Author Archives: dps1986

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Data Moshing

Hey guys, here are some videos and websites Jimmy sent me that have to do with data moshing and glitch art. Check these out and maybe they’ll give you some ideas for your final revisions.

Have fun with revisions!

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Hey guys, here is your assignment for this week. Under Final Cut Pro 7 Essential Training please watch:

Advanced Editing Techniques (4)

Mastering the Interface (5)

Modifying Speed (8)

Transitions (9)

Filters (10)

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First Editing Assignment

Hey guys, here are your editing guidelines:

1. Make at least 8 edits. Single shot projects are for later.

2. Make sure that your shots vary in length

3. Make sure you shoot from various angles

4. Take multiple shots of the same object

5. Remember to use the camera manual

If you guys have any questions, feel free to email me or Dara. Have fun!

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ISO and Aperture

Hey all, check out this video on ISO, aperture, and shutter speed. The video is actually for digital photography as opposed to video but the principles are largely the same. We all have different cameras but each one should at least have ISO controls. Look in the manual and figure out how to master these. Doing so will increase or decrease your camera’s sensitivity to light and, therefore, radically change the quality of your image.

If this is too much for you to think about right now, don’t worry. You can always re-shoot later / tweak your image in Final Cut.


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Just a reminder of what you have to watch on Lynda.

First, how to find it:

Subject>Video>Software>Final Cut Pro>Version 7>Essential Training

What you’re watching:

1. Introduction

2. Using the Interface

3. Skip down to Importing (section 14) and import some clips

4 Working with Clips (section 2)

5 Building a Story (section 3)

6 Once you’re done editing some clips together, watch Exporting (section 15)

I know this is a lot, but this is by far your biggest Lynda assignment. Also, the above order is only a suggestion. If you already have some experience with Final Cut, or if you want to watch videos as you run into problems editing, then go for it.

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Peter Campus: Three Transitions

I’m really sorry we didn’t get to talk more about this film. When you think about it, this deadpan man seems to have created a perfect visual metaphor for the anxieties of our age: Who am I? Who have I become? Am I coming or going? Is this my real self? He’s like the Mr. Bean of existential angst.

Leave a comment if you think of anything else.

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Wolf Vostell

Here is the Wolf Vostell film, EdHR, that we saw yesterday. By some magical Youtube trick, the longer version of the video has disappeared. However, this version does have the added benefit of telling you what EdHR stands for: Elektronischer dé-coll/age Happening Raum. Alex will confirm that “Elektronischer” is German for electronic and “Raum” is German for room, but it can also denote space, for instance, Raumfahrt = space travel. Décollage is an artistic style – think the opposite of collage. In collage, you take random or not so random things and smatter them together. We all remember, with varying degrees of nostalgia/dread, making collages in kindergarten/first grade. In décollage, you do the opposite. You take a whole picture and strip away layers of it, thereby revealing what is underneath. Here’s a good example:


A “happening” is a very loose term signifying an artistic event whose artistic quality lies somewhere within the event itself. The following contrast should make this clear: if I paint a picture of the Mona Lisa, I have created a work of art; if I get one hundred people to stand outside Baltimore city hall and smash portraits of the Mona Lisa over their heads, I have created a happening. So, to put it all together, what we saw yesterday was an electronic décollage happening room.

I do not doubt that Vostell’s piece is both electronic and in/about a room. But why do you guys think he called it a décollage and a happening? Indeed, Vostell’s piece is not only a décollage; it is a dé-coll/age, a word whose dash and slash hint at the very process of décollage itself. What does Vostell’s work peal away? What does it reveal/conceal? And why does entering into the space of this work constitute a “happening”?

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