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MAY 6, 2008. FROM 20:00 TO 21:45
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PNEK
PNEK (Production Network for Electronic Art) is a coordination office geared towards providing appropriate production conditions for artists working with electronic art. PNEK works with production development, coordination of national activities, communication with funding and educational institutions, and raising the general awareness about cross-genre artistic disciplines and media art.
PNEK has existed since 2000, and is now organized as an independent foundation funded annually from the Ministry of culture in Norway. The founders are the media labs Atelier Nord (Oslo), BEK (Bergen), i/o/Lab (Stavanger), NOTAM (Oslo) and TEKS (Trondheim).
Current activities include an empirical survey on Creative Commons licensing system among members of the collecting societies, and the development of residencies for international artists working in this field.
Web: www.pnek.org |
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pecial thanks to
Toril Simonsen, the international dept. at the Norwegian Film Institute, www.nfi.no and Bodil Furu |
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#1
Ivar Smedstad Drain
6 min, video, 1993
Drain is an audiovisual construction based on impressions New York’s urban cityscapes vs. natural landscapes. Through analog image processing and a predetermined editing score the video/audio sequences are transformed into an optiacoustic pastiche reflecting the beating and beat of western civilization. |
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#2
Hjørdis Kurås: Liminal Inception #1
4 min, video, 2004
- Liminal Inception consists of 8 mm film shot in the beginning of the seventies, added digital video from the same locations in 2004, edited as layers with peek holes that shows about 30 years time. The sequence shows the property that has been in my family for generations, my mother from the beginning of the seventies, and myself from 2004.
Identity is linked to the surroundings a person lives in. Areas segmentented into different networks of overlapping patterns and border crossings. Similarly, time is divided up into calenderbased celebrations which are often a means of marking a transisition, in addition to celebrations of individual milestones in life, such as first day at school, etc.
Liminality points to the space between generations, historical periods or cultural collectives, between politcs and aesthetics orthory and practice. |
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#3
Torbjørn Skårild: All in all
5 min, video, 2003
..when all is said and done, conclusions are not so important after all.
(courtesy NFI, international dept) |
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#4
Jannike Låker: Running Woman
6 min, video, 2007
- The film shows a classical action scene with a woman running away from the “scene of crime” (an assaulter). Her clothes are torn apart, blood is running from her lips and her makeup is smeared out. Usually, in scenes like this you’ll find a young beautiful woman but in my film this scene is played by a woman in her sixties.
The issue in the video is about the woman’s physical limitation to perform the role. You can see that she is struggling to run. As a fictive situation it can be seen as fear and exhaustion but it also is about the actress' authentic physical state and about being outdated. |
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#5
Amanda Steggell: Pixel Love
3 min, video, 2001
- Sitting on the roof of a cottage by the sea in Old Bitch Bay, south Norway with a tiny Sony cam-corder in hand, I film my lover who lays naked on the terrace below. I turn the pixel filter on. A slight movement of the hand. A small press on the zoom button. Everyhting looks differnet. Everything looks manipulatable. |
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#6
Marte Hodne Haugen: Tetris
2 min, video, 2007
- Tetris - the movie is a mix between a woman's story and the computer game Tetris. In spite of medias criticism of computer games as a distortion of reality, I think that computer games have a lot in common with how we see reality, both in composition and in action.
I wish to question our understanding of freedom. Do we have a free will, and does our lives stand out as endless lines of opportunities? Or is it more like in a computer game, were everything is programmed, and our freedom comes down to how we handle the different elements that show up?
I want the movie to be a contradiction to the traditional fairytale story, where you are rewarded with eternal happiness after solving the problems of life. The story ends the same way it begins. The women in the movie will constantly experience the breakdown and restoration of her life. |
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#7
Ole Mads Vevle: Tanakh, The Bible, al-Quran
4 min, video, 2007
One God. One movie. One revelation. Now finally, 3000 years after the first records of the biblical writings, this movie presents a complete screen version of the Hebrew Bible, the Christian Bible and the Arabic Quran. Nothing is added and nothing is taken away. The ultimate film version of the holy scriptures.
(courtesy NFI, international dept) |
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#8
Apecosmonautene: Telephony
2 min, video, 1999
A random selection of people around the world are interviewed as to their thoughts about the future.
