What Facebook sees at 1129AM / Live Broadcasting: Real Life

Screenshot of video broadcast

Link here.

Summary of my experience:
Earlier, in deciding the placement of the camera, I placed it with careful curation: an area where exposure was limited, and I had complete control over the video frame contents. I anticipated that I would be having viewers, and curated the video contents to hint, rather than explicitly show, what I was doing in real time.

‘While webcams always appear to be casually and innocently positioned, “their field of vision is carefully considered, and behaviour within that field cannot help but anticipate the looming presence of the global viewer.” ‘
– Steve Dixon in “Webcams: The subversion of Surveillance” (2007)

To a certain extent, it was a constrained performance, but at the same time, the contents were not. It was a typical view of what I usually do, banging the keys as I dish out essays after essays. The lines between private and the public have been blurred, as they enter my private space, yet ineffectually through my constructed broadcast.

Another pertinent point which Dixon brought up was rather interesting, that the unrevealed (a la invisible) in fact brings up the visible.

‘Unrevealed offstage action is a standard theatrical narrative device… Similarly, the long periods of time watching empty rooms with no characters within the Jennicam set… presented an ever-shifting kaleidoscope of patterns where, like a Beckett play, like an Eliot stanza, people “come and go”.’
– Steve Dixon in “Webcams: The subversion of Surveillance” (2007)

Through my accidental disappearances in the video – despite it not being intentional nor very much prolonged – along with the restrictive video framing, brought up a second narrative: where did she go, what is she doing now – gone to the toilet or hiding from the camera?

Sources
[i] Dixon, S. (2007) “Webcams: The subversion of Surveillance” (pg. 443-455), Digital Performance, 2007

 

Video Walk Documentation

Four screens – it was harder to film it, as the video was moving too quickly; had I known, I would have slowed down my walking pace during filming last week. That being said, it effectually shattered the perspective of the space. Through fragmentation of the seen and known of the just seen and the now seeing, one effectually gets information overload of the space and corrupts their spatial distortion.

 

 

Food makes my heart go be-dok / Pirate Broadcasting as Reportage

Video link: Here

This time round it was a more interactive experience, and in contrast with the previous reportage there were many more others in my vicinity. Hence, there was another set of challenge in how to film and angle the cameras – I was conscious that others might not like having the camera pointed at their face hence at some parts of the video, the angles were off.

Having filmed this with a friend by my side, she was able to better point me to areas of interest as I was pretty occupied with looking at what was being filmed; my attention was everywhere. The few people I interviewed were well-mannered and did not mind sharing their views, but they didn’t realise that they were being filmed live. After all, what I did was not something people usually would film.

The interaction was multiplied in this broadcast – with my friend physically beside me, online, and the strangers I interacted with. Despite there not having anyone online watching it while filming this, I knew that later after the broadcast, others will still be able to rewatch it and experience the market at the time I filmed it.

It was however a fresh new experience in getting to introduce the Bedok interchange market to the Facebook population, and as my friend (who stays in the East area) said, ‘Bedok is famous for its food’.

The Pirate Cinema, Nicolas Maigret / Research Critique (Week 3)

The Pirate Cinema, 2012 Video Installation Nicholas Maigret Photos: Justin Desforges, courtesy Nicolas Maigret Image Credit: wired.com
The Pirate Cinema, 2012
Video Installation
Nicholas Maigret
Photos: Justin Desforges, courtesy Nicolas Maigret
Image Credit: wired.com

Image Source: wired.com

The Pirate Cinema (2012) by Nicolas Maigret is an installation artwork featuring 3 screens, visualising how peer to peer data transfer in real time by using BitTorrent protocols. A collage of top 100 most popular transferred files are played across the 3 screens for a few seconds, including a brief flash of a partial IP address and location. Today, the artwork can be viewed online.

How it was created
Built on a data inception software, The Pirate Cinema automatically scans the most viewed torrents. The intercepted data is immediately projected onto the screen, and discarded after. Torrents scanned originates throughout the world.

The Pirate Cinema, 2012 Video Installation Nicholas Maigret
The Pirate Cinema, 2012 Video Installation Nicholas Maigret

Image Credit: piratecinema.com

In recent years, the availability of peer to peer sharing towards millions of internet users has heralded a new form of piracy, inadvertently changing the way how cinema is experienced. By exposing the ‘internal workings of media'[i], Maigret makes visible the limitations of peer to peer sharing with his immersive sensory and audio installation. Concurrently, he also highlights the possibilities of peer to peer sharing for being part of the aesthetic experience.

Relationship with the Third Space Network
The Pirate Cinema‘s foundations were built upon the third space, despite itself not being part of the medium, but rather, and extrusion of it. It becomes a visualisation of this abstract space, an amalgamation of the efforts of the collective user network engaged in torrenting (unknowingly). Akin to the 1970s and 1980s video collectives such as Videofreex and TVTV, which attempted to mobilise people to make their own medium rather than being passive consumers of a centrally constructed broadcast programming[i], The Pirate Cinema hosts the ordinary consumer (of networked data) into the role of the changed broadcast programming.

They attempted to democratize the media by facilitating people-to-people communication… activating the production of media around a proliferation of local issues expressed by a range of marginalized communities.

– Randall Packer, author of Third Space Network (2016)

Hence, the marginalised, passive consumers are able to break down the hierarchy in media information corporate structure, even-ing the grounds for communication. In fact, they are altered:

It is a living art, exploiting contemporary forms of digital and physical networks as a mode of open praxis…

– Marc Garett, co-director and co-founder of Internet art collectives and communities in Third Space Network

In fact, its existence as a living art can further contribute to the diversity of the artwork – with its ability to constantly rejuvenating itself based on the whims of the collective community, and free against the rules of the broadcast programming.

Ironically, despite of what it seeks to contravene, The Pirate Cinema‘s delivery emulates the centrally broadcast programming in the top down broadcasting to passive viewers. While its content might be drawn upon from the third space, its narrates its information through a screen – similarly, to passive viewers of the installation. Nevertheless, it remains a pivotal artwork in addressing the abstract realm of the third space, underlining the greater possibilities of the third space as an artistic platform and network.

 

References

[i] Packer R., “The Third Space Network” (2016)

[ii] “Aksioma — The Pirate Cinema By Nicolas Maigret”. Aksioma.Org, 2017, http://aksioma.org/pirate.cinema/.

[iii] Maigret, Nicolas. “Nicolas Maigret : Nicolas Maigret”. Peripheriques.Free.Fr, 2017, http://peripheriques.free.fr/blog/index.php?/projects/about/.