NMED 3850
Experimental Video Production
NMED 2030
Today’s Class…
David Rokeby
Distribution & Exhibition
Answers to Questions
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• David Rokeby (born 1960 in Tillsonburg,
Ontario) is an artist who has been making
works of electronic, video and installation art
since 1982.
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• His early work Very Nervous System (19821991) is acknowledged as a pioneering work
of interactive art, translating physical gestures
into real-time interactive sound environments.
Very Nervous System was presented at the
Venice Biennale in 1986.
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• Several of his works have addressed issues of
digital surveillance, including Watch (1995), Taken
(2002), and Sorting Daemon (2003). Other works
engage in a critical examination of the differences
between human and artificial intelligence.
• The Giver of Names (1991-) and n-cha(n)t (2001)
are artificial subjective entities, provoked by objects
or spoken words in their immediate environment to
formulate sentences and speak them aloud.
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• David Rokeby's installations have been
exhibited extensively in the Americas, Europe
and Asia.
• In 2002, Rokeby represented Canada at the
Venice Biennale of Architecture with Seen
(2002).
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• In 2007 he completed major art commissions
for the Ontario Science Centre and the Daniel
Langlois Foundation in Montréal.
• For his installation n-cha(n)t, he was awarded
the Prix Ars Electronica (Golden Nica for
Interactive Art) in 2002. In 2002 he was
awarded the Governor General's Award in
Visual and Media Arts
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• Rokeby’s work is primarily distributed for and
exhibited in galleries.
• http://homepage.mac.com/davidrokeby/show
s.html
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• “When and how do you know that you're
making it in the film industry?”
• Pablo de Ocampo: I think it all depends on
the artist and what goals you set for yourself.
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• Pablo de Ocampo: Artistic Director, The
Images Festival
• Kelly Langgard: Coordinator, Audience and
Market Development Office, Canada Council
for the Arts
• Erik Martinson: Distribution Coordinator,
Vtape
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Why when submitting to some showcases/film festivals/competitions
ask that the desired format of the submission be in 8mm film with a
audio synching CD rather than a DV tape or 8mm tape or even dare I
say a DVD or VHS tape?
Pablo de Ocampo: This does seem like a strange request for a festival
to make.
Would this most likely be that they would show the film on for both the
submission preview and actual show date(s)? Where would it actually
be possible to get your digital footage converted onto real film stock?
Kelly Langgard: You can research those services online and find a
transfer facility near you or with competitie prices. It can be expensive
but you can apply for post-production funding to underwrite the process
if it’s an integral part to your production or distribution strategy.
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• “How will humanity benefit from (increased)
experimental video production?”
• Kelly Langgard: Try to image a world without
art. Media art fulfills an important function in
our society especially because media is so
commercial. We need voices in this using
this media who are not try to make a profit
from us.
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• "What is your morning routine“
• Erik Martinson: Lots of coffee. Lots of email.
Lots of phone calls.
• Pablo de Ocampo: Lots of coffee. Lots of
email. Lots of phone calls. Lots of
screenings. Lots of travel.
• Kelly Langgard: Kind of what you’d expect
from an Ottawa day job. Lots of meetings. I
travel quite extensively.
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• “Is a viewers understanding of the artists intentions in an
experimental film more important than their interpretation of that
artists work, or vice-versa? If so, why? Or are they equal?”
• Pablo de Ocampo: I think they are equal. From a festival
organizers point-of-view the audiences interpretation might be
more important because I create programs for the public.
• Erik Martinson: We are very artist-centred at Vtape. But we
exist to bring works to the public. The public interpretation is
very important.
• Kelly Langgard: It depends on the artist’s intention. Maybe
some work isn’t meant for public consumption. For established
artists the audience is an integral part of the work. They have to
be.
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• In light of stance on 'technology is making the world smaller' - do
you think that where an artist lives is important or not in building
a career as a filmmaker? In your opinion as active members in
the industry, does living in Vancouver, Toronto or Montreal open
up advantages that living in a smaller centre may or may not
offer?
• Kelly Langgard: Act locally. Act locally. Act locally.
• Pablo de Ocampo: I come from Portland, OR a large centre but
not an “Art Capital”. I volunteered wherever I could for years
and really got a great foundation for building art communities.
• Erik Martinson: I went to school in Kingston, ON at Queen’s not
a huge art centre. There were people who developed great
festivals and events. Seek out community locally.
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• Information for Students:
• Images Festival 2009 Deadline November 14
• http://www.imagesfestival.com/call.php?id=17
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• Information for Students:
• Vtape Internship
– Volunteer-based and require about 4 hours a week, a morning or an
afternoon.
• If you happen to be visiting Toronto contact Vtape and stop by
for a tour and orientation to the space.
• On the main page (vtape.org), they can explore some clips and
critical materials on the Video Art in Canada website which has
three curated onlinevexhibitions using the Bell Canada award
winners in Video Art.
• Regarding distribution questions, they can ask me any specifics
by email, info@vtape.org.
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• Information for Students:
• Vtape does accept submissions all year long and like to see a
growing body of work with a few pieces (one or two) made out of
school. This is our general guideline as we want to collaborate
with an artist on distribution of their growing body of work. There
are always exceptions and it really is up to the individual to
decide when they are ready to submit, and of course you can
always submit again further down the line.
– (see class website for more information)