(courtesy NFI, international dept) |
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#9
Therese Jacobsen: Peel OFF
3 min, video, 2002
Something, underlying, which surfaces every time you try, to interpret the signs, every time you turn to gaze inwards, exploding, as if, you, were the first.
(courtesy NFI, international dept) |
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#10
HC Gilje: HK Mark 1
5 min, video, 1998
- In february 1998 I went to Hong Kong to buy my first dv camera. After two days I found what I was looking for and spent the next four days exploring the city with my camera. There is not a big difference for me between improvising in a performance and filming with my camera: intuition, immediacy and responsiveness are in focus, grasping the moment is the most important thing.
Filming without a script means recording a lot of material, and then spending hours looking through the material looking for ways of shaping the material, a way of structuring it like a piece of music. I used 4 days to record 5 hours of raw material, and then 5 months to distill it into the 5 minute hkmark1. |
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#11
Anne Lise Stenseth: Harvest
11 min, video, 1999 |
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#12
Lasse Gjertsen: Daydream (pt.1)
6 min, YouTube video, 2007
- This is a music video for the italian cellist Giovanni Sollima.
On the six arms parts, which by the way took most of the time to make, I filmed Sollima playing the different layers of cello after each other. I then edited the video frame by frame in Photoshop (remember, it's 25 frames per second of video), cutting his arms out from the other layers and pasting it on top, matching the movement of the cello. This was done ca 4000 times, by myself.
The clouds were actually filmed in my backyard, sped up 1250 times. The birds we're filmed in my town, Larvik, Norway on clear blue sky, so that I could use blue screen keying to put them on top of the clouds. It's hard to notice, but the birds are moving in half speed slow motion. I also had to stabilize the motion of the birds, since I filmed it with handhelt camcorder. The sequence was cut together using After Effects and Premiere.
The forest and river sequence was photographed in a forest in Arona, Italy. I took a picture ca. every five meters, and morphed the images together using WinMorph, matching the pace of the music.
The zooming sequence is very hard to explain. Basically, the first 8 seconds after it starts zooming and when you see Mr Sollima's face is real photos. The rest inbetween are "painted" in Photoshop by me.
The rest of this part is merely editing in Premiere and After Effects. Allright!
(description from YouTube. Copyright by anfiteatromusica.com) |
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#13
Sabina Jacobsson: Enjoy it, damn it
6 min, video, 2006
A red pilot is circulating around in a tourist ghetto on Gran Canaria. Watching golfcourses, parasoll beaches and empty hotel rooms. Extracts from a text by Stefan Sundström (Swedish musician) is playing with the images. |
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#14
Eivind Tolås/Ole Mads Vevle: Love is the Law
6 min, video, 2003
Love is the Law picks up the message of love from the Christian tradition, and perverts it through a modern, TV-News setting.
The religious, but at the same time overtly secular love poem the News anchor reads out, preaches and challenges the concept of Christian love. Humor is essential, but at the same time the gloomy corruption of both love and modern mediators of truth is ever present. The film probes perverted desires in a confusing modernity, where power relations are changing and unclear.
All through the film, there is a changing relationship between what is said and what is shown. A sense of distrust is created to any given message, it being about love, politics or media – a distrust that could apply to any preachers of “truth”.
(courtesy NFI, international dept) |
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#15
Inger Lise Hansen: House
8 min, 16mm, 1998
- House is a film which attempts to reveal the private and hidden layers of our habitation. It is a live animation film shot on location which incorporates both pixilation (stop motion) and time-lapse photography. Every single shot opens up a hidden layer of the house and exposes it to the passing light. Within the accelerated time of the film the house gradually breaks down piece by piece and frame by frame. Once the house is completely dismantled it is reconstructed in a different location.
It is a film about time and processes, about disintegration and construction.
I was interested in physically deconstructing and reconstructing one object. I imagined the house as a shell that separates “private and public spheres”. Through the use of animation I could open up this “shell” and examine it. The film is shot with three cameras from different angles. In the editing I purposely didn’t cut the shots to motion, so that the film appears to be going back and forth in time. House was shot in the California desert, on the edge of Silicon Valley. |
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(c) FIFVC 2004-09
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