Books by Andreas Treske
Video Vortex Reader III: Inside the YouTube Decade, 2020
INC Reader #14
Video Vortex Reader III: Inside the YouTube Decade
Editors: Geert Lovink and And... more INC Reader #14
Video Vortex Reader III: Inside the YouTube Decade
Editors: Geert Lovink and Andreas Treske
https://networkcultures.org/blog/publication/video-vortex-reader-iii-inside-the-youtube-decade/?fbclid=IwAR2AKXftunoPYKAkNFBrOEIDUFmJejOW87ZG973cLO8DhAEPVQl3KiDpMw4
What is online video today, fifteen years into its exponential growth? What started with amateur work of YouTube prosumers has spread to virtually all communication apps: an explosion in the culture of mobile sound and vision. Now, in the age of the smartphone, video accompanies, informs, moves, and distracts us. Are you addicted yet? Look into that tiny camera, talk, move the phone, show us around — prove to others that you exist!
Founded in 2007, Video Vortex is a lively network of artists, activists, coders, curators, critics, and researchers linked by the exchange of ideas, materials, and discussions both online and offline. Video Vortex has produced two anthologies, a website, a mailing list, 12 international conferences, several art exhibitions, and more to come as the internet and video continue to merge and miniaturize.
The first Video Vortex reader came out in 2008, followed by a second in 2011. This third anthology covers the turbulent period from Video Vortex #7 (2013) in Yogyakarta, across the meetings that followed in Zagreb, Lüneburg, Istanbul, Kochi, and finally Malta in 2019, where the foundations for this publication where laid before its production began in the midst of the corona crisis.
The contributions herein respond to a broad range of emerging and urgent topics, from bias in YouTube’s algorithms to the use of video in messaging, image theory, the rise of deep fakes, a reconsideration of the history of video art, a reflection on the continuing role and influence of music video, indy servers, synthetic intimacies, love and sadness, artist videos, online video theory in the age of platform capitalism, video as online activism, and the rise of streaming. Click, browse, swipe, like, share, save, and enjoy!
Contributors: Annie Abrahams, Ina Blom, Natalie Bookchin, Pablo deSoto, Ben Grosser, Adnan Hadzi, Judit Kis, Patricia G. Lange, Hang Li, Patrick Lichty, Geert Lovink, Gabriel Menotti, Sabine Niederer, Dan Oki, Aras Ozgun, Daniel Pinheiro, Rahee Punyashloka, Albert Figurt, Oliver Lerone Schultz, Ana Peraica, Forian Schneider, Peter Snowdon, Andreas Treske, Colette Tron, Jack Wilson, Dino Ge Zhang.
Editors: Geert Lovink and Andreas Treske
Copy editor: Jack Wilson
Cover design: Berkay Donmez
Design and EPUB development: Tommaso Campagna
Institute of Network Cultures, Amsterdam, 2020
ISBN/EAN Paperback: 978-94-92302-61-8
ISBN EPUB: 978-94-92302-60-1
This publication is licensed under Creative Commons Attribution
NonCommercial ShareAlike 4.0 Unported (CC BY-NC-SA 4.0)
Ulus Baker (1960 – 2007) was a Turkish-Cypriot sociologist, philosopher, and public intellectual.... more Ulus Baker (1960 – 2007) was a Turkish-Cypriot sociologist, philosopher, and public intellectual. He was born in Ankara, Turkey in 1960. He studied Sociology at Middle East Technical University in Ankara, where he taught as a lecturer until 2004. Baker wrote prolifically in influential Turkish journals and made some of the first Turkish translations of various works of Gilles Deleuze, Antonio Negri, and other contemporary political philosophers. His profuse and accessible work and the novelty of the issues he enthusiastically introduced to Turkish-speaking intellectual circles, earned him a widely spread positive reputation in early age. He died in 2007 in Istanbul.
