·~{dRNn}~·

Hola,
De regreso a Italia, esta vez imágenes de la catedral de Milán. Un viaje al pasado.

Cada foto se puede ampliar.

Swarms, replicas, machinima
The screen is filled by a yellow sport car running across town on a sunny day. Soon, a swarm of a thousand replicas of the yellow car are running, smashing, and crashing against the trees, walls, and pavement of the town. No window is opened, no one in the town dares to see what happens outside. The furious cars jump over bridges, over roofs, over street lights, and frenetically descend into a perfectly clean highway. Nothing stops the riot nor the architecture nor its own chaotic behaviour. To the repetitive rhythm of a popular electronic song, a yellow moving stain covers the town. A plastic beach appears on the horizon just one last bridge. The camera soars over the roofs and enters a tunnel to engage in the madness. Hysterically, it traverses a rain of yellow dots to fiercely collide against a pixellated ocean. The flat image of a shark indicates that the movie has ended.

The 1K Project II from BlackShark on Vimeo.

Filmographic information. Ref: a.MAC 2006-05

Original title: 1K Project II	Length: 3:06
Country of origin: n/a	Director(s): BlackShark
Year of release: 2006	Game engine: Trackmania Sunrise®
Genre: Music video (Mashup)

HI,
what opens this post is a quite different media form than the others I’ve employed here before. The image is generated each time this post is visited and the visual outcome slightly varies each time. It is a process not an end and what generates it can be found here.

I chose a process to shortly introduce Pattern Recognition by William Gibson, a novel about underground footage, advertising dissemination, industrial espionage, video art, and self expression. A cocktail that takes the reader to a paranoiac quest to find out who and why is producing a strange series of video material and distributing it on the Internet. The “footage” has attracted a large flock of followers, and some suspect are a cunningly new form of viral marketing campaign.

1984 legacy
History is raw material to mould the truth. The control over the media is a fundamental element in the permanent writing of what is perceived and therefore accepted as the reality. In this novel Gibson looks back to Orwell, his characters are less interested in what it was than they are in what is now. The future is made up by the present, not by the past events that made up the present. The past is a process permanently having been written.

‘The future is there,’ Cayce hears herself say, ‘looking back at us. Trying to make sense of the fiction we will have become. And from where they are, the past behind us will look nothing at all like the past we imagine behind us now.’
‘I only know that the constant in history is change: The past changes. Our version of the past will interest the future to about the extend we’re interested in whatever past the Victorians believe in. It simply won’t seem very relevant’ [1, p.57]

An open hive
Again, the current mantra: openness, free circulation, collective and participatory creation. In the close media, if you position yourself outside the structure, you can always assemble others material via remix, but never disassemble them. This last is only possible by giving away the structures of a given work as happens in open source. Disassembling is a quasi effortless process in the open media, because it pretends to lack of hierarchy, to be the continuous process of writing, not a book.

‘Musicians, today, if they’re clever, put new compositions out on the web, like pies set to cool on a window ledge, and wait for other people to anonymously rework them. Ten will be all wrong, but the eleventh may be genius. And free. It’s as though the creative process is no longer contained within an individual skull, if indeed it ever was. Everything, today, is to some extend the reflection of something else.’ [1, p.68]

Nevertheless the amount of creations, as in a hive there is nothing distinct just resemblances. All falls under the similarity. In the vast but homogeneous variety of outcomes that constitutes the open media, we have then a different challenge: the recognition of patterns, not of instances, and that needs a different kind of effort, even if those are empty and meaningless patterns.

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1. Gibson, William. Pattern Recognition. London: England, Penguin Books. 2003.

HI, it is often the case, that when discussing media theory, inquiries rise about the practical use of it. Which is the latests hype in media theory? and How can I use these ideas to produce something? How these body of concepts can help me in improving what I’m currently doing? Of course there is nothing wrong with such questions. However, I don’t feel absolutely comfortable with the idea of media theory as a provider of plans or manuals to reach a neat practical goal. Rather I think media theory is a critical field for discussion that sheds light over cultural, social, and technical issues with a perspective of inclusiveness and not of success.

Marshall McLuhan is one of the most quoted media theorist. His writings, though not easy to understand, are still influential in digital media schools. Culture Industries have made profit of his ideas and thereafter have thrown him away in their hysterical quest for the popular market. That accelerated dynamic has given zero time to critically take a grip on hyped terms such as non-linear, repetition, intuitive, and simultaneity. Most of them remain cryptic for most of us, at least to me they do.

Previously, I quoted a series of comparisons from the Introduction to the MIT Press edition of Understanding Media. In the following pairs, Lewis Lapham presents a series of words similar to that [1, p.xxii], identified by McLuhan, between the print to the electrical media. Now, what has impressed me about this list is the strange sense of tribalisation that can be felt in words like: power, wish, magic, legend, and prophesy. Is it a de-regularisation of modern thinking?, or Does this imply a more sophisticated regularisation?. I will call it a soft regularisation. One that instead of segmenting and normalising in order to compose, will mix and remix to do montage and pastiche.

