#8145

https://www.youtube.com/watch?v=Sqbv7cCM5AI Bjork video for tone

Sadie Benning

American experimental film maker who used toy cameras in all her early works. Here is a link on Vimeo

Hito Steyerl 

Might also strike a note with you 

What is tri colour separation on 16mm film? 

Explained here, page 2 http://mikehoolboom.com/thenewsite/docs/306.pdf

Waterfall by the Cantrills - Australian experimental film makers from Melbourne who are the ‘George Lucas’’ of experimental film (ie ground breaking, internationally reknowned) http://sensesofcinema.com/2010/arthur-and-corinne-cantrill-dossier/waterfall/

Tri colour separation - by Warren Burt, a Melbourne composer and musician and doyen of Australian experimental culture

https://www.youtube.com/watch?v=CyLA3dexwWU

Tri colour separation by Chris Welsby - UK experimental film maker distributed by Light Cone, a major experimental film distributor https://lightcone.org/en/film-1532-colour-separation

Pipilotti Rist - video artist, relevant for your design elements for green screen

Lars Von Trier - film maker, Dogville for entire film made within a studio and lighting choices in that space; early works such as Zentropa for formal style and use of rear projection (green screen equivalent of its era)

Von Trier’s work references Douglas Sirk. Sirk was an American director who mostly made melodrama. Melodrama is associated with women’s stories, tragedy, tight framing, relatively moody lighting.

Focus on performance and faces on camera - John Cassettes, all of his films in particular Faces. Also relevant here is Persona by Ingmar Bergman. These are both classic films good for any filmmaker to know well.

Expanded cinema and alternatives to single channel (ie big screen Dendy) projection - showed you Expanded Cinema Anthony McCall; Ryoji Ikeda

Consider found footage for the video art piece - Prelinger Archives seems to need Getty permission, look for others where you can get footage for free eg ABC used to run ‘Pool’. Have a look at early advertisements, National Archives and NFSA websites should have some digitised eg decimal currency films.

Using super 8, lab in Melbourne. 

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Zonk Vision - glitch TV made by a Canberra artist Danny Wild (he’s now in Sydney but he’s around)

Daniel Crooks, Australian video artist - https://vimeo.com/77843619

The simplest example of his work uses stop motion, here t’is https://www.artgallery.nsw.gov.au/collection/works/342.2005.a-c/

http://archive.ccp.org.au/docs/lectures/VideoVoid.pdf

Australian Video Art, recent book 2018 

Botborg http://botborg.com/

Marsha Berry essay on smart phones and film production ... 

http://researchbank.rmit.edu.au/list/?cat=quick_filter&form_name=adv_search&search_keys%5Bcore_66%5D=2006074795

Films of Sadie Benning

  https://vimeo.com/264897944

Films of Sarah Gibson

 https://sarahcgibson.wordpress.com/filmmaker/filmmaker-sub-page-01/

FILMS OF NAZLI DİNÇEL

Check her out on Vimeo - there will be a screening of her work in Sydney - https://www.workshopforpotentialcinema.org/

Poetry film/film poetry

https://poetryonthemovefilm.tumblr.com/

https://issuu.com/lcurham/docs/poetry_on_the_move_lunchtime_films_

Playful, joyful

Craftivist who makes little animals to bring 'joy' here she is - https://www.smh.com.au/entertainment/m19cover-20160301-gn7801.html

Sayraphim Lothian, Public Artist And Craftivist, Melbourne, she was part of the Play Symposium in CBR last year.

Social media for social good

Couldn’t find anything really relevant with a quick Google. So maybe there’s a niche for you. My search was ‘social media for social good’. Spend some time on that maybe ...

Something here perhaps https://news.artnet.com/art-world/best-social-media-art-1182398

I really love this project here https://anthology.rhizome.org/everythingiveeverwantedtoknow-com

The artist kept a list of every term she put into Google for a period of time. It’s quite compelling but not quite what you have in mind! This website (Net Art Anthology) might inspire you. 

Publishing for good

Analog/digital product augmentation research

Search results ‘analog products with digital augmentation’, search 24 Aug

https://thepeakmagazine.com.sg/lifestyle/analogue-digital-merged-create-augmented-paper/

Agile manifesto

Addition to QR codes and alternatives

https://www.wired.com/story/augmented-reality-art-museums/

QR codes and alternatives

MIT article re visual search (alternatives to QR codes)

 https://www.technologyreview.com/s/425907/scan-anything-and-let-your-phone-do-the-rest/

National Archives exhibition on the early designs for Canberra featuring ‘augmented reality’ app for iPad. This review includes a whole section about the interface (scroll down to ‘use of tech in exhibition’ heading) 

More QR code articles at the bottom of this post ... read the abstracts, one points out that QR tech is not widely used.

