{"id":7822,"date":"2022-05-24T17:59:16","date_gmt":"2022-05-24T14:59:16","guid":{"rendered":"https:\/\/www.2022.adaf.gr\/program\/?p=7822"},"modified":"2022-05-24T17:59:16","modified_gmt":"2022-05-24T14:59:16","slug":"depthmap","status":"publish","type":"post","link":"https:\/\/2022.adaf.gr\/program\/depthmap\/","title":{"rendered":"DEPTHMAP+"},"content":{"rendered":"<p>An experimental and expressionistic take on the game Quake III Arena through the utilization of grainy and sinister looking depth of field maps. DEPTHMAP purposefully sheds new perspectives on a timeless classic, pushes the bar forward in terms of the game\u2019s cinematic representation and irreversibly changes existing associations originally taken for granted.<\/p>\n<p><span data-sheets-value=\"{&quot;1&quot;:2,&quot;2&quot;:&quot;Jordy Veenstra&quot;}\" data-sheets-userformat=\"{&quot;2&quot;:513,&quot;3&quot;:{&quot;1&quot;:0},&quot;12&quot;:0}\"><strong>Jordy Veenstra (NL)<\/strong><br \/>\nJordy Veenstra is a post-production professional, experimental filmmaker and machinimator based in Amsterdam, the Netherlands. Under his alias and production label \u2018A Pixelated Point of View\u2019, Veenstra works on a so-called experimental and digital turn of the \u2018visual study\u2019 genre and releases highly experimental short films made in various videogames such as Quake III Arena, Virtual Rides III and Grand Theft Auto. Alongside his fulltime dedication to art, Veenstra works as a video-editor, motion graphics designer and animator in a creative agency in Amsterdam, is owner of his postproduction studio ARCTIC LIME AudioVisual and in the little spare time he has left he is working on a research manuscript revolving around \u2018the practice of distortion\u2019: a framework that focuses on the cinematic enhancement of machinima through the embracement of the classic values of cinema and a counter-answer towards modern machinima culture, which highly focuses on clean, overly sharp images displayed on 60 frames per second.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>An experimental and expressionistic take on the game Quake III Arena through the utilization of grainy and sinister looking depth of field maps. DEPTHMAP purposefully sheds new perspectives on a timeless classic, pushes the bar forward in terms of the game\u2019s cinematic representation and irreversibly changes existing associations originally taken for granted. Jordy Veenstra (NL) [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":7823,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[4],"tags":[195,187],"class_list":["post-7822","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-video-art","tag-highlight","tag-nl"],"blocksy_meta":{"styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v23.3 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>DEPTHMAP+ - Athens Digital Arts Festival<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/2022.adaf.gr\/program\/depthmap\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"DEPTHMAP+ - Athens Digital Arts Festival\" \/>\n<meta property=\"og:description\" content=\"An experimental and expressionistic take on the game Quake III Arena through the utilization of grainy and sinister looking depth of field maps. DEPTHMAP purposefully sheds new perspectives on a timeless classic, pushes the bar forward in terms of the game\u2019s cinematic representation and irreversibly changes existing associations originally taken for granted. 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