Folksonomy | Fractured Distortion is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Thu, 24 Nov 2016 12:28:56 +1000 Thu, 24 Nov 2016 12:28:56 +1000 Constellations 2.0 60 Download Finished 2006 a procedural video machine Download Finished was an online ressource which transformed and re-published films from P2P networks and online archives Found footage became the rough material for the transformation machine which translated the underlying data structure of the films onto the surface of the screen The original images dissolved into pixels thus making the hidden data structure visible Through Download Finished file sharers became authors by re-interpreting their most beloved films Download Finished questions the relationship between the original and its copy in a digital environment It deals with questions arising from the cultural practice of file sharing and the breakages and voids it makes evident within the copyright system Mediengruppe Bitnik Thu, 24 Nov 2016 12:28:56 +1000 Zbigniew Rybczynski New Book The screen is divided into nine different squares Each representing one place The uniting element of all the actions is a book passed from one hand to the other All stories run parallel as if in realtime yet linked in a linear way at the same time through the narrative of the action Fig 1 Zbigniew Rybczy amp 324 ski 1975 Nowa Ksi amp 261 amp 380 ka New Book 35mm short film 10 26 SMFF Se ndash Ma ndash For Lodz Poland Wed, 10 Dec 2014 23:42:51 +1000 Norman Kirk split-screen political ad for 1969 NZ general election This 1969 advertisement for the Labour Party emphasised the leadership qualities of Norman Kirk and sought to capitalise on a public mood for change as that turbulent decade drew to a close It screened in full colour in cinemas and in black ndash and ndash white on television colour TV wasn t introduced until 1973 Its striking split ndash screen imagery and pop ndash styled theme song were clearly aimed at younger voters a potentially important audience in an election when the voting age was lowered from 21 to 20 it would be reduced further to 18 in 1974 It was not enough however to oust Keith Holyoake s National government which had ruled for the previous nine years Tue, 04 Mar 2014 07:26:13 +1000 Holiday Inn Express ad illustrates split between real online identities Intercontinental Hotels Group IHG is launching the first UK television advertisement for Holiday Inn Express to raise awareness of the added value services that differentiate the brand in the crowded mid ndash priced hotel market Russell Parsons 9 September 2013 Marketing Week Thu, 26 Sep 2013 13:51:42 +1000 Pablo Ferro graphic designer and film titles designer for over 40 years Pablo has been putting his stamp on the moving image through works such as the opening of Stanley Kubrick s Dr Strangelove and the revolutionary split ndash screen montage of 1963 s The Thomas Crown Affair He has also created the opening titles for Hal Ashby s Being There 1979 and Gus Van Sant s To Die For 1995 Art of the Title Thu, 16 May 2013 13:36:55 +1000 WW1 Razzle Dazzle ship camouflage Most camouflage is based on the idea of concealment and blending in with its surroundings However another school of thought has argued for making the item in question appear to be a mashup of unrelated components Naval camoufleurs found this theory particularly appealing Blending didn t work because ships operated in two different and constantly changing color environments ndash sea and sky Any camo that concealed in one environment was usually spectacularly conspicuous in others Norman Wilkinson a British naval officer and painter suggested a scheme that came to be known as Dazzle or Razzle Dazzle painting Wilkinson believed that breaking up a ship s silhouette with brightly contrasting geometric designs would make it harder for U ndash boat captains to determine the ship s course FoundNYC Inc 4 April 2009 Sat, 02 Mar 2013 09:14:55 +1000 Glitch art created purposefully through databending and corruption Data glitches are unavoidable As technology gets more complex it s easier and easier for a small bug to creep in and ruin your perfect data But a growing number of artists in different fields are coming to value these glitches and have begun attempting to insert them purposefully into their work using a technique called databending Glitch art is a term that there s some debate over Many argue that it can only apply when a glitch is unintentional ndash ndash when it occurs naturally due to an error in hardware or software that leads to the corruption of whatever it is the artist was trying to create But there are ways of intentionally inducing some of these glitches a process called databending Databending draws its name from the practice of circuit bending ndash ndash a practice where childrens toys cheap keyboards and effects pedals are deliberately short ndash circuited by bending the circuit board to generate