Projects

The Brakhage Center Presents: The Work of Chick Strand Program I

Anonymous — Wed, 07 Jan 2015 16:34:29 +0000

The Brakhage Center Presents: The Work of Chick Strand Program I Anonymous (not verified) Wed, 01/07/2015 - 09:34

The Brakhage Center Presents: The Work of Chick Strand Program I
Co Sponsored by the Film Studies Department Faculty and Staff Monday, November 3rd 2014 at 5pm
ATLAS 102, CU �鶹ӰԺ Campus

“For most of her filmmaking career, the integrity of Strand’s vision lay aslant of prevailing fashions, so that only belatedly did the full significance of her radically pioneering work in ethnographic, documentary, feminist, and compilation filmmaking-and above all, in the innovation of a unique film language created across these modes-become clear. Though feminism and other currents of her times are woven through her films and though her powerful teaching presence sustained the ideals of underground film in several film schools in the city, hers was essentially a school-of-one.” David James, in The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles.

Introduced by Taylor Dunne

Guacamole
1976. 10mins. Color/Sound.

Mosori Monika
1970. 20min. Color/Sound.

Mujer De Milfuegos
1976. 15min. Color/Sound.

Kristallnacht
1979. 7min. B&W/Color/Sound.

Artificial Paradise
1986. 12.5min. Color/Sound.

Fake Fruit
1986. 22min. Color/Sound.

Waterfall
1967. 3min. Color/Sound.

TRT: 90 min

Sponsored by The Brakhage Center and The Film Studies Faculty and Staff
Special thanks to Jennifer Peterson and Jacob Barreras!

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HASTAC 2013: Korsakow as Curatorial Tool?

Anonymous — Mon, 29 Apr 2013 19:31:41 +0000

HASTAC 2013: Korsakow as Curatorial Tool? Anonymous (not verified) Mon, 04/29/2013 - 13:31

HASTAC 2013: The Storm of Progress

On Sunday, I presented on the use of Korsakow as a tool for digital curation as prototyped at the Brakhage Center for the Media Arts. Eric Coombs and I created an archive of the 2005 symposium as a means to test Korsakow for archival and curatorial ends. The HASTAC talk was an opportunity to exchange with other working with the software.

—

HASTAC 2013 will bring together 5 keynote speakers, 150 refereed papers, panels and demos, a maker space, curated digital performances and over 200 attendees including established and emerging scholars, artists and authors, tech entrepreneurs and teachers, to explore alternative modes of creating, innovating, and critiquing that better address the interconnected, diverse, interactive global nature of knowledge today, both in the academy and beyond. Our scheduled sessions will deepen our understanding of the role of digital technologies and media and the changes in behaviour and ways of learning and working currently underway.

2013 marks the 10th anniversary of HASTAC’s founding. In that spirit HASTAC 2013 is showcasing work that is either reflective or prescient, that evaluates our digital histories and seeks to construct our digital future(s). We invited contributors to take this opportunity to look back, theorize and archive. We invited them to engage in the creative, if impossible, attempt to glimpse the digital future. We challenged them to shape it. And researchers from across Canada, the United States and Europe and from as far away as Australia are coming to Toronto to share how they and their teams, their research labs,
their classrooms and their students are building the technologies and subjects of the future right now or imagining new horizons of possibility for the ways in which we will make, teach, learn and find community in the coming decade(s).

Sunday April 29 10:30-11:45

Session 40:

“The Korsakow System: Database Filmmaking for the Web” Matt Soar, Midi Onodera, Mél Hogan (with the help of Eric Coombs), Florian Thalhofer.

More: http://melhogan.com/website/hastac-2013-korsakow-as-a-curatorial-tool/

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Nicole Robicheau presents ‘The Border Between Us’

Anonymous — Wed, 13 Feb 2013 19:38:32 +0000

Nicole Robicheau presents ‘The Border Between Us’ Anonymous (not verified) Wed, 02/13/2013 - 12:38

Nicole Robicheau will be presenting her work (via Skype) alongside M.E. Luka on Tuesday March 12th (time tbc). Please join us at the Brakhage Center (ATLAS 311).

Project Description: The Border Between Us is an interactive documentary about two border towns and twelve people. It’s set in Stanstead, Quebec and Derby Line, U.S.A. It looks at life in the two communities post-9/11.

