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Today digital video is an almost infinite source of found footage which has been made accessible to anyone, anytime through platforms like YouTube, essentially databases for moving images of almost any kind. They enabled pop culture phenomenons like supercuts: compilations of short shots of the same action. In the context of those subcultures Arnolds’ tedious montages from 30 years ago appear like archaic YouTube Poop. | Today digital video is an almost infinite source of found footage which has been made accessible to anyone, anytime through platforms like YouTube, essentially databases for moving images of almost any kind. They enabled pop culture phenomenons like supercuts: compilations of short shots of the same action. In the context of those subcultures Arnolds’ tedious montages from 30 years ago appear like archaic YouTube Poop. | ||
Today, meta information, close captions, machine learning analysis and advanced tools of music information retrieval can provide the means to generate edits and real time reassembly of media | |||
In the class Procedural Cut: Algorithmic Micro-editing we are working with audiovisual material bridging Audio and Video. We will survey and discuss examples of creative Works from media art, experimental filmmaking and popular culture and create own works with the possibilities of today. On the way we will learn the tools which enable us to do so: Pure Data and Open Frameworks. | In the class Procedural Cut: Algorithmic Micro-editing we are working with audiovisual material bridging Audio and Video. We will survey and discuss examples of creative Works from media art, experimental filmmaking and popular culture and create own works with the possibilities of today. On the way we will learn the tools which enable us to do so: Pure Data and Open Frameworks. | ||
This class | This class builds upon previous classes like [[GMU:Breaking the Timeline]] and [[GMU:Bits, Beats & Pieces]]. | ||
==Syllabus== | ==Syllabus== | ||