Slide #4 | Linz | Ars Electronica Festival (2019)MAIN INSTALLATION: LEFT: "Ed Ruscha - Every Building On The Sunset Strip" (1966) MIDDLE: Realtime frame of "Markus Oberndorfer - REVISITED" (Realtime) RIGHT: "Markus Oberndorfer - REVISITED" 360° videos (2016) & additional materials (2016-2018) FLOOR INSTALLATION: "REVISITED" Afterglow, 360° video (2016), Spatial audio (2019), optional REVISIT RADIO broadcast triggered by pedal (2019) VIDEOWALL: REVISITED Spacetime Video Panorama #3, Afterglow, Original: 34.464 x 1920px, 9x4k adapted to 5x HD (2018-2019) WALL: REVISITED Spacetime Framed, Early Morning, Camera: Left, 8m in 6 parts (2017) + 4x Zine depicting 24 Spacetime Collages for 6DoF WALL: REVISIT OST Vinyl Collage (3x Vinyl with unique frametake inserts and Artivive augmentation) WALL: COLLAGE IN THE AGE OF AUTOMATION: Walltext, Font
Slide #3 | Salzburg | Museumspavillion (2018/2019)LEFT: "Ed Ruscha - Every Building On The Sunset Strip" (1966) MIDDLE: Realtime frame of "Markus Oberndorfer - REVISITED" (Realtime) RIGHT: "Markus Oberndorfer - REVISITED" 360° videos (2016) & additional materials (2016-2018) WALL: "REVISITED Source Footage Collage" Spacetime, 8m in 6 parts (2017)
Slide #2 | Vienna | Geistwert Attorneys (2017)WALL: "REVISITED Source Footage Collage" Spacetime, handmade vs semi-automated (2017) MIDDLE: "Ed Ruscha - Every Building On The Sunset Strip" (1966) RIGHT: "Markus Oberndorfer - REVISITED" — 360° videos (2016) Topic: Robotic Art — For this occasion we showed a juxtaposition of two, seemingly identical spacetime collages from the Source Footage Collage Series. Where they fundamentally differ: In their coming into existence. One was handstitched during endless hours of assembly line work. The other one stitched semi-automatedly within minutes and with the help of a computer script. Documentation: © Gute Macher 2017
Slide #1 | Musée des Beaux Arts de Rennes | Travelling (2018)
Slide #1 | Centquatre 104 Paris | Circulations (2017)LEFT: "Ed Ruscha - Every Building On The Sunset Strip" (1966) MIDDLE: Realtime frame of "Markus Oberndorfer - REVISITED" (Realtime) RIGHT: "Markus Oberndorfer - REVISITED" 360° videos & additional materials (2016)
The basic idea:50 years of development of media and shifting powers LEFT: Timeline #1: Photographic frame in 'static' strip panorama MIDDLE: Timeline #2: Moving TV frame generated from 360° video surrounding in realtime RIGHT: Timeline #3: Immersive 360° video experience, those wearing the VR-headset define their final frame and the frame for those that look at the TV
ABOUT THE PROJECT:
The REVISITED core installation makes fundamental shifts of power concerning "the definition of the final frame and how we experience (provided) visual landscapes" experienceable through the opposition of three of the main mediums of our time at hand to document the creators immediate surroundings (photography, video and 360° video).
LEFT: The accordion book "Every Building On The Sunset Strip" by Ed Ruscha from 1966 represents a seamless documentation of the Sunset Strip. The photocollage shows a pre-defined photographic frame and the spectator starts to enter the timeline (moving up and down the Sunset Strip) by unfolding, folding or flipping throuhg the accordion book.
MIDDLE: The TV-screen in the center shows a realtime frame of the immersive 360° video experience of the Sunset Strip I recorded 50 years later. A frame that — as well as in the accordion book — is defined by someone else. The person wearing the VR-google next to him/her. The spectator becomes the Director of Photography and defines the video-frame for everybody outside of the immersive experience. He/She is in charge.
RIGHT: 50 years after Ed Ruschas photo-collage of the Sunset Strip, we have the technical means, hard- and software to create immersive, 360° video documentations of places such as the Sunset Strip. The power of the frame and its definition shifts from those that create the visual landscapes (photography, film,...) to those that consume it (360 video).
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