Stop motion animation

Animation festival http://www.miaf.net/ . The wikipedia page for animation festivals tells you which ones are long established (ie ‘important’). Check out past winners/entrants and have a look at their work 

The Australian Centre for the Moving Image in Melbourne has lots of resources on stop motion animation including a ‘how to’.

Here’s a website devoted to animation in Australia OzAnimate

Reading list on animation how tos from the British Film Institute

Resources from the UC library on animation 

Includes DVDs of Jan Svankmajer’s work, a very famous Czech animator who used stop motion in all his work (quite dark, not paper based but you need to know about Svankmajer!)

Stop motion handbook 3: using GarageBand and iStopMotion

Description: A reference guide to help young animators learn how to produce polished stop motion movies. Includes teacher lesson plans. Suggested level: primary, intermediate, secondary.

Creation Date: 2012

The animation bible : a guide to everything - from flipbooks to flash

Creator: Furniss, Maureen.

Contents: 1. Concept, medium and style -- 2. Storytelling strategies -- Applications I. Hearing sound; Dynamics of color; Color rhythms; Developing personality -- 3. Pre-production -- 4. Production and post-production -- Applications II. Timing action; Developing frames; Twisted wire and clay figure -- 5. Early motion devices -- Applications III. Thaumatrope; Flipbook -- 6. Direct filmmaking: practice and presentation -- 7. Direct filmmaking: vision, sound and collective experience -- Applications IV. Direction motion graphics loopology; Direct sound; 16mm animaged sound notes -- 8. Mixed media and drawing -- 9. Water- and oil-based media -- Applications V. Texture book; Characteristics of media; Coloring test -- 10. Stop-motion animation: a survey of techniques -- 11. Animation in real world contexts -- Applications VI. Replacement animation and lip sync; Cutout figure using paper pivot hinges; Pixilation -- 12. Digital media and computer animation -- 13. Digital visions -- Applications VII. Playing with Flash -- Glossary.

Creation Date: 2008 University of Canberra Library UC Library General NC1765.F87 2008

The animation producer's handbook

Contributor: McConville, Yasmin.

Contents: 1. Animation -- 2. The producers -- 3. The concept and the pitch bible -- 4. Project development -- 5. Setting up the pre-production process -- 6. The 2D pre-production process : part one -- 7. The 2D pre-production process : part two -- 8. 2D production -- 9. Pre-production and 3D animation -- 10. 3D production -- 11. Post-production -- 12. Producing Flash, stop motion and multipath movies.

Creation Date: 2006 University of Canberra Library UC Library General TR897.5.M55 2006

The collected shorts of Jan Svankmajer Vol. 1 : the early years

The collected shorts of Jan Svankmajer vol. 2 : the later years.

Description: A series of short films made by the Czech surrealist Jan Svankmajer, using a combination of puppets, humans, stop-motion animation and live action. 

University of Canberra Library UC Library General PN1997.A1.C65 2003 dvd 2

QR codes journal articles

Mediating Museum Display and Technology: A Case Study of an International Exhibition Incorporating QR Codes

Creator: Dressler, Virginia A. ; Kan, Koon-Hwee

Is Part Of: Journal of Museum Education, 03 April 2018, Vol.43(2), p.159-170

Subject: Article ; Quick Response Codes ; Art Exhibition ; Informal Education ; Museum Display ; International Art Exhibition

Description: Theoretical and practical implications of incorporating Quick Response (QR) codes in a traveling international art exhibition are addressed in this paper. Blending the physical and virtual dimensions, the exhibition undergirded a pilot study of the integration of technology into traditional museum settings in both China and the United States. The conceptual and methodical framework highlighted in this study included the participatory museum, informal education, and an array of evaluation research methods and techniques. Data collected for analysis comprised a set using Google Analytics, questionnaires completed by exhibition visitors, and other in-depth qualitative findings collected from participating artists from both cultures. This paper shows that the technological aspects of display can lead directly to participatory learning with the potential for new directions and avenues of inquiry.

