Centre for Research and Enterprise in Art, Design and Media

J9 |Computational Video Installation Symposium and Exhibition 2006-7


J9 Julian Konczak

Dislocate examines the relationship between art, technology and locative media. It is designed to facilitate international dialogue between artists, researchers and the public and encourages exchange and reflection upon experiences and perceptions of the interplay between these elements. J9's research objective was to develop computational video techniques that became a simulacrum for the way in which we project and map internalised experiences onto the locations and cultures that we travel through. This experimental use of video uses fragmented 'replay' as a metaphor for memory recall, which often appears random and non-sequential. J9 is a computational-video installation that explores the relationship between journey and narrative. It uses sound and image to draw the audience into the shifting perspectives experienced when travelling. Working with a nine minute editing structure generated from both audio and visual pacing, multiple sequences are created using a video database made up of a diverse range of physical locations. J9 uses a software system to sequence the audio and video edits. The soundtrack is composed from location audio samples and musical elements, allowing the audiovisual rhythm to evoke an emotional sense of transitions through different geographical environments. The piece loops on multiple screens in the gallery space and as the viewer follows the narrative, each of the nine iterations takes the viewer on a different audio-visual journey, which is never repeated exactly. The installation is a contribution to the emerging practice of 'computational video' art. Whereas conventional video art displays footage on one or more screens, computational video uses software to select particular streams from a database according to particular rules. J9 was funded by the Arts Council of England (£6000) and was shown at the Millais Gallery, Southampton 24 November 2006 - 27 January 2007

Cracked Cities|

Online multimedia artwork and installation

Touring UK exhibition 2006

Cracked Cities

The research element in this project is concerned with developing the photographic genre that focuses on urban degeneration. Hitherto, this genre has primarily concern itself with the purely formal qualities of its subject. I wanted to refocus the genre by exploring the concept that we project our own local sense of place onto foreign scenes. Cracked Cities pursues the thesis that our attachment to local culture is a reaction to, and comment upon, the sense of dislocation that accompanies globalisation. The paradoxical effect of dislocation caused by globalisation, is reinforced by the use of randomly accessed image and sound data. Cracked Cities refers to the urban degeneration evident in most cities around the world and the imagery for this project was selected from photographic shoots in Istanbul, Kathmandu, London, New York and Tokyo. The photographs were placed into a database and Macromedia Director software was used to randomly select and project them, whilst a soundtrack played back recorded comments from people who had previously viewed the images. This work uses 'computational photography', which is a new subgenre of narrative photography. The online version can be accessed at: http://www.hidrazone.com/artists/julian_konczak/cracked_cities/cracked_cities.html Cracked Cities won Ephemeralcities on-line art exhibition http://www.a2arts.co.uk/ephemeralcities/ Cracked Cities was featured on BBC Hampshire's Visual Arts Toured to the following venues: Tower, Winchester 6 June - 7 July 2006 Light Gallery, Southampton 10 September - 7 October 2006 Third Floor Arts - Portsmouth 9 October - 30 October 2006 Ashcroft Arts Centre, Fareham, Hampshire 12 March - 9 April 2007 

Mass Production |

Interactive Video Projection conference

Metropolitan University London 2005


Mass production J Konczak

Mass Production was based upon research into the conceptual and technical problems surrounding interactive computational video. At the technical level the problems were quite considerable; how to allow an audience to interact with screened video without touching a keyboard or a screen. In short, our solution was to use sensed viewer movement. The piece selected for this experiment was video footage I shot of people crossing the exceptionally bustling Shibuya zebra crossing in Tokyo. Using MacroMedia Director software the video footage is shown on a monitor with an attached webcam. As the viewer-participants move around the physical space of the installation they cause software (designed by Richards) to select video clips from the database. The clips are organised in terms of the amount of movement, whether it is people waiting, or the surge of the crossing or degrees in between. The software selects particular footage according to an analysis of the rate of activity of people in the gallery. The relationship is inverted, the more activity in the gallery the less activity there is on the screen. Mass Production was exhibited on the occasion of presenting a paper (with Russell Richards) on Mass Production, for the Second International Conference on Digital Technologies & Performance Arts, Doncaster, 5-6 July 2005 

Hidrazone - Hub for Interactive and Digital Research in the Arts, Digital Journal and Gallery 2005

http://www.hidrazone.com |

Hidrazone J Konczak

Development on the Hub for Interactive and Digital Research in the Arts (HIDRAZONE) began in 2005, as an experimental site for exhibiting digital artwork and publishing related critical discourse. At the time of the projects conception there was a perceived lack of online sites for displaying and critiquing digital work. In response we created HIDRAZONE, which functions as an online space that resembles both an art gallery and a magazine. The project team consisted of myself, as project leader, Russell Richards and Dr Graham Coulter-Smith. The first edition on the theme 'Randomness' was curated from a combination of open submissions and three commissioned online artworks. http://www.hidrazone.com/back_issues/randomness.html The second edition in 2006 centred on the theme of 'Performativity' and was curated from open submissions, together with research into international digital art carried out by Dr Graham Coulter-Smith for his Deconstructing Installation Art project. http://www.hidrazone.com/back_issues/performativity.html This issue of Hidrazone made use of Web 2.0 social networking technology in the form of a blog http://www.hidrazone.blogspot.com/ with RSS feed, video podcasting (vodcasting) of the content http://www.hidrazone.com/video/vodcast.xml; and a YouTube channel http://www.youtube.com/hidrazone The 2007 edition 'Telenesia' will explore the impact that digital technologies have had on broadcast media such as television. The Performativity Issue includes a piece by myself titled Birth and Decay, which was shown at Global Eyes SIGGRAPH 2007 San Diego, California. The work features in the Electronic Art and Animation catalogue that accompanied the exhibition (p237). ISBN: 978-1-59593-646-2