The text in this edition is edited from essays and notes Ulus Baker wrote between 1995 and 2002. In these essays, Baker criticizes the sociological research turning into an analysis of people’s opinions. He explores with an exciting clarity the notion of ‘opinion’ as a specific form of apprehension between knowledge and point of view, then looks into ‘social types’ as an analytical device deployed by early sociologists. He associates the form of ‘comprehension’ the ‘social types’ postulate with Spinoza’s notion of ‘affections’ (as a dynamic, non-linguistic form of the relation between entities). He finally discusses the possibilities of reintroducing this device for understanding our contemporary world through cinema and documentary filmmaking, by reinstating images in general as ‘affective thought processes’.
Baker’s first extensive translation to English provides us with a much-needed intervention for re-imagining social thought and visual media, at a time when sociology tends to be reduced to an analysis of ‘big data’, and the pedagogical powers of the image are reduced to data visualization and infographics.
Author: Ulus S. Baker
Editors: Aras Özgün and Andreas Treske
Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly om... more Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand and attached to nearby anything, anywhere. Online Video became something vital and independent. With all the video created by the cameras around us, constantly uploading, sharing, linking, and relating, a blue ocean is covering our planet, an ocean of video. What might look as bluish noise and dust from the far outside, might embed beautiful and fascinating living scapes of moving images, objects constantly changing, re-arranging, assembling, evolving, collapsing, but never disappearing, a real cinema.
Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties.
"This reader is a collection of essays written by Turkish graduate students between 2003 and 2010... more "This reader is a collection of essays written by Turkish graduate students between 2003 and 2010 for Andreas Treske’s seminar ‘Image, Time and Motion’ at Bilkent University in Ankara, revised and actualized in 2010. Coming from a wide range of disciplines they had studied before, very rarely media or cultural studies, these students brought in their various viewpoints and methods, and tried to integrate their observations and understandings in a seminar related to cinema and new media to discuss and sometimes just to describe the influences of digital media technologies for themselves and their colleagues. Starting from the premise that digital technology redefines our moving image culture, the authors reflect in their essays various kind of approaches and methods, experiences and practices, descriptive, critical and interdisciplinary.
Contributors: Pelin Aytemiz, Bestem Büyüm, I. Alev Degim, Bilge Demirtas, Fulya Ertem, Deniz Hasirci, Cagri Baris Kasap, Zeynep Kocer, Rifat Süha Kocoglu, Leyla Önal, Ufuk Önen, Didem Özkul, Segah Sak, Ayda Sevin, Umut Sumnu, Andreas Treske and Funda Senova Tunali.
Colophon: Edited by: Andreas Treske, Ufuk Onen, Bestem Büyüm and I. Alev Degim. Design: Katja van Stiphout. DTP: Margreet Riphagen. Printer: ‘Print on Demand’. Publisher: Institute of Network Cultures, Amsterdam 2011. ISBN: 978-90-816021-5-0."
Chapters by Andreas Treske
Let's Write About Science, 2021
The year 2019 was the year of “Göbekli Tepe” in Turkey. The Center of Modern Art CerModern in Ank... more The year 2019 was the year of “Göbekli Tepe” in Turkey. The Center of Modern Art CerModern in Ankara went in an innovative new direction by creating an exhibition based on digital technology and multiple projections as an immersive and interactive experience. Rather than a static aesthetic of exhibited objects, reconstructions, and audiovisual documentation, CerModern, and REO-TEK created a contemporary dynamic story world with multiple projections and tactile installations, bringing Göbekli Tepe to life.
Video Theories - A Transdisciplinary Reader, 2022
Türkisch-Deutsche Studien Bd. 1, 2020
Ist es nicht wunderbar, wenn die Dinge aus der Ferne so nahe kommen?
Chapter VI of Video Theory. Online Video Aesthetics or the afterlife of video. Transcript Verlag ... more Chapter VI of Video Theory. Online Video Aesthetics or the afterlife of video. Transcript Verlag 2015 - http://www.transcript-verlag.de/978-3-8376-3058-9/video-theory
But why does Beyoncé need authenticity? Why is there a need for such a video? And why could it be important that this video is vertical?
