Off-lining to tape is not archiving: Why we need real archiving to support media archaeology and ensure our visual effects legacy thrives

© 2019 ISAST This paper examines digital asset archiving and preservation practice in the visual effects (VFX) industry. The authors briefly summarize media archaeology theory and provide an overview of how VFX studios presently archive project assets and records, based on case study and interview research conducted with expert VFX practitioners from leading international studios. In addition, the authors propose that current practice could be improved by adopting archival science methods, including digital preservation practices. Doing so will support media archaeology studies of digital cultures over time and ensure that the legacy of VFX creative and technical production thrives for future generations

Futurist images for your ear: or, how to listen to visual poetry, painting, and silent cinema

This paper discusses the crucial tension between expression and experience in the Futurist art-action programme, by focusing on its noisy dimension. In the 1910s, the Futurists shocked the bourgeois audience with clamorous happenings and educated their senses towards a new aesthetics of mixed sensations. Noise was a key ingredient in their avant-garde programme. The paper demonstrates how Futurist art even in its most visual expressions remains fundamentally an art for the ears. Three types of images - typographical, painterly, and cinematic - are analysed from an aural perspective, in order to highlight the synaesthetic mechanisms at work in the Futurist art experience. The main concern is to point out how the Futurists applied visual effects to actually enhance the auditory sensibility of people. This leads to the conclusion that Futurism does not need sound in order to be noisy, because even in its 'silent' forms it is noisy in its essence