100 Cuts. "Cut&mix" generation.
"Really, half of art is trickery. You pull tricks and you get tricked. It's a higher form of trickery. Art is what makes the public numb" (Nam June Paik) Source: Wikipedia

"One of the key differences between video art and theatrical cinema is that video art does not necessarily rely on many of the conventions that define theatrical cinema. Video art may not employ the use of actors, may contain no dialogue, may have no discernible narrative or plot, or adhere to any of the other conventions that generally define motion pictures as entertainment. This distinction is important, because it delineates video art not only from cinema but also from the subcategories where those definitions may become muddy (as in the case of avant garde cinema or short films). Perhaps the simplest, most straightforward defining distinction in this respect would then be to say that (perhaps) cinema's ultimate goal is to entertain,[citation needed] whereas video art's intentions are more varied, be they to simply explore the boundaries of the medium itself or to rigorously attack the viewer's expectations of video as shaped by conventional cinema" Source: Wikipedia

The contemporary metropolis lets visions emerge that are faded and pierced, liquid and flaming concepts, digitalized spaces, mutated identities. The connections between techno-communication and metropolis walk side-by-side with writing and authority, with poetics and politics, with art and museums. The codes for each image unit multiply themselves: even buildings become full of signs, like in a videoclip. In an "history's end" scenario, it seems impossible to invent new forms. And assembling to our liking the symbols of the past, reducing them to icons and juxtaposing them, seems to be all that is left for us: architecturally, visually, in the shapes of the bodies and of the products.

Thinking about "his" Las Vegas Robert venturi would probabily say: "it's all in the mix".(Massimo Canevacci)

This is the contemporary metropolis, communicational, techno-mutagen, a fertile ground for the explosion of the practices enabled by digital technologies. Videoclips, DJ-ing, VJ-ing are expressions of a drive that is typically urban, aiming at winnng back, re-signifying, re-enacting, re-cycling. Walls transformed in canvases, concrete geometries transformed into acrobatic tools for skateboarders, industrial architectures transformed in 200bpm techno-dance-halls. Creating symbols, icons, aesthetics, urban living practices, relations among bodies and architectures, passages and the flowing of time.

In the same way, videoartists learned how to reinterpret visual streams. Since Fluxus: cutting, re-meaning, pasting.

After 40 years, digital tecnologies transformed "cut'n mix" techniques in a cultural foundation, in the main tool for the creation of significance.

The 100Cuts competition aims at a deep immersion into visual cultures, into the generation of new meanings starting from pre-existing contents, into the network, as an expression of the cultural ecosystem that finds its energy (and, thus, ours) in the link, in the reference, in the de-composition and re-composition of information, along non linear narratives composed by infinite points of view.

Usage Instructions

Videoart works made using any technique or technology can be submitted to the contest.

The final work will have to explicitly include elements of pre-existing works (from a minimum of 10 to a maximum of 100). Thisis the only rule..

Our partner BeatPick made the musical archive published on its portal using open licenses available for use in the competition. The contest's participants, thus, will be able to freely listen to the music on BeatPick's portal and to choose and use the tracks that they like and that they feel is useful to sample in the creation of their "cut'n mix" submission.

The submission must include:

- title;
- the work (see below);
- a clear and detailed reference to the sources used in the video;
- a synthetic description of the techniques used (remix, cut-up, mash-up, generation, synthesis, etcetera...), be them digital, analogic, combinatory or algorithmic.

To submit the videos load them on MUVIDEO.BIZ, our partner website, in the RomaEuropaFAKEFactory category and send us the reference link or EMBED code, together with the rest of the required information.

Make sure to keep the high resolution versions of the videos available: we will ask for them later along the year to setup the public exhibit.

Works created by individuals and those created by groups are both accepted to the contest.

The use of audio and video materials whose distribution licenses explicitly allow for the manipulations applied in the making of the work (for example Creative Common, copyleft licenses, or contents that are in the public domain), will be a positive judgement parameter taken into account by jury members.

The jury will not assign prizes and will not enforce rigid rankings. Its activities will be focused on the critical evaluation of the cut&mix works, on a reviewing process, and on the promotion of the works that will be deemed as significative, to create opportunities and to get the general audience and the professional operators involved.

The reviews will be progressively published on the website beside the artworks and will be publicly discussed by the authors, reviewers and audience.

Feel free to ask any question or request any further information you might need on the initiative and on the terms for submission of the works, by writing to this email address videoart@romaeuropa.org. The curator will answer as soon as possible.

The works have to be sumbitted by registering to this website and loading the works using the "Upload Work" function. Submissions will be accpted up until October 15th 2009 (included).

>> REGISTER TO THE COMPETITION HERE <<
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