spontaneous and unpredictable sounds Duncan Geere 17 August 2010 Wired UK Fig 1 Don Relyea glitched out video Fig 2 David Szauder supra glitch Wed, 18 Jan 2012 22:05:45 +1000 Man With a Movie Camera Dziga Vertov s groundbreaking film Dziga Vertov s Man With A Movie Camera is considered one of the most innovative and influential films of the silent era Startlingly modern this film utilizes a groundbreaking style of rapid editing and incorporates innumerable other cinematic effects to create a work of amazing power and energy Film pioneer Dziga Vertov uses all the cinematic techniques available at the time ndash dissolves split screen slow motion and freeze frames Moving Image Archive Fig 1 Dziga Vertov 1929 Man With A Movie Camera VUFKU The Ukrainian Photo and Cinema Administration Wed, 12 Oct 2011 18:18:29 +1000 Tunnel box miniature theatre of garden scene with dancers Title devised by cataloger The set includes six hand ndash colored etched prints on light gray laid paper with sections carefully cut out to create a perspective view when the prints are arranged in a viewing box The prints are numbered 373 374 375 376 377 and 378 The set number 56 appears on print no 378 the prints are otherwise without text Attributed to the engraver and print ndash seller Martin Engelbrecht of Augsburg Germany Artists Jeremias Wachsmuth or David Nessenthaler may have collaborated on the illustrations Smithsonian Institution Fig 1 Martin Engelbrecht Garden scene with dancers to be used as the set for a miniature theatre Wed, 07 Sep 2011 16:27:20 +1000 The hospital contains the complete arsenal of modern healing but is devoted to a radical deescalation of the medical process The hospital is a sequence of pavilions each devoted to a particular disease They are connected by a medical boulevard ndash a slow ndash moving belt that displays the sick in a continuous procession with a group of dancing nurses in transparent uniforms medical equipment disguised as totem poles and rich perfumes that suppress the familiar stench of healing in an almost festive atmosphere of operatic melodies Doctors select their patients from this belt invite them to their individual pavilions test their vitality and almost playfully administer their medical knowledge If they fail the patient is returned to the conveyer perhaps another doctor tries the patient but it soon becomes apparent that the belt leads beyond the pavilions through the cruciform building and straight into the cemetery Koolhaas R M Vreisendorp et al Fig 1 ndash 9 Rem Koolhaas Madelon Vreisendorp Elia Zenghelis and Zoe Zenghelis 1972 Exodus or the voluntary prisoners of architecture Fri, 03 Jun 2011 00:00:43 +1000 Kitchen Sink suburban domestic horror short film Disturbing horror film A woman is cleaning her kitchen sink Just when she thinks it is spotless she notices what appears to be a strand of hair near the drain As she pulls on it she realizes it is coming out of the drain 8230 and is very long Nominated for Golden Palm Written amp Directed by Alison Maclean New Zeland 1989 Produced by Bridget Ikin Starring Theresa Healey Peter Tait amp Annagretta Christian a Chick flicksbychicks com Fri, 27 Nov 2009 10:28:41 +1000 Verner Panton synthetic fantasy landscapes From the end of the Sixties to the mid ndash Seventies the chemical company Bayer rented a pleasure boat during every Cologne furniture fair and had it transformed into a temporary showroom by a well ndash known contemporary designer The main aim was to promote various synthetics products in connection with home furnishings Verner Panton was commissioned no less than twice to design this exhibition entitled Visiona The 1970 Visona 2 exhibition showed the Fantasy Landscape which was created in this environment The resulting room installation consisting of vibrant colours and organic forms is one of the principal highlights of Panton s work In terms of design history this installation is regarded as one of the major spatial designs of the second half of the twentieth century The creative fireworks which Panton lit with his studio within a preparation time of only a few months for Visiona 2 is expressed not only in the highly diversified room designs in the exhibition ship but also in the wide range of furniture lighting wall coverings and textiles developed specially for this presentation Some of these were adapted and went into series production later Verner Panton Visiona 2 Verner Panton Panton Design Showroom Ausstellung Cologne furniture fair Visiona 2 Biographie Verner Panton imm cologne K 246 lner M 246 belmesse Vitra ndash 157 VP ndash 13 ndash H906 Panton Design Basel Sun, 22 Nov 2009 23:28:02 +1000 Aesthetics of Displays how the split screen remediates other media Pillow Talk embeds the split screen in intricate ways in the narrative of the film In total the film has ten split ndash screen scenes that are unevenly distributed over the length of the film Two thirds of the