Walking the Edit presentation04.2013Walking the editcompose your movie just by walking
Walking the Edit presentation04.20131	 Short description3	 The artistic workflow4	 The technical platform5	Context6	 Cases...
Walking the Edit presentation04.2013 1ShortdescriptionA Realtime movie.The artistic aim of the project is to enable the cr...
Walking the Edit presentation04.2013 2ShortdescriptionGenerate your own movie just by walking.Using the “Walking the Edit”...
Walking the Edit presentation04.2013 3The artisticworkflowTwo teams prepare the content:1. A production team survey a deli...
Walking the Edit presentation04.2013 4ThetechnicalplatformMEMOWAYS PLATFORM.On the road of building up this project we hav...
Walking the Edit presentation04.2013 5thecontextURBAN SPACE.To begin with, there is the search for a space. Astrong and in...
Walking the Edit presentation04.2013 6caseshistoryAdaptations.This system designed within a research frameworkis deliberat...
Walking the Edit presentation04.2013 7pressTribune de Genève21 octobre 2009Les coupures de presse à jour à l’adressehttp:/...
Walking the Edit presentation04.2013 8pressLibération, édition du25/26 spetembre 2010
Walking the Edit presentation04.2013 9pressTribune de Genève9 décembre 2010
Walking the Edit presentation04.2013 10press20 Minutes11 août 2010
Walking the Edit presentation04.2013 11pressLe courrier28 août 2010
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Walking the Edit Presentation 2013

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The artistic aim of the Walking the Edit project is to enable the creation of unique and individual movies by anybody, based on already existing audio-visual material and... a walk.

Stories of-from-about-with the territory: the practice of “walking of a movie” is an open and playful way of interacting with the audiovisual memory of our surrounding environment and everyday life. By mixing our immediate reality with feeds and data coming from the digital space (the mobile internet), we create a so-called “augmented reality”. The project “Walking the Edit” opens an alternative path to this hybrid territory, by reducing the growing data-worlds into a single linear, time based construction: a story. One story out of many potential others: the past of the place you are interacting with is (re)combining itself to deliver a new, contextual and unique story that belongs to your present.

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Walking the Edit Presentation 2013

