GMU:Procedural Cut: Difference between revisions

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''Date:'' Mondays, 09:15-12:30<br>
''Date:'' Mondays, 09:15-12:30<br>
''Venue:'' [[Marienstraße 7b]],  [[Marienstraße 7b/204|Raum 204]]<br>
''Venue:'' [[Marienstraße 7b]],  [[Marienstraße 7b/204|Raum 204]]<br>
''First meeting:'' Monday, 15th of October 09:15-12:30
''First meeting:'' Monday, 14th of October 09:15-12:30<br>
Course language is English


==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.


Als der Experimentalfilmer Martin Arnold 1989 mit „Pièce Touchée“ Micro-editing mit Found-Footage betrieb, war dieser Begriff noch nicht erfunden. Steina Vasulka, Granular Synthesis und viele weiter Künstler folgten in der Untersuchung einer Ästhetik der zeitlichen Dekonstruktion und Neu-Zusammensetzung von Bewegtbildern. In der Popkultur wurde dieses „audiovisuelle Cut-Up“ genutzt um das Bildsprache des Musikvideo zu erweitern und das Publikum von Live-Performances in den Bann zu ziehen. Cut Chemist und Ninja Tunes’ Coldcut und Hextatic wurden mit ihren audiovisuellen Shows und Videoclips bekannt.
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:
Heute ist digitales Video eine schier unerschöpfliche Quelle an „Found Footage“ welche durch Plattformen wie YouTube, als eine Datenbank an bewegtem Bildern fast aller Art jederzeit und jedem zugänglich ist. Sie machten popkulturelle Phänomene wie Supercuts möglich: Aneinanderreihungen von kurzen sich gleichenden Szenen. Martin Arnolds mühsame Montagen von vor 30 Jahren erscheinen im Kontext dieser Subkulturen wie archaischer YouTube Poop.


Im Kurs Procedural Cut: Algorithmic Micro-editing schlagen wir die Brücke von Audio zu Video. Wir untersuchen und besprechen Beispiele künstlerischer Arbeiten aus Medienkunst, Experimentalfilm und Popkultur und schaffen eigene Arbeiten mit den Möglichkeiten von heute. Dabei lernen wir die Werkzeuge kennen die uns diese Arbeiten ermöglichen: Pure Data und Open Frameworks.
Today, meta information, close captions, machine learning analysis and music information retrieval can provide the means to generate automated edits. Real-time reassembly of media fragments based on databases, feature extraction or meta-information has become entirely feasible.


In the class ''Procedural Cut: Algorithmic Micro-editing'' we will learn to let algorithms cut and edit.


==Procedural Cut: Algorithmic Micro-editing==
This class builds upon two previous classes: [[GMU:Breaking the Timeline]] and [[GMU:Bits, Beats & Pieces]].
No previous knowledge is required.
 
==Syllabus==
# 2019-10-21 [[/Early Montages and Flicker/]]
# 2019-10-28 [[/Supercuts/]]
# 2019-11-04 Lecture Joachim Goßmann
# 2019-11-11
# 2019-11-18
# 2019-11-25
# 2019-12-02
# 2019-12-09 [[/Musical recombinations/]]
# 2019-12-16
# 2020-01-06
# 2020-01-13
# 2020-01-20
# 2020-01-27
# 2020-02-03
# 2020-02-10 Presentation


When experimental filmmaker Martin Arnold 1989 made “Pièce Touchée” from found-footage, it was micro-editing before the term was invented. Steina Vasulka, 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. Cut Chemist and Ninja Tunes’ Coldcut and Hextatic became famous for their audiovisual Shows and Videoclips.
Deadline for documentation: 2020-03-31
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.


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.
==Assignments==
# [[/Assignment Supercut/]]
# [[/Assignment Sequence/]]
# [[/Assignment Object Recognition/]]
# [[/Assignment Subtitle Automate/]]


==Final work==
* [[/Konrad/]]
* [[/Cornelius/]]
* [[/Xinyue/]]
* [[/Keno/]]


==Syllabus==
== Files==
* [https://github.com/BauhausUniversity/cuttlefish/tree/master Cuttlefish] Python scripts and tools
* [[Audiovideo]] Pure Data Workshop


== Links ==
* [https://medium.com/janbot/a-brief-history-of-algorithmic-editing-732c3e19884b Clint Enns: A Brief History of Algorithmic Editing]
* http://thisunruly.com
* http://reorder.tv
* https://www.reclaimingremix.com
* [https://journal.transformativeworks.org/index.php/twc/article/view/371/299 A history of subversive remix video before YouTube: Thirty political video mashups made between World War II and 2005]
* [[wikipedia:Edit decision list]] EDL
* [[wikipedia:Regular expression]] Online regex tester: [https://regex101.com RegEx101]
* David Claerbout - The pure necessity https://www.instagram.com/p/B3nHj-MgEyj/ & https://davidclaerbout.com/The-pure-necessity-2016