Chapter One of "Video Theory. Online Video Aesthetics or The Afterlife of Video"
Papers & Articles by Andreas Treske
Süreğen medya platformları, günümüzde anlatısal metinler için televizyon ve sinemayı ikame edecek... more Süreğen medya platformları, günümüzde anlatısal metinler için televizyon ve sinemayı ikame edecek yeni bir dolaşım/dağıtım biçimi olarak ortaya çıkıyor. Fakat bu dolaşım biçimine has izleme etkinliğinin zamansal ve mekânsal koşulları ve ön plana çıkardığı anlatısal aygıtlar, onu geçmişteki sinema ve televizyon izleyiciliğinden farklı şekilde yapılandırıyor. Süreğen medya platformları, taşınabilir medya teknolojilerinin de yardımıyla, izleyici etkinliğini zamansal ve mekânsal kısıtlarından kurtarıp sürekli, her yerde ve her zaman ulaşılabilir hale getiriyor. Bu pratik, sadece sinema ve televizyon izleyiciliğinin kurucu niteliği olan kamusallığın uzağında, yalıtılmış, sterilize bir iletişim tecrübesi yaratmakla kalmıyor; ilk bakışta kişisel ve kişiye özel gibi görünen bu yeni iletişim süreci esasında algoritmik süreçler aracılığıyla düzenlenerek platform kapitalizminin kontrol aygıtlarından birine dönüşüyor. Bu yazıda amacımız süreğen medya platformlarının dayattığı bu yeni izleyici etkinliğinin içinde kurulduğu koşulları kuramsal düzeyde analiz etmek ve bu koşulların kamusal yaşama etkisini sorgulamaya girişmek.
Markets, Globalization & Development Review: Vol. 3: No. 3, Article 6., 2019
A commentary on Narrative Platforms, Cinematic Universes, and Consumers Formerly Known as the Aud... more A commentary on Narrative Platforms, Cinematic Universes, and Consumers Formerly Known as the Audience
The Narrative
Something has changed. Once, a hero with a small group of friends had to undertake a journey to solve a problem. Walking through unknown territories, facing the unexpected, the hero grew to be a ‘man’, saved himself and others, saved the world. Told in oral histories from the elder to the younger, remembered in melodies and rhymes, printed on paper, whispered into a microphone, banned on celluloid, multiplied as tapes, and then channels and files; changing names, places, times, attributes, and then gender; the hero’s journey gave birth to a variety of narrative patterns. It was not the Odyssey destined to break open story structure, but rather Scheherazade and her struggle to stay alive by adding story after story, night after night, that traversed the narrative universe. She broke from the path of linearity, and in the process of her continuous creation of a world every night, the hero’s journey took its essential pedagogical form in the multidimensional space of the narrative. But this is not what has changed — the ‘hero’s journey’, that Vladimir Propp identified as a structuring form in traditional folk tales, continues to be the constitutive framework in contemporary popular narratives (Propp 2009).
Recommended Citation
Treske, Andreas and Ozgun, Aras (2018) "A commentary on Narrative Platforms, Cinematic Universes, and Consumers Formerly Known as the Audience," Markets, Globalization & Development Review: Vol. 3: No. 3, Article 6.
Available at: https://digitalcommons.uri.edu/mgdr/vol3/iss3/6
janbot, 2019
A human reflection on filmmaking inspired by Jan Bot’s film “2018–11–10.007-michelle_obama.mp4" -... more A human reflection on filmmaking inspired by Jan Bot’s film “2018–11–10.007-michelle_obama.mp4" - https://medium.com/janbot/michelles-eye-s-f7ca0a0284af
by Andreas Treske
edited by Pablo Núñez Palma
Reha Erdem’s latest film Big Big World (Koca Dünya) was selected for the “Horizons” (“Orizzonti”)... more Reha Erdem’s latest film Big Big World (Koca Dünya) was selected for the “Horizons” (“Orizzonti”) section at the 73rd Venice International Film Festival in 2016 and won a prestigious special jury award. The Venice selection is standing for a tendency to hold on, and celebrate the so-called “World Cinema” along with Hollywood blockbusters and new experimental arthouse films in a festival programming mix, insisting to stop for a moment in time a cinema that is already on the move.