Click to Run

What follows is an interview with Nicole about her documentary, conducted by Mél Hogan for the Korsakow blog on November 10, 2012:

What brought you to this border town: Stanstead and Derby Line?

Iwanted to do a project about borders. I’ve long been interested in how such an arbitrary demarcation can affect the lives of people who happen to find themselves on either side of it. Doing research on the Canada-U.S. border was a tangible way to examine a border that’s near me, and one that is going through drastic changes. I came across Derby Line and Stanstead in my research, and the unique character of the two towns, and I was immediately drawn in.

Tell me more about this idea of the border as an arbitrary demarcation…

I’ve crossed quite a few borders overland and I’m always struck by how these lines that delineate nation-states seem to be carved up without any regard to the life that surrounds it. And certainly many borders of current countries, if not all, were decided by people in places far removed from the actual line, just by looking at maps. It’s impossible to see lived experience by looking at maps. Not to mention the fact that usually people who decided these boundaries didn’t even have the right to do so in the first place. Yet very few of these lines are now being challenged.

You have a background in journalism. How has that influenced the way you’ve approached your topic?

Ithink in the beginning, I approached the story very much like a journalist would. In fact, I was working as a radio reporter for the Canadian Broadcasting Corporation (CBC) at the time, and I began by looking into its archives for contacts of people who had been interviewed and were somehow invested in all the changes that were happening along the border. What was different for me with this project though was that I was really interested in capturing the stories of everyday people living along that line. I was tired of having to interview experts, which I always had to do in my work as a journalist. With this project, I was actively militating against my journalism training, which usually had me interviewing people in positions of authority.

– >> READ MORE

Nicole Robicheau is a storyteller and media maker who primarily works and lives in Montreal. She has previously worked as a radio journalist for the Canadian Broadcasting Corporation (CBC). She also does aid work with the Canadian Red Cross and has also also worked with various organizations in Africa and in Europe on media development.

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M.E. Luka presents Archiving Artspots

Anonymous — Wed, 13 Feb 2013 19:23:49 +0000

M.E. Luka presents Archiving Artspots Anonymous (not verified) Wed, 02/13/2013 - 12:23

M.E. Luka will be at UC �鶹ӰԺ, Monday March 11th (2-5pm) and Tuesday March 12th (time tbc) to present on her doctoral project (Archiving Artspots) and lead a Korsakow workshop. Please bring your laptop and join us at the Brakhage Center (ATLAS 311). You can download Korsakow here.

Archiving ArtSpots: seeking creative citizenship
What is the relationship between art and media production and dissemination? This is the large umbrella under which much of my professional work and scholarly research takes place. Currently, my focus is on production practices and creativity in cultural media production, including the meaning and potential of creative citizenship, and the often precarious work of artists and creative producers in daily life and professional engagements. More specifically, my doctoral research is an in-depth, highly reflexive study of the long-running television and internet program, CBC ArtSpots (1997-2008). Ten years of thoughtful creative activity resulted in multi-layered curatorial discussions, a proliferation of practices, reams of visual and audio footage, and terabytes of backups and storage: what was the generative relationship between art and digital media in Canada at the cusp of the 21st century? I seek pathways through archival materials, communications methodologies, potentially totalizing narratives, and theoretical frameworks about the work of art and artists in relation to broadcast and digital media. By digging into the video art and broadcasting roots of ArtSpots, I intend to cast light on the helpfulness of mobilizing old and new methodological and creative processes side-by-side with theoretical structures and strictures.

My current interest in historicizing and rethinking the ArtSpots project is intended to situate it in the larger context of cultural media production, and cultural engagement generally, both at the time, and as it continues to impact today. The joining of cultural studies and the sociology of art with a political economy analysis offers a starting point, enabling the examination of systems and patterns concerning the everyday social and productive relations of individual and collective creators involved in cultural production. However, much of the existing theoretical work about the arts and broadcasting is informed by empirical work outside Canada, including Lynn Spigel’s work in the United States (2008) and Georgina Born’s ethnographic work in the U.K. (2004). By taking a look at how and why artists engage with the Canadian broadcasting and digital media system, a deeper understanding of the inventive and precarious nature of an artist or media professional’s creative labour in the broadcast environment in Canada can be realized. The need for such attention is evident, considering decreasing levels of government and private funding of visual arts and non-profit media. From this examination, a complex understanding of what is meant by creative labour and creative citizen engagement within cultural media production may be generated; including how cultural space is fashioned for such production. An element of my current research investigates ArtSpots as such a cultural space (Luka, pending): a fluidly evolving digital archival and/or (perhaps) virtual space.

