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 | help

Search through the videos by moving the ball on the pedestal. When the ball stands still, a given video will start, and above it a maximum of 9 videos, similar in some way, will play. When the ball is moving, we see a constantly changing image sequence.

At the bottom of the image, we see a line, which is the timeline, which begins on 12 October 2004, at 22:49. This is when I made my first recording. The timeline is dynamic, with the period of time it represents constantly changing. When we move the iron ball on the pedestal, we are moving on this timeline. The video that we see was made at the time and location that we can read above it.

The 9 recordings above are similar in some way to the one that we view on the timeline.

  • It was made at the same location,
  • in a space of similar character,
  • with similar lighting conditions.
  • The main subject (action/ambience/individuals) of the video is/are the same,
  • with about the same number of people (1, 2, 3, many) appearing in the image,
  • perhaps even the same individual.
  • The movement of the camera is similar,
  • the framing of the shot (e.g., close-up, medium long shot, long-shot, etc.),
  • or similar visual elements (e.g., a red shirt) are visible in the videos.

Meta-data on the video-recordings in the system can be collected. When the ball stops, these statistics are visible. The basic unit of calculations is time. The percentage logarithms indicate on the timeline, until the given point:

  • the proportion between the recorded time and the time that has passed since the starting point (representation ratio),
  • how many recordings I made in open and closed space (openness ratio).
  • The amount of time I recorded in connection with some event is visible (attraction ratio),
  • and how much, when I was alone (contemplation ratio), and
  • when I was in the company of one or two people (social ratio).
  • The numbers show which are the main subjects (actions/ambiences/people) that I prefer (curiosity ratio),
  • what sort of camera movements (mobility ratio), and
  • what sort of shot framing (distance ratio) I work with generally.

The rapid movement of the ball on the timeline produces big jumps. With this ball-interface, it is impossible to search for one video precisely. The moving ball on the timeline that returns to the beginning is as imprecise as memory.

 
   

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