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==Procedural Cut: Algorithmic Micro-editing== | ==Procedural Cut: Algorithmic Micro-editing== | ||
Micro-editing is a technique of rearranging tiny fragments of media to form a new work. In the context of music, [[wikipedia:Microhouse|microhouse]] is a subgenre of house which employs this technique. [[wikipedia:Akufen|Akufen]]'s ''Deck the House'' from 2002 may serve as an example. In the context of experimental film, [[wikipedia:Martin Arnold|Martin Arnold]] compiled his 1989 montage “Pièce Touchée” entirely from found-footage by copying frames in a specific order with an [[wikipedia:Optical printer|optical printer]], emphasizing and amplifying gestures from the original movie. [wikipedia:Steina und Woody Vasulka|Steina Vasulka]], [[wikipedia:Kurt Hentschlager#Granular-Synthesis|Granular Synthesis]] and many other artists followed in exploring an aesthetic of deconstruction and reassembly of the timeline in moving images. In pop culture this “audiovisual cut-up” was used to expand the visual language of music clips and to have the audiences of live performances spellbound. Micro-edits are used in different contexts ranging from media art, experimental film-making to music clips and advertising. | Micro-editing is a technique of rearranging tiny fragments of media to form a new work. In the context of music, [[wikipedia:Microhouse|microhouse]] is a subgenre of house which employs this technique. [[wikipedia:Akufen|Akufen]]'s ''Deck the House'' from 2002 may serve as an example. In the context of experimental film, [[wikipedia:Martin Arnold|Martin Arnold]] compiled his 1989 montage “Pièce Touchée” entirely from found-footage by copying frames in a specific order with an [[wikipedia:Optical printer|optical printer]], emphasizing and amplifying gestures from the original movie. [[wikipedia:Steina und Woody Vasulka|Steina Vasulka]], [[wikipedia:Kurt Hentschlager#Granular-Synthesis|Granular Synthesis]] and many other artists followed in exploring an aesthetic of deconstruction and reassembly of the timeline in moving images. In pop culture this “audiovisual cut-up” was used to expand the visual language of music clips and to have the audiences of live performances spellbound. Micro-edits are used in different contexts ranging from media art, experimental film-making to music clips and advertising. | ||
Digital video has become an almost infinite source of to-be-found-footage which is accessible to anyone, anytime through platforms like YouTube, which are essentially databases for moving images of almost any kind. They enabled pop culture phenomenons like [[wikipedia:Supercut|supercuts]]: compilations of short shots of the same action, or [[wikipedia:YouTube Poop|YouTube Poop]] mashups of videos with a comical and at times immature humour: | Digital video has become an almost infinite source of to-be-found-footage which is accessible to anyone, anytime through platforms like YouTube, which are essentially databases for moving images of almost any kind. They enabled pop culture phenomenons like [[wikipedia:Supercut|supercuts]]: compilations of short shots of the same action, or [[wikipedia:YouTube Poop|YouTube Poop]] mashups of videos with a comical and at times immature humour: | ||