Robert Rapoport
PhD (DPhil) University of Oxford
Homepage: www.iterativeframe.com
Research Profile: http://www.leuphana.de/en/research-centers/cdc/digital-cultures-research-lab/members/fellows/robert-rapoport.html
Recent Talk: Stiftung Niedersachsen https://youtu.be/C4INEkR8r_c?t=383
Homepage: www.iterativeframe.com
Research Profile: http://www.leuphana.de/en/research-centers/cdc/digital-cultures-research-lab/members/fellows/robert-rapoport.html
Recent Talk: Stiftung Niedersachsen https://youtu.be/C4INEkR8r_c?t=383
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Aufzeichnung eines Onlineworkshops via Zoom am 11. November 2021 | teilweise in englischer Sprache
Keynotes:
„Anwendung von KI in der Filmindustrie”. Erwin M. Schmidt, Geschäftsführer des Produzentenverband e. V.
„End User Narrative: Cinema in the Age of Machine Learning”. Dr. Robert Rapoport, Leuphana Universität Lüneburg
„KI – Ein Praxisbericht aus dem Westdeutschen Rundfunk“. Ralf Walhöfer, WDR
Eine Veranstaltung des Programms LINK – Künstliche Intelligenz in Kunst und Kultur
https://www.link-niedersachsen.de/Ver...
Writing
chroma-keying were all visual techniques that required a new embodied understanding
by the actor, such that the actor’s performance could be projected into a composited
future. With the coming of augmented reality (AR) the logic of compositing deepens in
both space and time. Using 3D meshes and volumetric capture compositing becomes
‘deep’. 2D cinema sets used to require what Flusser called ‘a new imagination’- between
the material and computational worlds.1 Under conditions of deep compositing, the
imaginative labor of a performance is increasingly delegated to processors, operating in
real-time. As this technique spreads, productions will increasingly leave strategic voids
into which digital assets can be poured. Lev Manovich has argued for the need to explore
the ‘substance’ of these voids.2 How does a landscape made up of such dynamic spaces
change behavior?
This video takes two compositing techniques—the chroma-key and 3D mesh—and gives
them a presence on a 2D set in the form of blue and magenta netting. The behavior of
this netting is subjected to chaotic forces—light, wind and bodies—which make a
convincing composite absurd. The aim is to highlight how the act of inference inherent
in real-time compositing is performative on a number of levels.3 What are the poetics of
performing with or against these processes? How does behavior under these conditions
provide a microcosm of larger epistemological questions that AR will bring? What is the
temporality of a site/landscape of such dynamic voids?
176 pages mit reproductions of artworks by artists like Wolfgang Tillmans and Olafur Eliasson (as well as images from KioskShop berlin (KSb) and Semjon Contemporary), published by
URL: http://www.twotimesone.com/
Editors: Golnar Abbasi, Beny Wagner, Christophe Clarijs, Teresa Cos, Alina Schmuch & Ruben Castro
ISSN: 2468-0745
Conferences
16-18 June 2016 University of Liege (ULg)
Place du 20-Aout, 7, 4000 Liège, Belgium
Proposal for Rituals from Life to Death: Performance, Arts and Society
25 June 2014, University of Warwick
Is it possible to make a film about a ritual without ever showing a ritual at all?
-David MacDougall
The representation of ritual has long posed an epistemological question for ethnographic filmmakers. Rituals, specifically those in which the human body mediates the divine, pose particular problems. How might this existing debates from anthropology inform a new critical approach to films authored in part by artificial intelligence? These questions around authorship and performance create framework applicable to newer social forms mediated by computer code. Using the emergent practice of algorithmic film editing, I look at how this new grammar of film might accommodate an expanded notion of ritual in the 21st-century. Some rituals are framed, at least in part, by an external intelligence that both participates in and observes the performance. Is there an analogy here with the experience of algorithmically edited films (i.e. database cinema)? I suggest that these films shift our understanding of the ritual of cinema and heighten it's inherent liminality. These films, by giving form to what otherwise remains invisible (code) take on a ritual quality. Moreover, as this mode of production proliferates both commercially and artistically it is essential to develop a critical discourse around the kind of spectator it creates.