  1. 1. Walking the Edit presentation04.2013Walking the editcompose your movie just by walking
  2. 2. Walking the Edit presentation04.20131 Short description3 The artistic workflow4 The technical platform5 Context6 Cases history7 Presssommaire
  3. 3. Walking the Edit presentation04.2013 1ShortdescriptionA Realtime movie.The artistic aim of the project is to enable the crea-tion of unique and individual movies by anybody, basedon already existing audio-visual material and… a walk.In short, each trajectory recorded by a visitorcreates a numeric trace which, once analysed by our“editing engine”, will generate in realtime an indivi-dual and unique movie based on geolocalized footage.Storiesarecomingfromunderyourfeet…Stories of-from-about-with the territory: the prac-tice of “walking of a movie” is an open and playful wayof interacting with the audiovisual memory of oursurrounding environment and everyday life.By mixing our immediate reality with feeds and datacoming from the digital space (the mobile internet),we create a so-called “augmented reality”.The project “Walking the Edit” opens an alternativepath to this hybrid territory, by reducing the data-worlds into an artificial construction that is a story-line.One story out of many potential others: the past ofthe place you are interacting with is (re)combiningitself to deliver a new, contextual and unique storythat belongs to your present.
  4. 4. Walking the Edit presentation04.2013 2ShortdescriptionGenerate your own movie just by walking.Using the “Walking the Edit” system, you can createas many surprising movies as you wish: each perso-nal path will generate it’s own unique movie.Like an Audio-Walk, you hear stories about / from theterritory you pass through – but you get much more:the liberty to walk how you wish, where your foots-teps are “driving” you.The movie is not before you, but behind you !By using our free iPhone app that records your tra-jectory with the built-in GPS, you hear along the waythe soundtrack of the movie that you are composingAs you progress, the audio visual material previouslyplaced on the territory is “called up” into your movie:the form of your trajectory becomes the form of themovie.Once the walk is complete, you can watch the resul-ting movie on the iPhone or on the website, choose toshare it with the other users and watch their movie.
  5. 5. Walking the Edit presentation04.2013 3The artisticworkflowTwo teams prepare the content:1. A production team survey a delimited territoryand gather audiovisual fragments which reveal thespecific characteristics of this space: details, por-traits, fictional elements…Emphasis is placed on the uniqueness of the view-point and on the intensity of the relation with thereality.2. The collected images and sounds are indexedand assigned to a geographical location on a digi-tal map by the team of editors. Each audiovisualfragment constitutes an asset which will be indexedaccording to objective and subjective attributes. Ourediting engine and web services will then make the“magic” to create a meaningful and surprising movie.The public enters the scene and can use the system:3. Equipped with an iPhone (personal or borrowed)and the WE app’, visitors wander through the urbanspace. They hear in real time the soundtrack of thefilm which they are walking and watch the editingprocess taking place on the smartphone interface.Their trajectory will “awaken” the existing imagesand link them together.4. Once the walk is complete, the visitors, nowbecome viewers, can watch “their trajectoriestranslated into films” on the internet site and canshare them. Each generated film makes it possibleto (re)immerse oneself into the “digital memory” ofthe urban space.1234
  6. 6. Walking the Edit presentation04.2013 4ThetechnicalplatformMEMOWAYS PLATFORM.On the road of building up this project we have deve-loped Memoways, a generic software platform in thecloud.The central piece of the Memoways software plat-form is a Mac OSX application, enabling any contentproducer to create a searchable, categorised andintelligent library of audiovisual files.The Memoways Platform holds unique features suchas the spaceline concept; “magic” metadata; mobilecreation and a programmable editing engine.The application has 2 main modules:_ Database management(upload, indexing of the assets)_ Project management(project creation, managing the usages)Around those two modules, it is possible to accessto statistics (of the assets, usages, users etc), tomanage users and lists, create and import contactsand more.Next to the Memoways application, there are fol-lowing modules that complete the platform:A generic architecture for mobile applications.By using this architecture, content producers will beable to build efficiently a mobile application with theirown content, for their own public or customers.A series of public API’s. Those API’s will open accessto the public content in a managed way, letting anydeveloper build up he’s own mobile applications orwebsite.A web SDK provides the content producers withembed code that will enable them to simply integratefunctionalities (video player with map) and content(assets & metadata) into their own CMS and webpresence (Facebook, LinkedIn etc).A innovative editing algorithm: our editing engine.This algorithm is a very special filtering algorithmthat uses a form (human behavior) as an input tocreate another form (storyline) as output.
