Will Luers
Since 2007
Works in Portland, Oregon United States of America

ARTBASE (3)
BIO
I am a media artist/researcher interested in the proliferating forms and expressive possibilities of web-based and digital cinema: database narrative, spatial montage, looping, multimedia hypertext, networked video and locative storytelling.

In my own drafting and redrafting of a poetics and practice, I am drawn to work that tries to pluralize narrative sequences. If an idea or story can be generated from a single sequence of images, what might be generated with multiple, linked sequences in a database? How does a non-linear juxtaposition of micro-narratives change our sense of identity, our sense of time and our experience of space? What new cinema forms can we grow with our new tools? Most of my material is captured from daily life, but it is in post-production that I try to push beyond continuity to open up a temporal and spatial sense that is multiple and generative.

------------------------------------

Will Luers is a visiting professor at the Creative Media & Digital Culture program at Washington State University, Vancouver where he teaches multimedia authoring, video production and mobile app design. His current research and artistic interests are in database narratives, remix video and the multimedia book. In 2010, he was awarded the The Vectors-NEH Summer Fellowship to work on his database documentary, The Father Divine Project. In 2005, he won Nantucket Film Festival and Tony Cox Award for Best Screenplay.
Discussions (0) Opportunities (1) Events (0) Jobs (0)
OPPORTUNITY

Marking Time: Video Blogging as Art Practice


Deadline:
Wed Sep 30, 2015 23:00

Marking Time: Video Blogging as Art Practice
The CMDC Digital Publishing Initiative at Washington State University Vancouver invites scholars to contribute papers in response to a curated exhibition of expressive online video. The exhibition highlights the ways in which early video blogging (from 2001-2009) spawned unique forms of networked cinema, everyday art practice and informal documentary, as well as distribution methods that would later disrupt video and cinema conventions and practices.

Publication/Exhibition

Co-edited by Will Luers and Adrian Miles, Marking Time: Video Blogging as Art Practice will be published on the web as a curated exhibition of videos and related scholarly papers. There will also be versions of the text distributed for mobile devices and print-on-demand. The videos will be screened and exhibited in multiple venues.

Context
Is a Vine feed a video blog? In 2015, video blogging as a term is complicated, if not redundant. In a material sense, video blogging is a specific term. Digital video is materially defined by codified file formats, codecs and players. Blogging is similarly defined by web coding, content management systems, RSS feeds, links, commenting and a range of technical and social protocols. However, sharing video to networks has become so common, and happens across so many commercial platforms, that any reference to video blogging as a distinct cultural form now sounds old-fashioned. Just as the term “folk art”, adopted as a genre of the commercial art market, has embedded itself in contradictory notions of collective, egalitarian, non-normative and non-commercial forms of expression, video blogging as a distinct form of non-commercial, networked expression can get lost in the vast networks of monetized media. In contrast to the commercial and corporate behemoth of services such as YouTube, the early zeitgeist of many video bloggers was to artfully and publicly document the passage of time within their own life-worlds. This original phenomena of video blogging, especially in its nascent forms, brought together cinematic and televisual expression, personal journaling and digital network dynamics into a unique and specific ecosystem of practice, argument, and expression.

The Online Exhibition:
couch mode: http://vimeo.com/couchmode/channels/927133/sort:preset/129733164
searchable/ database mode: http://vimeopro.com/user22489560/markingtime
The videos in the exhibition magnify the creative energy, expressive freedom and formal diversity of personal networked cinema in its earliest stages. Artists were selected based on their experimentation with video blogging as a communal space for a private art practice, rather than on standards of media professionalism. The videos are bold experiments in form, but applied to and constrained by the raw material of everyday, networked life. Many of the videos are of technically “poor quality” due to bandwidth limitations at the time, but this constraint is celebrated. Low-res video, as a stand-in for raw experience, is edited into mini cinematic narratives, haikus and lyrical fragments. Some of the videos are just the unedited data of moments captured. Some are remixed, glitched, and processed for aesthetic effect. The collection as a whole documents artistic responses to a media environment made possible by the internet and affordable, prosumer video equipment.

Submissions and author guidelines:
Paper topics should be proposed and eventually written with the online video exhibition as a common reference point, but papers do not have to explicitly discuss the videos.

Topics of interest include (but are not limited to):

video poetics
diary film
nonfiction video
personal cinema
soft video
digital cinema
networked culture and aesthetics
social media art
low-fi expression (zine, glitch and punk aesthetics)

Please send a 250 word abstract in either Text, RTF, Word or PDF formats to Will Luers (wluers@gmail.com).

The DEADLINE for abstract submissions is September 30th, 2015. Submitters will be informed by mid-November 2015.

Final Papers will be due January 15th, 2016.

For more information, please contact Will Luers ( wluers@gmail.com).
Visiting Assistant Professor at the CMDC, Washington State University Vancouver

Nouspace Publications: http://www.dtc-wsuv.org/cmdc/nouspace-pub/
Creative Media & Digital Culture:http://www.dtc-wsuv.org/cmdc/