==Student Works==
== Software ==
* [[Audio tools]]
* [[Video tools]]


* [https://code.visualstudio.com Microsoft Visual Studio Code] Editor <span style="color:#008000>(open source)</span>
** [https://vscodium.com VSCodium] Visual Studio Code without the Microsoft telemetry <span style="color:#008000>(open source)</span>


==Workshop files==
* [https://www.videolan.org VLC] Media Player (helps you downloading YouTube videos: copy YouTube URL, open in VLC as network stream, then go to Tools -> Media Information, copy the Location and paste back into the Browser from where you can save it) <span style="color:#008000>(open source)</span>
* [[Audiovideo]]
* [https://downsub.com downsub.com] Web service to get the subtitles from a YouTube video <span style="color:#ff0000 >(web-service)</span>
* [http://www.aegisub.org Aegisub] Subtitle Editor <span style="color:#008000>(open source)</span>
* [https://www.praxislive.org Praxis Live] <span style="color:#008000>(open source)</span>
* [https://python.org Python] (great [https://www.youtube.com/watch?v=_uQrJ0TkZlc video tutorial] for beginners) <span style="color:#008000>(open source)</span>
** [https://pyscenedetect.readthedocs.io PySceneDetect] can autonatically detect scene changes in video and segment footage into clips <span style="color:#008000>(open source)</span>
** [https://jupyter.org Jupyter Notebook] <span style="color:#008000>(open source)</span>


==Literature==
* [https://pjreddie.com/darknet/yolo/ YOLO: Real-Time Object Detection] <span style="color:#008000>(open source)</span>
{{Template:PdBooks}}
* [https://github.com/deepfakes/faceswap Deepfakes Faceswap] <span style="color:#008000>(open source)</span>
* [https://github.com/apreshill/bakeoff apreshill/bakeoff] <span style="color:#008000>(open source)</span>
* [https://github.com/NVlabs/few-shot-vid2vid  NVlabs/few-shot-vid2vid] <span style="color:#008000>(open source)</span>


==See also==
==See also==
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[[Category:Max Neupert]]
[[Category:Max Neupert]]
[[Category:WS19]]
[[Category:WS19]]
[[Category:Werkmodul]]
[[Category:Fachmodul]]

Latest revision as of 10:19, 30 March 2020

Lecturer: Max Neupert
Credits: 6 ECTS, 4 SWS
Date: Mondays, 09:15-12:30
Venue: Marienstraße 7b, Raum 204
First meeting: Monday, 14th of October 09:15-12:30
Course language is English

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, microhouse is a subgenre of house which employs this technique. Akufen's Deck the House from 2002 may serve as an example. In the context of experimental film, Martin Arnold compiled his 1989 montage “Pièce Touchée” entirely from found-footage by copying frames in a specific order with an optical printer, emphasizing and amplifying gestures from the original movie. Steina Vasulka, 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 supercuts: compilations of short shots of the same action, or YouTube Poop mashups of videos with a comical and at times immature humour:

Today, meta information, close captions, machine learning analysis and music information retrieval can provide the means to generate automated edits. Real-time reassembly of media fragments based on databases, feature extraction or meta-information has become entirely feasible.

In the class Procedural Cut: Algorithmic Micro-editing we will learn to let algorithms cut and edit.

This class builds upon two previous classes: GMU:Breaking the Timeline and GMU:Bits, Beats & Pieces. No previous knowledge is required.

Syllabus

  1. 2019-10-21 Early Montages and Flicker
  2. 2019-10-28 Supercuts
  3. 2019-11-04 Lecture Joachim Goßmann
  4. 2019-11-11
  5. 2019-11-18
  6. 2019-11-25
  7. 2019-12-02
  8. 2019-12-09 Musical recombinations
  9. 2019-12-16
  10. 2020-01-06
  11. 2020-01-13
  12. 2020-01-20
  13. 2020-01-27
  14. 2020-02-03
  15. 2020-02-10 Presentation

Deadline for documentation: 2020-03-31

Assignments

  1. Assignment Supercut
  2. Assignment Sequence
  3. Assignment Object Recognition
  4. Assignment Subtitle Automate

Final work

Files

Links

Software

  • VLC Media Player (helps you downloading YouTube videos: copy YouTube URL, open in VLC as network stream, then go to Tools -> Media Information, copy the Location and paste back into the Browser from where you can save it) (open source)
  • downsub.com Web service to get the subtitles from a YouTube video (web-service)
  • Aegisub Subtitle Editor (open source)
  • Praxis Live (open source)
  • Python (great video tutorial for beginners) (open source)

See also

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