Citizen	—	Nomad
build		wander
experience		innocence
authority		power
happiness		pleasure
literature		journalism
heterosexual		polymorphous
civilization		barbarism
will		wish
truth as passion		passion as truth
peace		war
achievement		celebrity
science		magic
doubt		certainty
drama		pornography
history		legend
argument		violence
wife		whore
art		dream
agriculture		banditry
politics		prophecy

Many of the right-column words also, oddly, remind me of ‘experiential design’ as a more ‘human’ stage in designing pleasurable objects, which usually means that the persuasion, design is intended to, is made more convincing and subtly to be noticed. Thus, we, the nomads, buy more happily whatever the  ‘evangelist’ wants us to consume. A barbaric hedonist horde.

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1. Lapham, Lewis. “Introduction: The Eternal Now”. Understanding Media: The Extensions of Man. 1964. By Marshall McLuhan. Cambridge, MA: The MIT Press, 1994. ix-xxiii.

The machine in the XX century art. [3]

“I am accustomed, most of all at night, when the agitation of my soul fills me with cares, and I seek relief from these bitter worries and sad thoughts, to think about and construct in my mind some unheard-of machine to move and carry weights, making it possible to create great and wonderful things”
Alberti, Leon. Della Tranquilitiá dell’ animo. 1441 [qdt. 2, p.96]

I opened this post with two statements about the machine, separated for more than 500 hundred years. The painting addresses an aesthetic of the machine to the early XX century European art. The quote addresses the dreams of building machines to marvel others. Both are tied for a sort of machinic thought, however what a machine means for the Renaissance and to the XX century is as different as what machine means for us at the beginning of the XXI century.

The painting resembles an electric diagram, connections are drawn, and flows are set. From a machine aesthetic steams a variety of expressions that escape the representational path. One can venture an interpretation of this painting as the navigation tree for a web-site or an organization chart. Nevertheless, it presents a historical view of the western art in the manner as a machine is organised and deeply influenced by the machine as an abstract and aesthetic concept. This interpretation might be taken as technological determinism as long as the root and cause for this movements is found in the technical progress, but I will argue that it expresses rather a turn to the central role that technology has taken over other aspects of social relations to the point of overshadow them, in a critical way. For instance the programmatic understanding of constructivism and fragmented view of space of cubism.

Machines have a far impact in our live that we used to acknowledge, our version of the machine is quite different, these are not heavy mechanical apparatuses, rather are soft-machinic assemblages [1, p.211], and difficult to identify as machines. The cellphone that ubiquitous gadget is a machine we use to communicate with others regardless our location, that mini machine determines our capability to immediately reach somebody and our own reachability. But it is more than that it also provides with a myriad of other functions, play games, music, take pictures, videos, and read news. A machine that adapts to its owner desires, an open machine.

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1. Broeckmann, Andreas. “Image, Process, Performance, Machine: Aspects of an Aesthetics of The Machinic”. MediaArtHistories. Ed. Oliver Grau. Cambridge, MA: The MIT Press, 2007. 193-205
2. Sawday, Jonathan. Engines of Imagination: Renaissance Culture and the rise of the Machine. London, UK: Routledge. 2007
3. Wolfe, Steve. Untitled (Cubism and Abstract Art). 1997. MoMa . <https://moma.org/collection/browse_results.php?object_id=81386>

HI,
one part of my recent thesis discusses fan and amateur video productions in the context of machinima and DIY media. Star Wars holds a large fan community all around the word, only comparable to trekkies, that has made it to achieve its status as cult film. These are very active communities whose members usually get involved in organising festivals and conventions, and in publishing fanzines and other forms of DIY media.

Fans, independent of the cult media, appropriate the original media content to extend its diegetic world. These activities can be read as either participatory or resistant towards the media. The story lines, characters, and aesthetics of the media cult are unfolded in order to fill gaps, or to accommodate them to personal, political, and social issues. In all cases, fan’s productions are deviations of the cult media (film, TV series, video game, and pop bands) that the producers do not support officially, but that in many cases they encourage as long as these productions increase the popularity of their cultural text.

The access to nearly inexpensive tools for media production has brought a proliferation of these fan’s (di,-sub-, and per-) versions with a decent and even high quality. Fanzines, fanart, music videos, mash-ups, disguises, parallel narrations, mods, machinimas, and online forums are part of a huge realm in media production that currently is garnering as much attention as the original productions in the Internet.

Recently, I found via Wired the following videos by Mike Horn, an enthusiast of Star Wars. His DIY productions combine the amateurish style of camcorder video with CG animations. He places the universe of Star Wars in contact with San Francisco and in one of the videos in narrative collision with Star Trek.

