Follow

• 

  video through | Week 1: Bibliography

  Maxime Cavajani and Movement Lab

  Bibliography of all course readings and references.

• 

  video through | Week 1: on montage

  Maxime Cavajani and Movement Lab

  Presentation outline and links to artist references discussed and screened in Week 2, on Day 2 On Montage + Editing.

• 

  video through | Week 2: technical information for DSLR

  Maxime Cavajani and Movement Lab

  Technical information and diagrams describing the function and relationship of aperture settings, ISO sensitivitiy, shutter speed, focal length, and exposure when shooting with a DSLR camera.

• 

  video through | Week 3: presentation of video installations

  Maxime Cavajani and Movement Lab

  Outline of artists references screened on Week 3, Day1.

• 

  video through | Week 3: reading and voicing exercises

  Maxime Cavajani and Movement Lab

  Outline of Week 3, Day 1 presenting method of reading, voicing, and movement exercises.

• 

  video through | Week 3: reading and voicing exercises texts

  Maxime Cavajani and Movement Lab

  Images of text excerpts employed for reading and voicing exercises, Week 3, Day 1.

• 

  video through | Wintersession 2024 Syllabus

  Maxime Cavajani and Movement Lab

  This course is entitled video through because it aims to question how video allows us to think through time and through space simultaneously. In this course we will consider video as space, material, and matter. In an approach that prioritizes experimentation in space, we will work in a non-linear fashion: fabricating video in space and fabricating space with video _ a constant back and forth. From those experiments we will learn how to use the properties of video editing, video-making, shooting, projecting/screening as interconnected tools that deny a singular trajectory of making.

  The classroom will become a site. We are going to reject the notion of the studio as solely a place “to record” content. Rather, we will bring content into the space so that the studio can become a displaced site. This displacement is generative because it allows us to complicate the notions of subjects, bodies, agents. The bodies - our bodies - who are going to be in this new “site” are going to become agents of a semi-tangible space. Troubling this question of the space in which recording, and projecting can happen at once will allow us to explore the conceptual possibilities that video offers. It will also allow us to explore questions of memory, time, recording, projection, imaging, re-memory, erasure, subject, voice, performer/performance and more… Through series of experiments, we will explore the reciprocal interrelationships between the technicalities and the poetics of video installation.

  A key reading for this class is The Skin of the Film, which will be a key resource to understanding the theoretical and conceptual implications of our experimentations. In lecture presentations we will learn about and discuss a multiplicity of practices that spans multiple genres and media. To make of this experimental class a space and time of shared knowledge, active participation is required. In fact, our class will require embodiment. We will learn collectively, from one another and by trying. To learn from those experiments, we will aim to produce records during class time and build a collective archive that will help support each student’s personal project. During this class each student (or pair TBD) will work towards a final video installation presented in an event open to the public.