homelessness • IMFInternational Monetary Fund • Jean-Claude Trichet • Jutta Krug • Kostis Nikolopoulos • Mahi Nikolara • Marina Demertzian • Marios Dionellis • Martin Schulz • Michalis Gripiotis • monetary union • post-war history • povertyRawan Damen • rise of the extreme-right • soup kitchen • Theofilos Dadis • Thodoris Popeskou • Thomais Papaioannou • unemployment • Vasilis Magos • Vasilis Mourikis • violent conflicts • Westdeutscher Rundfunk • Yiannis Avgeropoulos • Yiannis Biliris • Yiannis Chlebakos • Yiannis Paxevanis • Yorgos Avgeropoulos • Yorgos Santamouris

CONTRIBUTOR

Simon Perkins
03 JULY 2015

The Phone Box: allegory about the consequences of dehumanisation

"In a bland square in Madrid, some workers, who are wearing a strange uniform, are installing a phone box. Some moments later, an anonymous citizen, after taking his son to the school bus, gets trapped in the box for no understandable reason. As the day goes by, all kind of strangers go there to see the strange event: some of them try to free him; others make fun of him… Everyone looks interested in this little man. After a distressing delay full of surrealistic moments, the trapped man is taken to a strange factory full of thousands of phone boxes. In each one, a single corpse is trapped, in some strange ritual. The movie ends with a new phone box in another square of the city."

(Aaron Rodriguez, World Cinema Directory)

Antonio Mercero (1972). "La Cabina/The Phone Box", -phone booth location: Calle de Rodríguez San Pedro, 5, Madrid, Spain [http://filmap.tumblr.com/post/98879196634/la-cabina-antonio-mercero-1972-phone-booth-calle].

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1972absurd situationsallegory • Antonio Mercero • black tale • caught in a trap • claustrophobic spacescyclical narrativedehumanisation • dehumanised society • distressdisturbing taleenclosed space • entrapment • environment as antagonist • eternal cycle • fait accomplifantasy about deathfeelings of panic • futility • get me the hell out of here • helplessness • high concept • Jose Luis Garci • Jose Luis Lopez Vazquez • La cabina (1972) • macabreMadrid • mummified remains • no escape • phone booth • powerless • psychological horrorsadisticsarcophagusshort filmSpanish filmspeculative fictionsymbolic meaning • telephone booth • telephone box • The Telephone Box (1972) • tombtrapped • twisted game

CONTRIBUTOR

Simon Perkins
03 JULY 2015

SuperCollider: real-time audio synthesis and algorithmic composition

"The language interpreter runs in a cross platform IDE (OS X/Linux/Windows) and communicates via Open Sound Control with one or more synthesis servers. The SuperCollider synthesis server runs in a separate process or even on a separate machine so it is ideal for realtime networked music.

SuperCollider was developed by James McCartney and originally released in 1996. He released it under the terms of the GNU General Public License in 2002 when he joined the Apple Core Audio team. It is now maintained and developed by an active and enthusiastic community. It is used by musicians, scientists, and artists working with sound."

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1996 • acoustic research • algorithmic composition • algorithmic music • Apple Core Audio • authoring environmentcomputational designdevelopment environment • Devi Skanadze • electronic musicexperimental music • generative audio • generative musicGNU General Public LicenseIDE • interactive programming • James McCartney • language interpreter • LinuxOpen Sound ControlOSXprogramming environmentprogramming language • real-time audio synthesis • real-time generative music • real-time interaction • realtime networked music • rule-based artsonic arts • SuperCollider • synthesis server • Windows OS

CONTRIBUTOR

Simon Perkins
25 JUNE 2015

What is the Cut-Up Method?

"The writer Ken Hollings examines how an artistic device called the 'cut-up' has been employed by artists and satirists to create new meanings from pre-existing recorded words.

Today's digital age has allowed multi-media satirists like Cassetteboy to mock politicians and TV celebrities online by re-editing - or cutting up - their broadcast words. But the roots of this technique go back to the early days of the avant-garde. The intention has always been to amuse, to surprise, and to question.

The founder of the Dadaist movement, the poet Tristan Tzara, proposed in 1920 that a poem could be created simply by pulling random words cut from a newspaper out of a hat. And it was this idea of the random juxtaposition of text, of creating new meanings from pre-existing material, that so appealed to the painter Brion Gysin in the late 1950s when he and his friend, the American writer William S Burroughs, began applying the technique not just to text but to other media too - including words recorded on tape."

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1920absurdist humour • Alan Sugar • Armando Iannucci • artistic device • avant-garde experimental technique • BBC Radio 1 • BBC Radio 4Brion Gysin • broadcast news • Cassetteboy • Chris Morris • Coldcut (duo) • collaged togethercut-upcut-up techniqueDada movement • Dan Shepherd • Doug Kahn • George W Bush • Julie Andrews • juxtaposition • Ken Hollings • Kevin Foakes (aka DJ Food) • Lenka Clayton • Matt Black • mocking • Negativland • Pierre Schaeffer • pulled out of the hat • random juxtaposition • random words • re-editre-purposeremix cultureRonald Reagan • sound-poetry • State of the Union • tape cut-up • Tristan TzaraVicki BennettWalter RuttmannWilliam Burroughs

CONTRIBUTOR

Simon Perkins
24 JUNE 2015

i-Docs: website of this emerging interactive documentary form

"You will find a number of definitions and points-of-view on what constitutes an interactive documentary. At this point in the development of this fast-moving field we feel that it is important to have an expansive definition that can embrace the many different kinds of work that are emerging. The i-Docs site includes coverage of projects that you may find elsewhere described as web-docs, transmedia documentaries, serious games, cross-platform docs, locative docs, docu-games, pervasive media. For us any project that starts with an intention to document the 'real' and that does so by using digital interactive technology can be considered an i-doc. What unites all these projects is this intersection between digital interactive technology and documentary practice. Where these two things come together, the audience become active agents within documentary – making the work unfold through their interaction and often contributing content. If documentary is about telling stories about our shared world; we are interested in what happens as the audience get more closely involved in this way. At the heart of i-Docs is the question; what opportunities emerge as documentary becomes something that is co-created?"

(Digital Cultures Research Centre at University of the West of England)

TAGS

2011 • active agents • active audienceBristolco-creator-ship • cross-platform docs • design for the screen • Digital Cultures Research Centre • digital storytelling • docu-games • docufiction • document the real • documentary form • documentary practice • documentary truthhybrid formshypermedia • i-Docs • i-Docs project • interactive digital narrativesinteractive documentaryinteractive multimediainteractive storytelling • Jon Dovey • Judith Aston • locative docs • online multimedia • our shared world • pervasive media • Sandra Gaudenzi • serious gamestheir stories • transmedia documentaries • University of the West of England • UWE Bristol • web-based documentary • web-docs

CONTRIBUTOR

Simon Perkins
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