I am using the strategy of mobilizing media production as a way to interrogate and reflect on the ArtSpots space – potentially engaging a deliberate (and deliberative) embodiment of the theoretical, historically-based “remediation” endeavour that Jay David Bolter and Richard Grusin (1999) might suggest may be inevitable as technology develops, and which draws from Marshall McLuhan’s legacy of deliberate engagement with materiality in/and media. This may bring me closer to media archeology as a theoretical framework through the methodological forays I undertake. As I’ve noted in an interview for No More Potlucks 25 – Archive#:

Can the reverberations of this project be felt along the trajectories created over this time period – and since then – and through the continued interactions and engagements among those involved? Are the material outcomes and shared experiences of ArtSpots a collection of topoi, as Erkki Huhtamo might suggest (Huhtamo and Parikka, 2011), engendered by cultural agents (artists, curators, technicians, etc.), invoking affect, aesthetic reflections, and cultural critiques? I’m not sure that explains nearly enough, but it does provide an interesting egress from the historical material content to the idea of mediated archive…

In addition, I am interested in how Lynne Huffer (2010) characterizes the work of Foucault in relation to archives. In particular, the suggestion that experiences are “archivally thick” critical contributions to archives strikes me as useful in thinking through power and social relations, very much the concern of Foucault. Such archival practices “puts us into the question[s]” asked in terms of affect as well as the subject relationship (Huffer, 334-5).

Methodologically, my approach includes engagement in material practices myself: the research-creation project I am conducting for my doctoral dissertation research probes ArtSpots through a specific set of mixed-methods. This includes organizing and recording in-depth interviews and discussion groups, editing them together with some of the ArtSpots’ archived video productions (embedded with high production values) and combining these into a short series of non-linear documentary structures through Korsakow software, along with images based on freeze-frames grabbed from the almost-moribund (or partially archived?) ArtSpots website, scanned pictures of production notes, etc. Additionally, my methods program includes a deliberative mash-up of scatterings of post-it notes, workflows incorporating Evernote(s) and website-based field notes, hard-copy bibliographies and handcrafted reflections, and mappings of my house of theory, as well as the themes and questions that arise through tilling the verdant soil of discussion groups and in-depth interviews, including seeking feedback on how I am processing this unusual experience. Taken together, these seductively productive incursions hurtle me into provocative interrogations of vernacular and cultural citizenship (see Joke Hermes and Toby Miller as well as William Uricchio and, in Canada, Caroline Andrew et al), bringing these together with the creative commons, cultural industries and digital archival practices, interrupting and tracing the concept of creative citizenship that I seek to move toward.

Works Cited:

Andrew, Caroline, Monica Gattinger, M. Sharon Jeannotte, and Will Straw, Eds. (2005). Accounting for Culture: Thinking Through Cultural Citizenship. Ottawa: The University of Ottawa Press.
Bolter, Jay David and Richard Grusin. (1999). Remediation: Understanding New Media. Cambridge, Mass.: MIT Press.
Born, Georgina. (2004). Uncertain Vision: Birt, Dyke and the Reinvention of the BBC. London: Secker & Warburg.
Hermes, Joke. (2005). Re-reading Popular Culture. Malden, Oxford & Victoria: Blackwell Publishing.
Huffer, Lynne and Elizabeth Wilson. (2010). Mad for Foucault: A Conversation. Theory, Culture & Society 27, 324-338. http://www.sagepublications.com. DOI: 10.1177/0263276410383712. Retrieved 24 November 2012.
Huhtamo, Erkki and Jussi Parikka. Eds. (2011). Introduction. Media Archeology: Approaches, Applications and Implications. Berkeley: University of California Press. 1-6.
Luka, Mary Elizabeth. (pending). Mapping CBC ArtSpots. Diverse Spaces: Examining identity, heritage and community within Canadian public culture. Ed. Susan Ashley. Newcastle Upon Tyne, UK: Cambridge Scholars Publishing.
Miller, Toby. (2007). Cultural Citizenship: Cosmopolitanism, Consumerism, and Television in a Neoliberal Age. Philadelphia: Temple University Press.
Spigel, Lynn. (2008). TV by Design: Modern Art and the Rise of Network Television. Chicago and London: University of Chicago Press.
Uricchio, William. (2004). Beyond the Great Divide: Collaborative Networks and the Challenge to the Dominant Conceptions of Creative Industries. International Journal of Cultural Studies 7.1: 79-90. Sage Publications. Retrieved 23 February 2011.

