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NMED 3850


In 2007 he completed major art commissions for the Ontario Science Centre and ... Rokeby's work is primarily distributed for and exhibited in galleries. ... – PowerPoint PPT presentation

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Title: NMED 3850

NMED 3850
  • Experimental Video Production

NMED 2030
  • Todays Class
  • David Rokeby
  • Distribution Exhibition
  • Answers to Questions

NMED 2030
  • David Rokeby (born 1960 in Tillsonburg, Ontario)
    is an artist who has been making works of
    electronic, video and installation art since

NMED 2030
  • His early work Very Nervous System (1982-1991) is
    acknowledged as a pioneering work of interactive
    art, translating physical gestures into real-time
    interactive sound environments. Very Nervous
    System was presented at the Venice Biennale in

NMED 2030
  • Several of his works have addressed issues of
    digital surveillance, including Watch (1995),
    Taken (2002), and Sorting Daemon (2003). Other
    works engage in a critical examination of the
    differences between human and arti?cial
  • The Giver of Names (1991-) and n-cha(n)t (2001)
    are arti?cial subjective entities, provoked by
    objects or spoken words in their immediate
    environment to formulate sentences and speak them

NMED 2030
  • David Rokeby's installations have been exhibited
    extensively in the Americas, Europe and Asia.
  • In 2002, Rokeby represented Canada at the Venice
    Biennale of Architecture with Seen (2002).

NMED 2030
  • In 2007 he completed major art commissions for
    the Ontario Science Centre and the Daniel
    Langlois Foundation in Montréal.
  • For his installation n-cha(n)t, he was awarded
    the Prix Ars Electronica (Golden Nica for
    Interactive Art) in 2002. In 2002 he was awarded
    the Governor General's Award in Visual and Media

NMED 2030
  • Rokebys work is primarily distributed for and
    exhibited in galleries.
  • http//homepage.mac.com/davidrokeby/shows.html

NMED 2030
  • When and how do you know that you're making it
    in the film industry?
  • Pablo de Ocampo I think it all depends on the
    artist and what goals you set for yourself.

NMED 2030
  • Pablo de Ocampo Artistic Director, The Images
  • Kelly Langgard Coordinator, Audience and Market
    Development Office, Canada Council for the Arts
  • Erik Martinson Distribution Coordinator, Vtape

NMED 2030
  • Why when submitting to some showcases/film
    festivals/competitions ask that the desired
    format of the submission be in 8mm film with a
    audio synching CD rather than a DV tape or 8mm
    tape or even dare I say a DVD or VHS tape?
  • Pablo de Ocampo This does seem like a strange
    request for a festival to make.
  • Would this most likely be that they would show
    the film on for both the submission preview and
    actual show date(s)? Where would it actually be
    possible to get your digital footage converted
    onto real film stock?
  • Kelly Langgard You can research those services
    online and find a transfer facility near you or
    with competitie prices. It can be expensive but
    you can apply for post-production funding to
    underwrite the process if its an integral part
    to your production or distribution strategy.

NMED 2030
  • How will humanity benefit from (increased)
    experimental video production?
  • Kelly Langgard Try to image a world without art.
    Media art fulfills an important function in our
    society especially because media is so
    commercial. We need voices in this using this
    media who are not try to make a profit from us.

NMED 2030
  • "What is your morning routine
  • Erik Martinson Lots of coffee. Lots of email.
    Lots of phone calls.
  • Pablo de Ocampo Lots of coffee. Lots of email.
    Lots of phone calls. Lots of screenings. Lots
    of travel.
  • Kelly Langgard Kind of what youd expect from
    an Ottawa day job. Lots of meetings. I travel
    quite extensively.

NMED 2030
  • Is a viewers understanding of the artists
    intentions in an experimental film more important
    than their interpretation of that artists work,
    or vice-versa? If so, why? Or are they equal?
  • Pablo de Ocampo I think they are equal. From a
    festival organizers point-of-view the audiences
    interpretation might be more important because I
    create programs for the public.
  • Erik Martinson We are very artist-centred at
    Vtape. But we exist to bring works to the
    public. The public interpretation is very
  • Kelly Langgard It depends on the artists
    intention. Maybe some work isnt meant for
    public consumption. For established artists the
    audience is an integral part of the work. They
    have to be.

NMED 2030
  • In light of stance on 'technology is making the
    world smaller' - do you think that where an
    artist lives is important or not in building a
    career as a filmmaker? In your opinion as active
    members in the industry, does living in
    Vancouver, Toronto or Montreal open up advantages
    that living in a smaller centre may or may not
  • Kelly Langgard Act locally. Act locally. Act
  • Pablo de Ocampo I come from Portland, OR a
    large centre but not an Art Capital. I
    volunteered wherever I could for years and really
    got a great foundation for building art
  • Erik Martinson I went to school in Kingston, ON
    at Queens not a huge art centre. There were
    people who developed great festivals and events.
    Seek out community locally.

NMED 2030
  • Information for Students
  • Images Festival 2009 Deadline November 14
  • http//www.imagesfestival.com/call.php?id17

NMED 2030
  • Information for Students
  • Vtape Internship
  • Volunteer-based and require about 4 hours a week,
    a morning or an afternoon.
  • If you happen to be visiting Toronto contact
    Vtape and stop by for a tour and orientation to
    the space.
  • On the main page (vtape.org), they can explore
    some clips and critical materials on the Video
    Art in Canada website which has three curated
    onlinevexhibitions using the Bell Canada award
    winners in Video Art.
  • Regarding distribution questions, they can ask me
    any specifics by email, info_at_vtape.org.

NMED 2030
  • Information for Students
  • Vtape does accept submissions all year long and
    like to see a growing body of work with a few
    pieces (one or two) made out of school. This is
    our general guideline as we want to collaborate
    with an artist on distribution of their growing
    body of work. There are always exceptions and it
    really is up to the individual to decide when
    they are ready to submit, and of course you can
    always submit again further down the line.
  • (see class website for more information)
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