Publisher: Routledge

Identifier: fulldisplay.constants.ISSN: 1059-8650 ; E-ISSN: 2051-6169 ; DOI: 10.1080/10598650.2018.1459081: ISSN: 1059-8650 ; E-ISSN: 2051-6169 ; DOI: 10.1080/10598650.2018.1459081

Source: Taylor & Francis Group

Using QR codes to increase user engagement in museum-like spaces

Creator: Pérez-Sanagustín, Mar ; Parra, Denis ; Verdugo, Renato ; García-Galleguillos, Gonzalo ; Nussbaum, Miguel

Is Part Of: Computers in Human Behavior, July 2016, Vol.60, pp.73-85

Subject: Quick Response (Qr) Codes ; Museum-Like Spaces ; Engagement ; Experimental Design ; Design-Based Research

Description: Quick Response (QR) code technologies offer potentially outstanding opportunities to transform public experience in museum-like spaces. However, although QR codes are a cost-effective way of delivering digital information in these spaces, there is as yet little information on the resulting effects on visitor engagement. We conducted two different controlled experiments in order to examine the effects of QR codes on visitor engagement in museum-like spaces. These experiments were structured in two research cycles and followed the Design-Based Research methodology. The first experiment compares the effects of QR codes versus traditional display screens for providing information about the exhibits. This experiment was carried out with 200 participants in a public garden. The second experiment was carried out with 260 college students at a university campus hall. This experiment compares traditional (or one-way) QR codes with two-way QR codes as different methods for delivering information. Two-way QR codes allow visitors to search for information about the exhibit, as well as contributing by leaving comments. In both experiments, we measured engagement as a combination of three variables: (1) amount of information consumed by visitors; (2) the time visitors spend at the exhibit; and (3) the visitors’ perceived quality of the experience. The results show that visitors prefer direct mechanisms for obtaining information about the exhibits, such as text on a panel or videos on a screen. However, we also found that two-way QR codes are a cheaper alternative for delivering digital content in museum-like spaces, especially for college-age visitors. •The effect on visitors' engagement of using QR codes is studied.•One experiment compares QR codes versus traditional display screens.•Another experiment compares traditional QR codes with two-way QR codes.•Visitors prefer direct ways of delivering information: screen and text.•Two-way QR codes are more engaging than traditional QR codes.

Identifier: fulldisplay.constants.ISSN: 0747-5632 ; DOI: 10.1016/j.chb.2016.02.012: ISSN: 0747-5632 ; DOI: 10.1016/j.chb.2016.02.012

Source:

A case study on the appropriateness of using quick response (QR) codes in libraries and museums

Creator: Schultz, Michelle Kelly

Is Part Of: Library and Information Science Research, July 2013, Vol.35(3), pp.207-215

Subject: Museums -- Usage ; Museums -- Case Studies ; Museums -- Analysis ; Libraries -- Case Studies ; Libraries -- Analysis;

Description: Libraries and museums are increasingly looking to mobile technologies, including quick response (QR) codes, to better serve their visitors and achieve their overall institutional goals; however, there is a lack of information regarding patrons' perceptions of QR codes — information essential to successful implementations. This case study explored staff members' and patrons' perceptions of QR codes at Ryerson University Library and the Museum of Inuit Art in order to determine the extent to which QR codes are appropriate for use in libraries and museums. Observations and 56 patron and staff interviews were conducted to obtain data on usage, knowledge, reactions and expectations regarding QR codes in these institutions. It was found that QR code usage was low, but that there was potential for use, with patrons' reactions being generally positive. Three themes were identified from an analysis of the results: an assumption that young people and smartphone owners use QR codes; that QR codes are only used for one-way provision of information, not to initiate a conversation; and that QR codes can be used to personalize a visit to an institution. Libraries and museums are advised that based on these findings, QR codes can provide a cost effective and potentially powerful tool, but patrons should be first surveyed to tailor these initiatives to their wants and needs. •QR code usage was observed to be low.•Patrons' reactions were generally positive, suggesting potential for effective use.•A common assumption was that youth and smartphone owners know how to use QR codes.•Another assumption was that QR codes are only used for one-way information provision.•The idea raised was that QR codes could help visitors personalize their visit.

Identifier: fulldisplay.constants.ISSN: 0740-8188 ; DOI: 10.1016/j.lisr.2013.03.002: ISSN: 0740-8188 ; DOI: 10.1016/j.lisr.2013.03.002