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Visitors in front of pad.ma rain from CAMP

pad.ma rain

pad.ma
*2007-present, open-source media art platform, housed at CAMP in Mumbai (IN) and 0x2620 in Berlin (DE)

pad.ma rain
2018, Automated Scroll of Thumbnail view of ID’s in pad.ma, sorted by date created

pad.ma is an online archive of text-annotated video material, primarily footage and not finished films contributed by filmmakers, artists, cultural organisations, predominantly from, but not limited to India. Pad.ma went online on 29th February 2008 from Bombay; a collaboration between a group of friends; artists, filmmakers, lawyers, coders, cinephiles and free software enthusiasts living between Bangalore, Bombay and Berlin. The entire collection is searchable and viewable online, and is free to download for non-commercial use.

We saw pad.ma not only as an open-source, collective, non-state video repository of a recent pasts and continuing presents, but importantly as a way of opening up a set of images, intentions and effects present in video footage; resources that conventions of video-making, editing, political exigencies and spectatorship have tended to suppress, or leave behind. This expanded treatment leads us into lesser-known territory for video itself, a slower reading of reserve material, beyond the finite documentary film or the online video clip.

The design of the archive makes possible various types of “viewing” and contextualisation: from an overview of themes and timelines to much closer readings of transcribed dialogue and geographical locations, to layers of “writing” on top of the image material. Views for each ID include an info page, map view, documents view, edit and player view. Timeline options include waveform, keyframe and slit-scan. Descriptions, keywords and other interpretative annotations have been placed on timelines by both archive contributors and users. Pad.ma allows for publishable video essays and online edits traversing through material in the archive.

 

esoteric.codes

Daniel Temkin
*19xx in xxx, lives and works in xxx

esoteric.codes
2018,Video with two interactive touchpads

Conventionally codes, programming languages and software are seen as language dictionaries helping humans to encode processes and logic into sequences of operations to be executed by machines. Depending on what we would like to achieve, we chose a set of tools.

Yet code can be more than a fixed tool whereby creativity does not only reside in its output but also in its handling. Each language has different approaches that lead to the same result: this variety allows for artistic creation by disrupting common workflows through different visual coding styles to abstract constructs of logic.

The next steps consist of the creation of new languages where the process and uses are not the main motivation any more.  It is about the breaking boundaries of existing languages, creating a frame set by the code or the input, and output method, and less by the information processed.

The installation esoteric.codes invites visitors to explore the world of codes in all its creativity and whimsy, its playfulness, and potential for disruption. The video gives an insight into this collection of codes, while visitors can explore the many facets of the archive on the tablets.

Sinofuturism

Lawrence Lek
*1982 in Frankfurt a. M. (DE), lives and works in London (GB)

»Sinofuturism (1839–2046 AD)«
2016, HD video essay, 60 min.
At the exhibition from March 
21, 2018 to May 27, 2018

 

»Sinofuturism« is an invisible movement. A specter already embedded in a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because »Sinofuturism« has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists.

»Sinofuturism« is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora.

In many Western media outlets, China is portrayed as exotic, orientalized »Other«; in its domestic media, China is portrayed as heroic and unified. But rather than counteracting these biased narratives, »Sinofuturism« presents a critical and playful approach to subverting cultural clichés. By embracing seven key stereotypes of Chinese society (computing, copying, gaming, studying, addiction, labor, and gambling), it shows how China’s technological development can be seen as a form of artificial intelligence.

Installation view »Open Codes«

Genealogy of the Digital Code

»Genealogy of the Digital Code«
2017, Installation

»Linear Navigator (1999): Jeffrey Shaw«

The »Genealogy of the Digital Code« displays the history of digital codes in the form of an interactive wall chart. Monitors move across a virtual panorama, which stretches along the wall space. With the »Linear Navigator«, visitors can move along a high-resolution timeline and watch short videos embedded in it that visualize the history of the digital code. In this way information can be called up on milestones in the development of computer technology from 1800 to the present-day: development of the binary code, early computers, the first neural network, modern computers, and the development of artificial intelligence. Linear navigation renders the chronology of development easy to grasp.
This virtual timeline is embedded in real infographics, which stretch along the entire wall and further contextualize the virtual chronology.

Idea: Peter Weibel
Conception, realization: ZKM | Institute for Visual Media
Project management: Bernd Lintermann
Editors: Lívia Nolasco-Rózsás, Magdalena Stöger, Olga Timurgalieva
Software: Bernd Lintermann, Nikolaus Völzow
Video post-production and graphics: Moritz Büchner, Frenz Jordt, Jan Kieswetter, Christina Zartmann
Construction: Nelissen Dekorbouw