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Which clippings match 'New Technical Possibilities' keyword pg.1 of 1
21 NOVEMBER 2012

V2_Institute for the Unstable Media

"In the turbulent year of 1981 the building at Vughterstraat 234 in Den Bosch was squatted by a group of artists and musicians, including a young Joke Brouwer and an almost as young Alex Adriaansens. There was no place for their sounds, art or ideas in the established venues, so they created one of their own at 'V234,' quickly shortened to 'V2.' September 3 and 4, 1981 the first events where organized. In 1982, these pragmatic anarchists decided to organize themselves into a foundation, and V2_ was officially born."

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TAGS

1981 • 3D projection • Alex Adriaansens • art in electronic networks • art installationart productionartist collectiveartistic means • arts practice • audiovisual arts • centre for art and media technology • communications media • computers as an artistic medium • cyberspace • Den Bosch • digital imagery • digital techniques • do-it-yourself • Dutch Electronic Art Festival • Einsturzende Neubauten • electronic mediaelectronic musicexhibition space • Institute for the Unstable Media • interactive installationsinteractive video • interdisciplinary workspace • international media laboratory • ISDN • Joke Brouwer • knowledge exchange • Laibach • machine art • manifesto • mixed media applications • multimedia centre • multimedia organisationNetherlands • network and communications media • new technical possibilitiesnew technology • pragmatic anarchists • public events • public spaceroboticsRotterdamSonic Youthsound installation • squatting • The building gave room for concerts and performances analogue media • unstable media • V2_virtual realityvisual arts • Vughterstraat 234 • world wide web

CONTRIBUTOR

Simon Perkins
12 AUGUST 2012

Rob Nilsson: indie filmmaker and small format video feature pioneer

"Rob Nilsson pioneered small analog and digital formats and created a low–budget cinematic style called direct action. He established the Tenderloin Action Group (now called the Tenderloin yGroup) in 1990, a drama workshop for homeless people, inner–city San Francisco residents and professional actors. He was the first video maker to blow up small–format video to 35 mm film for international theatrical distribution. His work has screened at festivals in the United States and abroad, including Mill Valley, Toronto, Santa Barbara, San Francisco and Locarno. Nilsson's work has been honored with numerous awards, including the Camera d'Or at Cannes and the Grand Jury Prize at the Sundance Film Festival (he was the first American Director to win both)."

(Media Arts Fellow)

Fig.1 scene from Rob Nilsson (1987). "Heat and Sunlight", Betacam SP to 35mm film transfer.

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TAGS

198535mmAmerican directoranalogueanalogue and digital formatsavailable lightBetacam SPblack and white • blow up small-format video • Chikara Motomura • cinema of the street • cinematic style • citizen cinema (ethos) • convergence • direct action (ethos) • Dogme 95film actingfilmmakerfly-on-the-wallindependent cinemaindependent filmindie cinemainfluential directorlow budgetlow lightlow-budgetlow-budget film • Media Arts Fellow • Michael Edo Keane • new technical possibilitiesrealism • Rob Nilsson • San Francisco • Signal 7 (film) • small format video feature • tape to film transfer • Tenderloin Action Group • Tenderloin yGroup • underground cinema • video to film transfer • videomaker

CONTRIBUTOR

Simon Perkins
11 MARCH 2011

New technical possibilities: synchronous recording of sight and sound

"In the late 1950s major breakthroughs began to occur in the technology available to filmmakers. These occasioned what can be thought of either as something totally new under the artistic sun or merely as new ways of doing old things. What they permitted was the synchronous recording of sight and sound outside the confines of soundstages and studio back lots. Virtually anything that could be seen and heard could now be captured on sound film almost anywhere. These new technical possibilities did not dictate the uses to which they would be put, however. One of those uses was that of the Americans who called what they were doing direct cinema. Another was that of Frenchman Jean Rouch, who coined the term cinema verite (film truth) to apply to his own work."

(Jack Ellis and Betsy McLane, 2005, p.208)

Jack Ellis and Betsy McLane, A New History of Documentary Film, (2005), 208–325.

Fig.1 Albert (right) with David Maysles on the set of 'Grey Gardens' (1975).

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TAGS

16mm1950s3-lens turretAlbert Maysles • Arriflex • audio recorderauthorshipcamera technologycapturecinema veritecinematographyconvergencecreative practiceDavid Mayslesdevicedirect cinemadocumentaryDonn A. Pennebaker • Drew Associates • FFL • film truth • filmmakers • fixed focal length • history of cinemainnovationJean Rouch • lightweight • Nagranew technical possibilities • primary focal length • prime lens • realismRichard Leacock • Robert Drew • sight and sound • solution • sound film • soundstage • synchronous recording • technology • telephoto lens • Terrence McCartney Filgate • truthvisual depictionvisual languagezoom lens

CONTRIBUTOR

Simon Perkins
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