This text is thought as an assemblage of instances of space making, sabotage and noise images to ... more This text is thought as an assemblage of instances of space making, sabotage and noise images to discuss aspects of online video in the context of Urban Media and Gezi Park 2013 in Istanbul. The web and mobile video overlay as noise, glitch, or error the television 'signal' that is silencing/ignoring the event. The programmed television transmission is unable to spatialize life in the same way as web and mobile video can and already do.
Uploads
Books by Andreas Treske
Video Vortex Reader III: Inside the YouTube Decade
Editors: Geert Lovink and Andreas Treske
https://networkcultures.org/blog/publication/video-vortex-reader-iii-inside-the-youtube-decade/?fbclid=IwAR2AKXftunoPYKAkNFBrOEIDUFmJejOW87ZG973cLO8DhAEPVQl3KiDpMw4
What is online video today, fifteen years into its exponential growth? What started with amateur work of YouTube prosumers has spread to virtually all communication apps: an explosion in the culture of mobile sound and vision. Now, in the age of the smartphone, video accompanies, informs, moves, and distracts us. Are you addicted yet? Look into that tiny camera, talk, move the phone, show us around — prove to others that you exist!
Founded in 2007, Video Vortex is a lively network of artists, activists, coders, curators, critics, and researchers linked by the exchange of ideas, materials, and discussions both online and offline. Video Vortex has produced two anthologies, a website, a mailing list, 12 international conferences, several art exhibitions, and more to come as the internet and video continue to merge and miniaturize.
The first Video Vortex reader came out in 2008, followed by a second in 2011. This third anthology covers the turbulent period from Video Vortex #7 (2013) in Yogyakarta, across the meetings that followed in Zagreb, Lüneburg, Istanbul, Kochi, and finally Malta in 2019, where the foundations for this publication where laid before its production began in the midst of the corona crisis.
The contributions herein respond to a broad range of emerging and urgent topics, from bias in YouTube’s algorithms to the use of video in messaging, image theory, the rise of deep fakes, a reconsideration of the history of video art, a reflection on the continuing role and influence of music video, indy servers, synthetic intimacies, love and sadness, artist videos, online video theory in the age of platform capitalism, video as online activism, and the rise of streaming. Click, browse, swipe, like, share, save, and enjoy!
Contributors: Annie Abrahams, Ina Blom, Natalie Bookchin, Pablo deSoto, Ben Grosser, Adnan Hadzi, Judit Kis, Patricia G. Lange, Hang Li, Patrick Lichty, Geert Lovink, Gabriel Menotti, Sabine Niederer, Dan Oki, Aras Ozgun, Daniel Pinheiro, Rahee Punyashloka, Albert Figurt, Oliver Lerone Schultz, Ana Peraica, Forian Schneider, Peter Snowdon, Andreas Treske, Colette Tron, Jack Wilson, Dino Ge Zhang.
Editors: Geert Lovink and Andreas Treske
Copy editor: Jack Wilson
Cover design: Berkay Donmez
Design and EPUB development: Tommaso Campagna
Institute of Network Cultures, Amsterdam, 2020
ISBN/EAN Paperback: 978-94-92302-61-8
ISBN EPUB: 978-94-92302-60-1
This publication is licensed under Creative Commons Attribution
NonCommercial ShareAlike 4.0 Unported (CC BY-NC-SA 4.0)
The text in this edition is edited from essays and notes Ulus Baker wrote between 1995 and 2002. In these essays, Baker criticizes the sociological research turning into an analysis of people’s opinions. He explores with an exciting clarity the notion of ‘opinion’ as a specific form of apprehension between knowledge and point of view, then looks into ‘social types’ as an analytical device deployed by early sociologists. He associates the form of ‘comprehension’ the ‘social types’ postulate with Spinoza’s notion of ‘affections’ (as a dynamic, non-linguistic form of the relation between entities). He finally discusses the possibilities of reintroducing this device for understanding our contemporary world through cinema and documentary filmmaking, by reinstating images in general as ‘affective thought processes’.
