DATAMOSHING& COLLAGESANH NGUYEN0907521GDNM Y2

Since I’m allowed to do anything I want for this brief, I decided that I want to do collages. It’s a traditional form of art which’s favoured by many artists and hobbyists

Collage, from the French word coller, to stick, is a visual art which is accomplished by gluing objects to a central backing. Two-­dimensional collage made with photographs, ribbons, and pieces of magazines and newspapers is a common incarnation of the form. However, structural collages made from found objects

are not uncommon. The material used in a college can be both original and borrowed, and the medium is limited only by the

imagination of the artist.

The roots of collage can be found as far back as the 10th century, when calligraphers in Japan starting gluing pieces of paper to their works. In 13th century Europe, the idea of applying gold leaf and gems to religious art arose, and the wider idea of collage began to spread among artists. Mosaic, a practice which

many small pieces of tile to form a pattern, is also a form of collage, and it has been widely practiced in the Middle East and Mediterranean for centuries.

Typically, a collage incorporates mixed media. The artist may, for example, use clippings

from magazines to create a base image, but then write or paint over parts of

might also choose to make the collage more dynamic by adding tactile elements such as fabric, ribbon, textured papers, or other objects designed to make the collage more visually

collage is frequently sealed with a glue treatment so that the elements do not peel off.

PROJECT INTRO

At the beginning, I’m interested in collages, so I carried out research on this topic. I’ve practiced collaging since A-­level. Collage is basically made from an assemblage of different forms, thus creating a new whole. However, I wanted to bring my works into another level by adding new media element into collaging. The idea of a digital collage came across

to use photo editing software like Photoshop to produce collages, so I made a series of digital collages with it. Still, this wasn’t what I wanted. I wanted to create a new form of mix media collage. Instead of mixing newspaper, objects and ribbons, what is going to happen if we mix the new digital media element such as information, audio, video, transmission time between video etc…After a while, I found a solution to get the effect that I want

Datamoshing is a form of compression artefact. A compression artefact is a noticeable distortion of media (including images, audio, and video) caused by the application of lossy data compression.

Lossy data compression involves discarding some of the media’s data so

enough to be stored within the desired disk space . If the compressor could not reproduce enough data in the compressed version to reproduce the original, the result is a diminishing of quality, or introduction of artefacts. Alternatively, the compression algorithm may not be intelligent enough to discriminate between distortions of little subjective importance and those objectionable to the viewer.

The minimization of perceivable artefacts is a key goal in implementing a lossy compression algorithm. However, artefacts are occasionally intentionally

produced for artistic purposes, a style known as glitch art or datamoshing.

In video art, one technique is datamoshing, where two videos are interleaved so intermediate frames are interpolated from two separate sources. Another technique involves simply transcoding from one lossy video format to another, which exploits the difference in the how the separate video codecs process motion and color information. The technique was pioneered by artists Sven König, Takeshi Murata, Jacques Perconte and Paul B. Davis in collaboration with Paperrad, and more recently used by David OReilly and within music videos for Chairlift and Kanye West.

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As I was researching for a way to achieve the datamoshing effect, I found out about Takeshi

Murata produces extraordinary

experience of animation. His innovative practice and constantly evolving processes range from intricate computer-­aided, hand-­drawn animations to exacting manipulations of

code in digital video technology. Whether altering appropriated footage from cinema (B movies,

color, form and motion, Murata produces astonishing visions

between abstraction and recognition.

Murata has developed painterly techniques for processing video using glitches and errors. Conjuring digital turbulence from broken DVD encoding, he carefully tends bad video compression to generate sometimes sinuous, sometimes

With a powerfully sensual force that is expressed in videos, loops, installations and electronic music, Murata’s synaesthetic experiments in hypnotic perception appear at once seductively organic and totally digital.Takeshi Murata was born in 1974 in Chicago, IL. He graduated from the Rhode Island School of Design in 1997 with a B.F.A. in Film/Video/Animation

Jacques Perconte is a French Filmmaker and new media artist born 1974 and living in Paris. His

all over the world. Since 1999 his

explore the digital medium.

Born in 1974 in Grenoble (France), Jacques Perconte lives and works in Paris. He is well known as one of the pioneers of French internet

to have worked on compression codecs. Jacques made his debuts with internet and video

from 1996. The website technart.net is the core of his work, showcasing all his activities (notes, articles, performances... the web is endless). He frequently works with other artist. Even though

his works become less and less theoretical, the relation between form and substance remains crucial. Jacques Perconte works

medias as well as a formal research, focused on the body and the landscape.

Jacques Perconte apparently has a good knowledge of his technology, which serves him when dealing with frame and color. He tries to transform digital technology into a new media, which can be esthetically as rich as any other classical art.

INSPIRATIO

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