Arts & Humanities Festival 2015 - Fabrication.
Identity, Algorithms & Creative Practice Panel, 20/10/2015
Dissertation
Other
Aufzeichnung eines Onlineworkshops via Zoom am 11. November 2021 | teilweise in englischer Sprache
Keynotes:
„Anwendung von KI in der Filmindustrie”. Erwin M. Schmidt, Geschäftsführer des Produzentenverband e. V.
„End User Narrative: Cinema in the Age of Machine Learning”. Dr. Robert Rapoport, Leuphana Universität Lüneburg
„KI – Ein Praxisbericht aus dem Westdeutschen Rundfunk“. Ralf Walhöfer, WDR
Eine Veranstaltung des Programms LINK – Künstliche Intelligenz in Kunst und Kultur
https://www.link-niedersachsen.de/Ver...
chroma-keying were all visual techniques that required a new embodied understanding
by the actor, such that the actor’s performance could be projected into a composited
future. With the coming of augmented reality (AR) the logic of compositing deepens in
both space and time. Using 3D meshes and volumetric capture compositing becomes
‘deep’. 2D cinema sets used to require what Flusser called ‘a new imagination’- between
the material and computational worlds.1 Under conditions of deep compositing, the
imaginative labor of a performance is increasingly delegated to processors, operating in
real-time. As this technique spreads, productions will increasingly leave strategic voids
into which digital assets can be poured. Lev Manovich has argued for the need to explore
the ‘substance’ of these voids.2 How does a landscape made up of such dynamic spaces
change behavior?
This video takes two compositing techniques—the chroma-key and 3D mesh—and gives
them a presence on a 2D set in the form of blue and magenta netting. The behavior of
this netting is subjected to chaotic forces—light, wind and bodies—which make a
convincing composite absurd. The aim is to highlight how the act of inference inherent
in real-time compositing is performative on a number of levels.3 What are the poetics of
performing with or against these processes? How does behavior under these conditions
provide a microcosm of larger epistemological questions that AR will bring? What is the
temporality of a site/landscape of such dynamic voids?
176 pages mit reproductions of artworks by artists like Wolfgang Tillmans and Olafur Eliasson (as well as images from KioskShop berlin (KSb) and Semjon Contemporary), published by
URL: http://www.twotimesone.com/
Editors: Golnar Abbasi, Beny Wagner, Christophe Clarijs, Teresa Cos, Alina Schmuch & Ruben Castro
ISSN: 2468-0745
16-18 June 2016 University of Liege (ULg)
Place du 20-Aout, 7, 4000 Liège, Belgium
Proposal for Rituals from Life to Death: Performance, Arts and Society
25 June 2014, University of Warwick
Is it possible to make a film about a ritual without ever showing a ritual at all?
-David MacDougall
The representation of ritual has long posed an epistemological question for ethnographic filmmakers. Rituals, specifically those in which the human body mediates the divine, pose particular problems. How might this existing debates from anthropology inform a new critical approach to films authored in part by artificial intelligence? These questions around authorship and performance create framework applicable to newer social forms mediated by computer code. Using the emergent practice of algorithmic film editing, I look at how this new grammar of film might accommodate an expanded notion of ritual in the 21st-century. Some rituals are framed, at least in part, by an external intelligence that both participates in and observes the performance. Is there an analogy here with the experience of algorithmically edited films (i.e. database cinema)? I suggest that these films shift our understanding of the ritual of cinema and heighten it's inherent liminality. These films, by giving form to what otherwise remains invisible (code) take on a ritual quality. Moreover, as this mode of production proliferates both commercially and artistically it is essential to develop a critical discourse around the kind of spectator it creates.
Arts & Humanities Festival 2015 - Fabrication.
Identity, Algorithms & Creative Practice Panel, 20/10/2015