Baker’s first extensive translation to English provides us with a much-needed intervention for re-imagining social thought and visual media, at a time when sociology tends to be reduced to an analysis of ‘big data’, and the pedagogical powers of the image are reduced to data visualization and infographics.
Author: Ulus S. Baker
Editors: Aras Özgün and Andreas Treske
Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties.
Contributors: Pelin Aytemiz, Bestem Büyüm, I. Alev Degim, Bilge Demirtas, Fulya Ertem, Deniz Hasirci, Cagri Baris Kasap, Zeynep Kocer, Rifat Süha Kocoglu, Leyla Önal, Ufuk Önen, Didem Özkul, Segah Sak, Ayda Sevin, Umut Sumnu, Andreas Treske and Funda Senova Tunali.
Colophon: Edited by: Andreas Treske, Ufuk Onen, Bestem Büyüm and I. Alev Degim. Design: Katja van Stiphout. DTP: Margreet Riphagen. Printer: ‘Print on Demand’. Publisher: Institute of Network Cultures, Amsterdam 2011. ISBN: 978-90-816021-5-0."
Chapters by Andreas Treske
But why does Beyoncé need authenticity? Why is there a need for such a video? And why could it be important that this video is vertical?
Papers & Articles by Andreas Treske
The Narrative
Something has changed. Once, a hero with a small group of friends had to undertake a journey to solve a problem. Walking through unknown territories, facing the unexpected, the hero grew to be a ‘man’, saved himself and others, saved the world. Told in oral histories from the elder to the younger, remembered in melodies and rhymes, printed on paper, whispered into a microphone, banned on celluloid, multiplied as tapes, and then channels and files; changing names, places, times, attributes, and then gender; the hero’s journey gave birth to a variety of narrative patterns. It was not the Odyssey destined to break open story structure, but rather Scheherazade and her struggle to stay alive by adding story after story, night after night, that traversed the narrative universe. She broke from the path of linearity, and in the process of her continuous creation of a world every night, the hero’s journey took its essential pedagogical form in the multidimensional space of the narrative. But this is not what has changed — the ‘hero’s journey’, that Vladimir Propp identified as a structuring form in traditional folk tales, continues to be the constitutive framework in contemporary popular narratives (Propp 2009).
Recommended Citation
Treske, Andreas and Ozgun, Aras (2018) "A commentary on Narrative Platforms, Cinematic Universes, and Consumers Formerly Known as the Audience," Markets, Globalization & Development Review: Vol. 3: No. 3, Article 6.
Available at: https://digitalcommons.uri.edu/mgdr/vol3/iss3/6
by Andreas Treske
edited by Pablo Núñez Palma
Video Vortex Reader III: Inside the YouTube Decade
Editors: Geert Lovink and Andreas Treske
https://networkcultures.org/blog/publication/video-vortex-reader-iii-inside-the-youtube-decade/?fbclid=IwAR2AKXftunoPYKAkNFBrOEIDUFmJejOW87ZG973cLO8DhAEPVQl3KiDpMw4
What is online video today, fifteen years into its exponential growth? What started with amateur work of YouTube prosumers has spread to virtually all communication apps: an explosion in the culture of mobile sound and vision. Now, in the age of the smartphone, video accompanies, informs, moves, and distracts us. Are you addicted yet? Look into that tiny camera, talk, move the phone, show us around — prove to others that you exist!
