Pasztor, Erika Katalina | media artist
Budapest, Hungary
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Reality Resonance | interactive videoinstallation | Ludwig Museum Budapest, 2006
pseudo semantic video archive of mobil videos
work in collaboration with:
Josef Tasnadi [oximoris]
Attila Dröszler
Istvan Vomberg
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presented on the
Resonance exhibition
curated by Nina Czegledy, Louise Provencher, Krisztina Üveges
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Reality Resonance
video documentation [Windows Media, wmv 38,1 MB]
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We are living Tesla’s vision, in the world of worldwide wireless telecommunications dreamed of one hundred years ago, our mobile communication apparatus have become an indispensable part of our everyday life, with which we constantly leave our data and information traces on the world. Cell phones are slowly assuming the role of the “portapack” used in the golden age of video, becoming the tool of private documentarists, despite every limitation (resolution, storage capacity). Our cell phones are always charged and on hand.

In October 2004, I bought a PDA device, which is a palm-top computer, mobile telephone and video camera in one. Since then, every day, with it I make video notes, I document events, locations, people, exactly as they are, exactly like a cultural anthropologist who observes her own environment. I am almost always turning round with my mobile phone/camera: not long ago, I saw again one of Miklós Peternák’s first Videovilág (Video World) TV shows, made in 1988, in which he says – very wittily – that the difference between television and video is that television shows an image, while with video, the man with the camera turns round and presents the world in which this image is made.


Within one and a half years, my video-note-database has grown to several gigabytes and is continually increasing. In the case of relatively few elements, the chronology of recordings is given by an adequate system of the recorded materials, but with a larger number of elements (>300), this is not suitable, because nothing is related about the contents of the recordings. On the one hand, the contents should be described (event, location, actors, etc.); on the other, the specific image and sound attributes (e.g., composition, colour, speed, etc.); and with the aid of the descriptions, various tasks (e.g., search) are automatically performed with the machine. Today, in connection with this – semantic video analysis – intensive scientific research is carried out, although, due to the complexity of videostreaming, this appears to be an extraordinarily complicated task. But in one hundred years, in the private, public and not-public archive of billions of recordings containing billions of something, in all certainty, our moving images – our infinite data-stream-traces – will be processed in this way. Reality Resonance is the "Wardenclyffe Laboratory" of just such an imagined, semantic video-databank.

Erika Katalina Pasztor


Wardenclyffe Laboratory >> Tesla’s Long Island (New York) laboratory, which he began to build in 1900 with the financial assistance of J. Pierpont Morgan. His plan was to develop those devices with which he could transmit wirelessly images, messages, weather reports and stock market information. The project later came to an end due to the lack of further financial sources.


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