Future Cinema

Course Site for Future Cinema 1 and Future Cinema 2: Applied Theory at York University, Canada

Helen has the flu

Sadly, the author of today’s text, Dr. Helen Papagiannis, has the flu. i’m sorry we won’t have her expert presence today, but the silver lining is that we’ll have plenty of space for unhurried discussion and your questions – be sure to come ready with them.

Wed, November 29 2017 » Future Cinema » No Comments » Author: Caitlin

ar filmmaking

https://www.vrfocus.com/2017/11/the-future-of-augmented-reality-filmmaking/

“When it comes to immersive storytelling, one often thinks of holograms, interacting with posters/QR codes or images and of course virtual reality (VR). Augmented reality (AR) is more aligned to social interactions, training and simulation. Especially with mixed reality (MR) applications for Microsoft’s Hololens. AR is not immediately associated with storytelling, but new concepts are bubbling and evolving in the midst of the new era of AR, VR and MR. After seeing a prototype of an AR film, Mária Rakušanová curator of the VR Awards at Raindance Film Festival was keen to showcase it at the Festival. VRFocus spoke to Duncan Walker, the founder of Trashgames about his short AR film NEST and how he made it.”

Wed, November 29 2017 » Future Cinema » No Comments » Author: Caitlin

Question for Tomorrow’s Class

When reading Augmented Human: How Technology is Shaping the New Reality, I was most struck by the passage on pages 96 – 98 that talked about Eternime (link:<http://eterni.me>), which essentially is a way of archiving people after they are dead. As such, I was wondering if we could ponder the ethical and ontological implications of such preservation?

- Theo X

Tue, November 28 2017 » Future Cinema » No Comments » Author: theox25

Question on database and narrative

Eventhough interactive database films can be accessed simultaneously by many people, each user generates their own unique experience/narrative by interacting with the piece. What are the implications of this on collective viewing?

Thu, November 23 2017 » Future Cinema » No Comments » Author: Daniel

Narrative/Database Question for the day

Manivoch pointed out in the article that “Database becomes the centre of the creative process in the computer age”. He argues that narratives in media are inherently derived from database. To me, he sees construction of narrative as a process in which artists and authors synthesize “data”: ideas, content etc. However, this process of creation of narratives have been around before the age of computer. Does Manovich uses the term “database” to draw attention to how narratives in digitized media content are constructed? Or does he simply uses a word created in the age of computer to understand a process that always existed?

Wed, November 22 2017 » Future Cinema » No Comments » Author: yolanda

For David (and everyone else because Borges is awesome)

The Aleph
http://web.mit.edu/allanmc/www/borgesaleph.pdf

The Library of Babel; An Examination of the Work of Herbert Quain; Pierre Menard, Author of Don Quixote
http://anthonywarnick.com/fms/week15/Borges,_Jorge_Luis_-_A_Collection%20_in_English.pdf

Wed, November 22 2017 » Future Cinema » 1 Comment » Author: Marko Djurdjic

Database and Narrative

Database and narrative can be described as dots and line, line and shape, ingredients and end-products, colour and painting, or pixels and images. I also think of the relation similar to fashion; individual items (e.g. socks, shoes, jacket, shirt) and style. The concept of database and narrative seem to have been present in our pre-computer world in our minds. New media technologies have enabled to manifest the dual existences in the form of media work.

How can our own databases consisting of our experience and knowledge be affected by new sets of databases and narratives introduced by media? As we increasingly familiarize ourselves with multiplicity and accept it as a part of our media consumption, how does it change or does not change our view toward conventional Hollywood-type narrative plots which still prevalent?  Will it be obsolete? Do we become more critical?

Wed, November 22 2017 » Future Cinema » No Comments » Author: kyokoma

Question (or is it a rant?) for today

In terms of Man with a Movie Camera Manovich writes, “Records drawn from a database and arranged in a particular order become a picture of modern life – but simultaneously an argument about this life, an interpretation of what these images, which we encounter every day, every second, actually mean.”

With personal photos, there was a ritual: you take photos, you remove the film, careful not to expose it to light, and take it to a store to get developed. You wait at least an hour to see the photos, after having waited possibly hours to finish the roll. You take your photos out, and you place them in an album. Or you distribute them. Maybe you got two sets to give to your friends. In a world oversaturated with images, sharing one photo with dozens of people has lost some of the mystique of giving one photo to a specific person. Does a personal image lose meaning when it is over-distributed, or does it still hold the same reflexive, and reflective, power? For my birthday this year, two friends printed out photos from a trip, put them in frames and presented them to me as a gift. I proudly, and fondly, display them, and while others may look at them, they can never posses them. While an archive is, for the most part, an accessible database documenting a time or a story or a topic, these photos nevertheless become a personal archive, one rooted in my time. Manovich writes that watching Man with a Movie Camera “is anything but a banal experience,” and yet viewing page after page of photos of babies and trips and outings on Facebook or Instagram or any number of social media outlets renders some of these experience as trite, even mundane (do I sound bitter, perhaps?). And yet, while these may not have much significance past the poster, some archives that have more academic worth may not serve much of a purpose for 99.93% of the population!

While the things we own and keep can be argued in various ways—as a database, as an archive, as a collection—with varying levels of importance, we nevertheless put together a life through images, videos, trinkets, toys, and mementos. Thinking specifically about photos, I’ve often asked myself, why do we take pictures? Why do we collect them? And how often do we keep physical versions of these pictures? Why, for the most part, have we given up our own physical archive for an electronic one that may, in any moment, disappear completely?

Wed, November 22 2017 » Future Cinema » No Comments » Author: Marko Djurdjic

Yowza, visual sound???!?!!

https://www.wired.com/story/an-artist-uses-an-iphone-to-visualize-sounds-in-ar/?mbid=social_fb

Wed, November 22 2017 » Future Cinema » 1 Comment » Author: Marko Djurdjic

Defining Narrative

It seems to me that in many of this week’s readings (and Manovich’s in particular) the definition of ‘narrative’ is somewhat restricted, even anachronistic. Isn’t any time-based activity, in essence, a narrative?

Wed, November 22 2017 » Future Cinema » 1 Comment » Author: mtrommer