Founded in 2007, Video Vortex is a lively network of artists, activists, coders, curators, critics, and researchers linked by the exchange of ideas, materials, and discussions both online and offline. Video Vortex has produced two anthologies, a website, a mailing list, 12 international conferences, several art exhibitions, and more to come as the internet and video continue to merge and miniaturize.
The first Video Vortex reader came out in 2008, followed by a second in 2011. This third anthology covers the turbulent period from Video Vortex #7 (2013) in Yogyakarta, across the meetings that followed in Zagreb, Lüneburg, Istanbul, Kochi, and finally Malta in 2019, where the foundations for this publication where laid before its production began in the midst of the corona crisis.
The contributions herein respond to a broad range of emerging and urgent topics, from bias in YouTube’s algorithms to the use of video in messaging, image theory, the rise of deep fakes, a reconsideration of the history of video art, a reflection on the continuing role and influence of music video, indy servers, synthetic intimacies, love and sadness, artist videos, online video theory in the age of platform capitalism, video as online activism, and the rise of streaming. Click, browse, swipe, like, share, save, and enjoy!
Contributors: Annie Abrahams, Ina Blom, Natalie Bookchin, Pablo deSoto, Ben Grosser, Adnan Hadzi, Judit Kis, Patricia G. Lange, Hang Li, Patrick Lichty, Geert Lovink, Gabriel Menotti, Sabine Niederer, Dan Oki, Aras Ozgun, Daniel Pinheiro, Rahee Punyashloka, Albert Figurt, Oliver Lerone Schultz, Ana Peraica, Forian Schneider, Peter Snowdon, Andreas Treske, Colette Tron, Jack Wilson, Dino Ge Zhang.
Editors: Geert Lovink and Andreas Treske
Copy editor: Jack Wilson
Cover design: Berkay Donmez
Design and EPUB development: Tommaso Campagna
Institute of Network Cultures, Amsterdam, 2020
ISBN/EAN Paperback: 978-94-92302-61-8
ISBN EPUB: 978-94-92302-60-1
This publication is licensed under Creative Commons Attribution
NonCommercial ShareAlike 4.0 Unported (CC BY-NC-SA 4.0)
The text in this edition is edited from essays and notes Ulus Baker wrote between 1995 and 2002. In these essays, Baker criticizes the sociological research turning into an analysis of people’s opinions. He explores with an exciting clarity the notion of ‘opinion’ as a specific form of apprehension between knowledge and point of view, then looks into ‘social types’ as an analytical device deployed by early sociologists. He associates the form of ‘comprehension’ the ‘social types’ postulate with Spinoza’s notion of ‘affections’ (as a dynamic, non-linguistic form of the relation between entities). He finally discusses the possibilities of reintroducing this device for understanding our contemporary world through cinema and documentary filmmaking, by reinstating images in general as ‘affective thought processes’.
Baker’s first extensive translation to English provides us with a much-needed intervention for re-imagining social thought and visual media, at a time when sociology tends to be reduced to an analysis of ‘big data’, and the pedagogical powers of the image are reduced to data visualization and infographics.
Author: Ulus S. Baker
Editors: Aras Özgün and Andreas Treske
Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties.
Contributors: Pelin Aytemiz, Bestem Büyüm, I. Alev Degim, Bilge Demirtas, Fulya Ertem, Deniz Hasirci, Cagri Baris Kasap, Zeynep Kocer, Rifat Süha Kocoglu, Leyla Önal, Ufuk Önen, Didem Özkul, Segah Sak, Ayda Sevin, Umut Sumnu, Andreas Treske and Funda Senova Tunali.
Colophon: Edited by: Andreas Treske, Ufuk Onen, Bestem Büyüm and I. Alev Degim. Design: Katja van Stiphout. DTP: Margreet Riphagen. Printer: ‘Print on Demand’. Publisher: Institute of Network Cultures, Amsterdam 2011. ISBN: 978-90-816021-5-0."
