This is something I have previously written about here. Reading Nicole Brenez’ succinct Cartographie du Found Footage (2000) around that time – one of the most formative film studies essays I have ever read – I have since sought to understand how film history and its development may be depicted and analyzed with various audiovisual means. After encountering filmmaker Peter Tscherkassky‘s work sometime in 2006 I became interested in the Austrian avant-garde and the ways in which found footage filmmaking keeps mutating and productively yields new insights into film historiography and archival collections and challenge traditional written scholarship and its assumptions. My project as a Scholar-in-Residence takes the cue from the SEMIA project and builds on my longstanding interest in experimental found footage filmmaking, recycled cinema practices and current videographic film studies. Research during my residency at the EYE Filmmuseum In this post I will offer context on my research, discuss some preliminary findings and comment on a few works by filmmakers Nicole Vedrès and Nico Crama which I have been looking into.
The SEMIA project’s emphasis on appropriation and artistic research offers the point of departure for my current research as Scholar-in-Residence at EYE Filmmuseum.
#Nico project findings software
Yet, the project will also benefit media historical research in that it seeks to produce a search interface which allows to browse films and videos in the two collections based on visual features extracted with visual analytics software rather than with descriptive metadata. Roughly this means that they can create video works and visualizations based on the collection which, rather than visualizing data for the purpose of supporting stylistic or aesthetic analyses – what scholars refer to as stylometry – seeks to visualize patterns in more intuitive and exploratory ways so as to potentially challenge the patterns which scholars observe. In SEMIA media historians and heritage professionals collaborate with computer scientists to extract data on different image features such as colour, movement, shape and texture to enable artists and creative users to make data visualisations of patterns and similarities in the collections in a non-evidentiary manner.
SEMIA is a project which aims to enable artistic and creative reuse of parts of the collections of EYE Filmmuseum and the Netherlands Institute for Sound and Vision.
#Nico project findings archive
These projects are the video annotation project MIMEHIST which I have previously written about here – as well as the project The Sensory Moving Image Archive (SEMIA) – which I am yet to write about (blog posts about that will follow and are in the making). The research I do in this context – while it is a small independent project on its own – nicely ties in with research I am currently doing within a few other projects which also involve EYE Filmmuseum. It is a great honor for me to accept this invitation and also a unique opportunity for me to do research on parts of the collection which I have wanted to look into for a long time. Besides me, the artist Alexandra Navratil – whose work you can read more about here – has also been invited.Ī picture of me at EYE Filmmuseum’s Collection Center in Amsterdam Noord. It gives one scholar and an artist the opportunity to work on and with material from the collection with access to its facilities and the great expertise of the Filmmuseum’s staff. The programme has been launched to celebrate the 70th anniversary of the Collection. A press release was send out to announce this end November last year.
This academic year I have been invited by the EYE Filmmuseum to be the institution’s first scholar in its new Artist and Scholar-in-Residence program.
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