Mary Elizabeth (“M.E.”) Luka is a Vanier Canada Graduate Scholar and doctoral candidate (ABD) in the Joint Program in Communication at Concordia University, where she’s probing the meaning and potential of “creative citizenship,” including the work of artists and creative producers in daily life. Luka is also an award-winning documentary producer and director for television and the internet, and—because she likes to start things—has helped to develop programs, projects and a great deal of talent related to her fields of interests, particularly in the Atlantic Region. As a consultant in the cultural non-profit sector, she recently assisted Women in Film and Television – Atlantic and the Canada Dance Festival develop their strategic and business plans. M.E. is actively involved as a volunteer for professional and community organizations related to the arts, media, and culture, including as founding Vice-Chair of Arts Nova Scotia, the brand-new independent, provincial funding body for the arts in that province, and as a member of the Creative Nova Scotia Leadership Council, an advisory board to the government of Nova Scotia regarding the creative and cultural industries. The videos appearing in this article are drawn from the non-linear documentary work-in-progress grounding her doctoral research.

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Dynamic Archiving: Demo Dec 12, 2012

Anonymous — Thu, 13 Dec 2012 19:07:37 +0000

Dynamic Archiving: Demo Dec 12, 2012 Anonymous (not verified) Thu, 12/13/2012 - 12:07

We’ve got a working demo of our curatorial project built in Korsakow.

For now, we’re using the default interface and have a few glitches and details to work through but we feel that already Korsakow is proving an efficient curatorial tool – making the media richer in its connections.

Click to Run

Some of the issues we are working through include the design and layout as well as the limits of the technologies: the software, the platform, the media formats, and so on. There’s been a lot to consider.

Stuff we’ve learned so far (which may be a reiteration of the software FAQ):

Naming your files properly is important. Don’t put in any spaces or weird characters or else the path isn’t likely to work in certain browsers, like Chrome.

The web can handle much better video compression than it once could, and formulas could be revised to reflect this progress. Depending on the source of your video, video online can be of high quality using the H264 codec with mp4 as a container. In our experience mp4 looks better and generates smaller files, but mov load faster. This requires further explorations.

For audio, acc and mp4 don’t work so stick to mp3.

Another audio bug seems to be that it can play overtop other media assets – as in audio from one clip continues to play when another one has been selected. Not sure if it something on our end – in the programming – or with Korsakow.

The playhead the comes with the software seems to run off the page.

Transparent png don’t work – they come with a boxy background.

On our end, we need to add titles to some of the images to give them context and guide users. We also need to rethink the trajectory – while nonlinear, it is thought out to guide the user in a choronological order i.e., you can only go forward in time, not back, but you have many options for moving forward. I’ve noticed in testing it out, however, that some trajectories are less likely to the point of being likely passed by completely. This will need tweaking. Some “main” SNUs don’t have enough previews popping up to complete the three, which becomes a design consideration. I’d like for us to test out the Preview text that comes in Korsakow, and a few of the other features we haven’t yet explored… look forward to Demo 2 in the next few months.

Mél Hogan

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Alternative Television I: Independent and Valuable

Anonymous — Mon, 10 Dec 2012 16:53:05 +0000

Alternative Television I: Independent and Valuable Anonymous (not verified) Mon, 12/10/2012 - 09:53

Intro: Independent and Valuable

Openness of the political process and the ability for free people to govern themselves are necessary requisites in a democratic society (Zassoursky 2002:427). In order for people to govern themselves they must have access to information and the ability to “participate in public debate, elections, and political activity” (Kellner2003:1). One of the most important vehicles for this information and empowerment is the media and freedom of the press.

The United States Constitution separates power between judiciary, executive and legislative branches to help ensure the balance of powers between political institutions. In France, after the French revolution, the media were conceived as the “Fourth Estate” to provide “checks and balances against corruption and excessive state power” (Kellner 2003:1). Freedom of speech and freedom of the press are recognized by the United Nations as human rights – The Universal Declaration of Human Rights, Article 19 states “Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers” (“The Universal Declaration of Human Rights,” accessed November 2012).