But why does Beyoncé need authenticity? Why is there a need for such a video? And why could it be important that this video is vertical?
The Narrative
Something has changed. Once, a hero with a small group of friends had to undertake a journey to solve a problem. Walking through unknown territories, facing the unexpected, the hero grew to be a ‘man’, saved himself and others, saved the world. Told in oral histories from the elder to the younger, remembered in melodies and rhymes, printed on paper, whispered into a microphone, banned on celluloid, multiplied as tapes, and then channels and files; changing names, places, times, attributes, and then gender; the hero’s journey gave birth to a variety of narrative patterns. It was not the Odyssey destined to break open story structure, but rather Scheherazade and her struggle to stay alive by adding story after story, night after night, that traversed the narrative universe. She broke from the path of linearity, and in the process of her continuous creation of a world every night, the hero’s journey took its essential pedagogical form in the multidimensional space of the narrative. But this is not what has changed — the ‘hero’s journey’, that Vladimir Propp identified as a structuring form in traditional folk tales, continues to be the constitutive framework in contemporary popular narratives (Propp 2009).
Recommended Citation
Treske, Andreas and Ozgun, Aras (2018) "A commentary on Narrative Platforms, Cinematic Universes, and Consumers Formerly Known as the Audience," Markets, Globalization & Development Review: Vol. 3: No. 3, Article 6.
Available at: https://digitalcommons.uri.edu/mgdr/vol3/iss3/6
by Andreas Treske
edited by Pablo Núñez Palma
Corrections: The first 16mm camera was already produced in 1923. The Arriflex 35's first model referred here was already developed and build during Worldwar II, conceptualised as a war camera. ...
Bir video okyanusunda yüzüyoruz. Uzaktan mavimsi parazit ve toz gibi görünen şey, içerisinde hareket eden imgelerin güzel ve büyüleyici yaşayan manzarasını, sürekli değişen nesneleri, tekrar düzenlenen, bir araya gelen, evrilen, daralan ama asla kaybolmayan gerçek bir sinemayı barındırır.
Exhibition curated by Ege Berensel and Andreas Treske (2010)
Video is an art of an ability of returning the images to their givers. (Ulus Baker)
Can a link be established between the video and the art of remembering, “ars memorativa” which was pervasive in the Ancient world and during the Middle Ages then left to the oblivion as the development of press by the 18th century? It was necessary to form “an artificial memory” as the paper was a rare and expensive product in the Middle Ages (I want to remind that Spinoza had only 180 books when he died). Ars memorativa, in other words, mnemotekhne was a mandatory cultural facility in order to improve the capacity of natural memory.
The supremacy of the oral culture was penetrating through the petit techniques of the narrators. Imagine that you are illiterate or you do not have a paper and a pen during an important proceeding. The only way is to organize or reorganize your thoughts and memories in an effective way. In this respect, the performers of Ars memorativa developed a discipline in the Middle Ages which they called as “Methods of Places and Images”.
This method – roughly and succinctly – was based on this: you were constructing a building in your mind – for instance a house and you were dispersing the images that you would like to remember later on in each room of this house. By this means, even the dispersion order of the images was ensuring the associating the images. Remembering was a virtual visit to this imaginary house. Let’s call to mind an evocation of Cicero “Anomalistic locations must be defined in an idea; you have to set up the images of the things that you want to hold; than locate these images to several places. Thereat, the order of locations will follow up the order of the things, they crystallize. ‘Cos their images will directly remind the associated objects…”
Bilkent University, FADA Conference Hall
Ankara, Turkey
Conference, screenings and workshops
http://std.comd.bilkent.edu.tr/visualanthropology/
David MacDougall (The Australian National University)
Judith MacDougall (The Australian National University)
Bernard Surugue (Research Institute for Development, IRD)
organized by Bilkent University Department of Communication and Design
in cooperation with Towards a Deeper Understanding of Rural Europe