Hi, next week I will present and defend my master’s thesis in Bremen. The colloquium is public and everyone interested on is hearty welcome, for details click on the image below.

Title:
Machinima Fictions. A do-it-yourself practice to produce narrative movies from video games.

Abstract:
This thesis investigates the growing phenomenon of the moving image form of machinima, which has been defined as a technique that utilizes 3D video game environments to produce narrative animated movies. The main argument centers on the hybridization of media languages that machinima exhibits, allowing a cultural appreciation of this phenomenon. Two productions that promote machinima qualities such real-time and film language are examined in order to observe how these features mold the expressive potentialities machinima as a hybrid moving image medium. The metaphor of a rhizomatic, tangled surface (maraña) streams throughout the document and fosters a multifaceted view of this moving image medium.

Through my research, which encompasses the critical view of terms, the development of concepts, and a review of relevant literature, I argue that machinima is more than a technique that imperfectly imitates the conventions and codes of mainstream film and television. Instead, machinima is considered a cultural phenomenon that stems from a persistent contact with machinic entertainment media and subscribes to the current widespread do-it-yourself (DIY) mentality in media production that emphasizes production over consumption.

Contents:
Chapter I. The phenomenon: machinima
A. Describing machinima
B. A hybrid form
C. Machinima’s tangled history
Chapter II. Fiction making: real-time
A. Machinima techniques
B. Real-time
C. Marionettes: A Puppet Play
D. Conclusion
Chapter III. Fiction making: The Monad
A. Hammer and Faceposer: the means
B. Virtual worlds: the context
C. Narrative form in The Monad
D. Film Style in The Monad
E. Conclusion
Chapter IV. Context: DIY mentality
A. Video games and popular culture
B. DO IT YOURSELF!
C. Aesthetics of DIY
D. Conclusion

Soon to be available online.
Ricardo Cedeño Montaña.

HI, in the short history of machinima some people have already made a name because of a remarkable piece. It is the case of Katherine Anna Kang, below an excerpt from my thesis in which one of her productions is mentioned.

The founders of AMAS are active machinima producers with commercial interests. Katherine Anna Kang founded Fountainhead Entertainment in Mesquite, Texas in 2000 and maintains a close relationship with id software, which eventually helped her to develop and produce Machinimation™, the first commercially-available functional tool for machinima based on Quake III Arena™ [1, p.92]. In 2003, she produced Anna (2003) using Machinimation™.

Filmographic information. Ref: a.MAC 2003-02

Original title: Anna	Length: 7:48
Country of origin: USA	Director(s): Katherine Anna Kang
Year of release: 2003	Game engine Machinimation™
Genre Fantasy	Game engine Machinimation™

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1. Kelland, Matt, Dave Morris and Dave Lloyd. Machinima: Making Animated Movies in 3D VirtualEnvironments. East Sussex, UK: Ilex Press Limited, 2005.

Hola, luego de un buen tiempo sin escribir en este espacio, estoy de regreso. Actividades más elevadas me mantuvieron alejado del blog, me refiero, desde luego a mi tesis de maestría.

Mi tesis felizmente está terminada y ahora solo me queda concretar una fecha para su defensa. Con motivo de reactivar este sitio preparé una tanda de fotos de Berlin, a modo de tour.

Invitados a recorrer algunos de los lugares típicos que se visitan en Berlin como turista. Sin mas pistas tomen el tranvía y disfruten el viaje (el tranvía es una metáfora, pues el orden de las fotos no corresponde a ninguna línea de tranvía en Berlin).

Cada foto se puede ampliar.

Hi,
my first chapter finally has reached a draft status, meaning it is in its final revision. Soon, I will share my conclusions, currently my ongoing work deals with a film analysis of one machinima that later I will comment it here, too. By now I want to open 2009 with two definitely worth watching machinima pieces from AFK pl@yers, a machinima studio from Taiwan. They work with World of Warcraft to produce their movies. Though right now I’m not going to mention their productions in my thesis they have shown me a completely different aesthetic of machinima, one closer to junk-TV than to film making. A sign of the irreverent potential hidden in this rhizomatic movement.

Junk TV and WoW
Is it a Remediation of junk TV in World of Warcraft or a conversion of World of Warcraft in junk TV?

An answer not as easy as it seems at first glance. On the one hand anyone who has wasted time watching TV would agree that most of it is rather similar to junk food, deliciously insipid and brilliantly empty. World of Warcraft is a baroque MMORPG game with hundred of thousand of players and guilds. In any case both are massive entertainment media being hybridized in AFK’s movies.

Wrath of couch potato

Azeroth Movie Top 3, this one was nominated for the “Best Short Film” in the Machinima Film Festival 2008.