The amenity potential, or private benefits of control, arising from media outlet ownership is extremely high. Beyond the financial benefits realized by media owners, some benefits include fame and influence. These benefits are different in media ownership than ownership in most other industries – the influence of a newspaper owner in a community is much different than the influence the owner of the automotive repair shop has in that same community (Djankov et al. 2001:3). This influence is different because the owner of the newspaper controls the information that the community receives. This is the same for radio, television and other types of media.

Baudrillard (1981) suggests that an undemocratic speech-without-response situation becomes widespread in the event of media consolidation. Further, the ideas and voices that are transgressive or subversive will never get “on the air” without being negated, neutralized and eviscerated of their meaning (173). This is both a product of the homogenization of media content and of the rule of hegemony, which excludes subversive voices that are not in line with hegemonic ideology in the United States. Kellner (2003) corroborates Baudrillard’s theory suggesting that corporate media “promote their own interests and agendas” by utilizing their “powerful instruments of communication to advance their own corporate interests and those of politicians and policies that they favor” (2). This leads to the loss of the media’s democratic function; a loss of the ability to debate issues of social and political importance and to act as a check against corruption, questionable policies and excessive corporate and government power.

Kellner (2003) agrees that the corporate media no longer serve their democratic purpose, arguing that the corporate media have surrendered their responsibilities to serve the public. The corporate media have become arms of conservative and corporate interests (3). The forum for democratic debate is no longer in the corporate media. A democratic, free press should have an adversarial relationship to the state in the service of public interest (Zassoursky 2002:427). While some community media outlets, and even some commercial outlets, occasionally fulfill this duty, it is rare. This has resulted in an alternative media that has been increasing since the 1960s.

In the alternative television movement we see that the artists and activists of the 1960s, 70s, and 80s were able to not only capitalize on emerging technologies, such as Sony’s Portapak, but were also able to cultivate a sense of community around the alternative production of content. Though the aims of these activists and artists were not all the same, with some privileging process over product or vice-versa, what we see in them is a new potential for human expression and public capacity for media production in the latter half of the twentieth century. What is interesting to point out is the fact that many of the outlets for these alternative visions were, in fact, created initially by the capitalist corporations against which these activists were resisting.

What follows is a brief thirty year history of the alternative television movement. In it you will find important information about many of the crucial events and actors, but my intent is to point these out in an effort to revitalize hope that the general citizenry has had in the past, and does have, the capacity to produce media that is independent and valuable. In the information age, perhaps the internet and YouTube are the new public access cable networks. Whatever the case, this history outlines important resistances to the culture industry.

References

by Tyler Rollins

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Alternative Television: References

Anonymous — Mon, 10 Dec 2012 16:44:33 +0000

Alternative Television: References Anonymous (not verified) Mon, 12/10/2012 - 09:44

1960s 1970s 1980s

Intro: Independent and Valuable

References

Allen, G., & Smith, C. (2007). Publishing art: Alternative distribution in print. Art Journal, 66(1), 41-45.

Anderson, K., & Goldson, A. (1993). Alternating currents: Alternative television inside and outside of the academy. Social Text, 35, 56-71.

Baudrillard, J. (1981). For a Critique of the Political Economy of the Sign (pp. 164-184).Telos Press.

Boyle, D. (1992). From portapak to camcorder: A brief history of guerrilla television. Journal of Film and Video, 44(1/2), 67-79.

Boyle, D. (1985). Subject to change: Guerrilla television revisited. Art Journal, 45(3), 228-232.

Burch, E. (1997). Getting closer to folk tv production: Nontraditional uses of video in the U.S. and other cultures. Journal of Film and Video, 49(4), 18-29.

Halleck, D. (1993). Deep dish tv: Community video from geostationary orbit. Leonardo, 26(5), 415-420.

Kellner, D. (2003). The media and the crisis of democracy in the age of bush – 2. Retrieved fromhttp://pages.gseis.ucla.edu/faculty/kellner/essays/2003_Kellner_MediaCrisisDemocracy.pdf

Leistyna, P. (2008). Alternative media resource guide. The Radical Teacher, 81, 28-35.

London, B. (1985). Video: A selected chronology. Art Journal, 45(3), 249-262.

The Universal Declaration of Human Rights.Accessed November 2012.

http://www.un.org/en/documents/udhr/

Weiner, A. S. (2007). Changing channels: Broadcast television, early video and the politics of networked media. Qui Parle, 16(2), 132-145.