split ndash screen scenes are in the first act of the film while none are in the last act Far from being coincidental or arbitrary this uneven distribution functions as a play of foreshadowing and allusion as it provides the couple with a shared virtual space before they actually share a physical space Therefore the device fulfils a double narrative purpose on the one hand this technique has an economic function as it enables the film to refrain from clumsy and complicated parallel editing patterns presenting two separate images in one frame On the other hand and this is more important the spectator can already witness how well the couple fits together as the halves of the split screen correspond to each other in terms of colour mise ndash en ndash scene montage and internal movement The spectator sees already the shared communal space while the narrative has to work through the intricate plot movements in order to get rid of such an unclassical device as the split screen All split ndash screen scenes in Pillow Talk are telephone scenes echoing as argued the basic properties of the telephone conversation The paradoxical tension between distance and proximity between absence and presence is overcome in one scene in particular when the physical division and acoustic closeness are confused as touch complements the visual and aural situation The split screen shows the protagonists lying in their respective bath tubs the woman on the left and the man on the right this placement is consistent throughout the movie ndash mise ndash en ndash scene lighting and colour all work to downplay the visual distinction between the two separate images ndash as if they were in the same bath together fig 1 When Brad gently strokes the wall with his toes at the exact point where Jan has put her foot she pulls it back as though she has been tickled by him fig 2 Even though physically impossible Jan and Brad are in distant places and only talk on the phone the separating wall becomes semi ndash permeable This incident literalises the strange configuration in which the division is at the same time visibly present both images are in the same frame yet also visibly negated we know that we are watching two separate images Malte Hagener 24 December 2008 Journal of Entertainment Media ISSN 1447 ndash 4905 Fig 1 amp 2 Pillow Talk Michael Gordon 1959 Image Source DVD Universal 2003 Sun, 25 Oct 2009 15:29:57 +1000 Can t Stop Feeling music video intra-frame diegetic screen transitions The visual impact of Franz Ferdinand s music video Can t Stop Feeling is largely derived from its extensive use of intra ndash frame diegetic screen transitions Sun, 11 Oct 2009 00:22:42 +1000 Moholy-Nagy Frames Within Space-frames A primary characteristic of the 39 language 39 of montage is its tendency towards multiple and layered meanings One example of this multiplicity is the combination of incongruous visual and verbal elements within the space of a single picture these individual elements are combined in compositions which are more like energy fields than traditional perspectival space with its attendant sense of rational time The syntax of montage is non ndash linear any single element tends towards a multiplicity of possible connections with other elements Meanings are contextual and relative and the literalness of photography gives way to metaphor metonymy and allegory These effects are created not only by the cutting and fragmentation of elements but also by the space between the elements which like gaps that must be jumped activate and energise the image It would not be incorrect to see these 39 fields 39 as a kind of shattered mirror reflection of the energy confusion and contradictions of life as the Dadaists saw it Many of their works however emphasise the desire perhaps the necessity to see below this surface reflection to the underlying structure of society or the psyche Iconographically the most consistent reminder of that desire is the repeated use of anatomical photographs and diagrams in the work of Hausmann and Ernst In addition to their visual impact as figures these elements tend to constantly remind the viewer to be conscious of what is below the surface even if that underlying layer is not visible Thus during this period the foundations were laid for the Surrealists 39 examination of the unconscious and for John Heartfield 39 s satirical analysis of the ideology of Nazi Germany in the early 30 39 s Apart from and following Dada 39 s end as an organised movement important photomontages were also produced by Constructivist artists such as Lazio Moholy ndash Nagy and Alexander Rodchenko John Pickel 1988 Fig 1 Title on Object Eifersucht Published Title Jealousy 1927 collage with photographic photo ndash mechanical and drawn elements 63 8 x 56 1 cm Museum Purchase ex ndash collection Sybil Moholy ndash Nagy GEH NEG 4339 81 2163 0011 Old GEH Number 4685 ndash 11 Fri, 13 Feb 2004 00:00:00 +1000