  7. 7. Walking the Edit presentation04.2013 5thecontextURBAN SPACE.To begin with, there is the search for a space. Astrong and interesting context is needed in orderto gather and then to sow our media. A priori, eachspace, whether full or empty, harbours the potentialto let the imagination soar. But what matters finallyis its capacity to fascinate, to be the meeting groundfor contradictory forces, to create situations whichtake us out of the everyday in order to frame itbetter, in short: the most fertile ground for this pro-ject definitely appears to be the urban space withits entangled rhythms which elude us…It is then up to the filmmaker to choose a path fromthe many possibilities which pass before his/hereyes; to stick with it, to persist, understanding no-thing at all about it, to keep working at it in order tocapture finally in flight the moment which will later beshared, revisited and be part of a new context: thedigital space.The issue is, in a way, to be able to find a renewedand highly subjective relation to the urban space bysampling or watching well-defined fragments, for-getting the rest, just setting off into the perspec-tive offered, the “here and now”.Faced with complexity, to choose the simple gesture.CINEMA.The ideal film we would like to reach as a movie-lovingvisitor. There are models, examples, which make yourheart beat faster – but how can we get what is thefruit of the lengthy toil of one or two brains, focusedon their individual preoccupations, to work just byperforming a physical activity (in this instance, wal-king)?The challenge faced by this project is to situate thecinema not at the level of the molecule (the film),but at the level of the atom (the media: our “buildingbrick”). This means adding a little of the cinema toeach fragment collected.Then comes the indexing, which will make our atom-media “vibrate” so that, later and further on, itconnects with another atom-media which respondsto its oscillation.And finally, the surprise (the deception, the enchant-ment); the magnetization of our media into a film, atthe end of the process, will revive the images, thememory of the trajectory.We edit as we walk…NEW MEDIA.It could be said that the new media are in this casethe meeting ground between the urban space andthe cinema.The “Walking-the-Edit” project does not stress thenewness of a medium (computing consumes anynovelty even before it appears), but more the factthat a medium can be renewed without changing itsidentity, simply by changing its position (in a context)or its place (in time). In other words, it is a questionof exploiting the variability of a medium (here, asmuch the content as the container). This is not newin itself, but the scale and the intensity of the varia-bility has evolved considerably, raising the questionof linking the variations (by digital means) with theworld as we know it.The cinema in a time of “media renewal ” still some-times sounds off-key or not in rhythm – it is up to usto invent new instruments, or systems, with whicheven the alleged false notes can ring true.The image which could result from the use of thesystem, is that the labyrinth is not in front but behindus.
  8. 8. Walking the Edit presentation04.2013 6caseshistoryAdaptations.This system designed within a research frameworkis deliberately modifiable and open to many varia-tions and adaptationThose which interest us specially are of an artisticnature:An “installation” version.There could be several types of installations:an installation with temporary centralization (a star-ting space where one can watch the films, the tra-jectories of the visitors through a projection of theirtraces in real time, etc.);an unrestricted, decentralized installation (wherethe essential passes via a website and individualdownloading of the iPhone application);an installation that uses existing urban screens (thefilms being walked are broadcast on public screensin the same space);an installation which combines the above possibili-ties;A “performance” version.A performer-editor walks through the city andcreates a movie in real time that the viewers canwatch simultaneously in a cinema. He/she has priorknowledge of the material and the issue here is to beable to bring the desired media into the flow of theedit through the physical journey. This version can becarried out on the same basis as the installation ver-sion (it can therefore be combined).Genève.This adaptation is funded by following institutions:The Département de l’Instruction Publique du Cantonde Genève (subvention cinéma et du FCAC),The Département de la Culture de la Ville de Genève(subvention complémentaire),The Fonds REGIO Films avec la Loterie romande (aideautomatique liée à la subvention Cinéma du DIP)December 2010: adaptation and presentation withinthe festival Image-Mouvement which will take placeat the BAC between (9 -12.12.2010).February 2011: prsentation of the project within theLift Conference, Workshop on friday and presenceduring the confrence within the Lift Experience.(2-4.02.2011)Automne 2011:almost 3500 video files placed on Geneva.Brussel.After having been nominated at the “NewTechnological Art Award 2012”, the institution iMALis co-producing the adaptation of “Walking the Edit”in Brussel.In collaboration with six artists living and workingin Brussel, we created the content in summer 2012in order to present the project to the public for theexhibition (21.09-18.11.2012)Basel.The project is part of the exhibition “Sensing Place”at the Haus der Elektronischen Künste in Basel.We will work through workshops that will be organi-zed in september and october with local schools tocreate content in the area of Dreispitz. (09-10.2012)Paris.This adaptation is funded by following institutions:le Ministère de la culture et de la communication(DICRéAM) and the MRT: services numériques cultu-rels innovants du Ministère de la Culture et de laCommunicationA co-production between:Cité internationale, Pascale Dejean – Valorisation dupatrimoine / Archives audiovisuelles, Centre de valo-risation du patrimoine, Dédale, C-SIDE ProductionsThe adaptation in Paris was presented during the“journées du patrimoine” at the Cité InternationaleUniversitaire de Paris, 18-19.09.2010) The project iscalled “Heritage Experience” and is now online.Renens.Adaptation of the dispositif between 2008 and 2009within the research project.
  9. 9. Walking the Edit presentation04.2013 7pressTribune de Genève21 octobre 2009Les coupures de presse à jour à l’adressehttp://walking-the-edit.net/fr/reseau/presse/
  10. 10. Walking the Edit presentation04.2013 8pressLibération, édition du25/26 spetembre 2010
  11. 11. Walking the Edit presentation04.2013 9pressTribune de Genève9 décembre 2010
  12. 12. Walking the Edit presentation04.2013 10press20 Minutes11 août 2010
  13. 13. Walking the Edit presentation04.2013 11pressLe courrier28 août 2010

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