Zassoursky, Y. N. (2002). Media and communications as the vehicle of the open society.Gazette: The International Journal for Communication Studies, 64(5), 425-432.

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Dynamic Archiving

Anonymous — Sat, 01 Dec 2012 18:52:38 +0000

Dynamic Archiving Anonymous (not verified) Sat, 12/01/2012 - 11:52

We’re using Korsakow software to prototype a dynamic archiving model for a Brakhage Center sponsored Film and Poetry Conference from 2011. The process is documented and blogged by Dr. Mel Hogan, who is currently a Postdoctoral Fellow in Digital Curation at CU �鶹ӰԺ.

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Dynamic Archiving: Splicing Audio

Anonymous — Thu, 01 Nov 2012 17:40:22 +0000

Dynamic Archiving: Splicing Audio Anonymous (not verified) Thu, 11/01/2012 - 11:40

Having now completed the inventory of the 2011 Poetry and Film Symposium put on by Tom Gunning and the Brakhage Center for the Media Arts, Eric Coombs and I now combing through the various media files associated with the project: images, pdf documents, audio, etc.

Most of the symposium was audio recorded, including films, readings, talks, videos, performances, introductions and claps. We’re in the process of matching audio to events listed in the inventory, and making the adjustments when we discover recordings for unlisted moments or events. The opposite is also true – we can’t find the opening remarks so we’ll have to cross reference with another audio recording of the event.

We’re hoping to get our hands on the papers presented as to pull quotes and use text to also represent voice in our curatorial display. We’re saving some of the audio glitches and scratches for possible sound loops in Korsakow – exact use to be determined. We’re also thinking of keywords now that are going to help assemble the showcase…

Technically, we splice the audio leaving a bit of room tone before and after (some of the recordings have rough starts/ends) to give breathing room to the tracks. We adjust the gain bu lowering the dbs of very loud tracks. We then export the splices into event based folder, in .aif 16 44.1 Khz (a quality to match what was recorded) labeled by the speaker or film and so on. We can mass convert to mp3 later, but for now retain the best quality as back up. There are obviously many debates in the archiving world about format and quality and how it relates to authenticity, but we’re of the view that that implies a neutrality to the technologies used to record–and create–the original. So we are cognizant of the issues but forge ahead.

We have yet to come up with a great folder/label system but we’re working on it, thinking it through. This is proving far trickier than any technical aspect so far…

-by Mél Hogan

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Dynamic Archiving: SNUifying

Anonymous — Thu, 01 Nov 2012 13:41:08 +0000

Dynamic Archiving: SNUifying Anonymous (not verified) Thu, 11/01/2012 - 07:41

After much time spent organizing our media assets and splicing audio, we’re ready to perform a few tests in Korsakow. Because of a small glitch, we’re opting to use the Beta version (and to become Beta testers).

Our process today consisted of first creating assets from the audio and stills we have. Using video seems the best way to match content to context, though we will likely test out other possibilities and combinations. Working with Korsakow is highly iterative. We’re constantly toggling between the interface and the preview mode, making adjustments, problem-solving, redirecting, and so on. Being two sets of eyes on this is proving very useful – Eric and mine’s attention seems to be grabbed by different parts of the project, which come together in a very complementary way.

Some preliminary questions specific to our project, and things we’ve noted about the software:

the video could be of much better quality than the suggested settings point to currently. The Web seems to handle video much better now, and so we’re going to try to push the quality up a little.
could Korsakow eventually handle HD?
a mobile-friendly version is in the works – important!
will Korsakow eventually be able to handle links? does it already? to be explored…
we’re imagining a slideshow options but are unsure of our needs at this moments
is there a way to make a SNU appear at the end of another – continuity – linearity – or is this anti-Korsakow?
what could be done with PDFs/text – pull quotes?
what to do with films for which we only have the audio (no visuals)
how to archive silent films for which we don’t have the rights to visuals

Tips/things to remember:

setting the playhead to “interactive” – it’s not, by default
duplicate a SNU if you want it to be a start SNU but also a SNU with a preview that you can see again
there’s an invisible (?) glitch when setting the timecode for a SNU using the automatic way – makes the SNU switch order!

Helpful resources:

Dayna’s awesome performance of Korsakow: SNU theatre.
The Korsakow Manual

That’s it for now. Prototype (of 3 SNU) should be good to go next week.

by Mél Hogan

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