Supernova launches Supernova.video streaming service
The most profound development within Supernova’s four-year trajectory is the launch of Supernova.video, the curated streaming App at the new intersection of Art & Entertainment. Supernova boldly goes where no festival has ventured before, with a media channel that brings the most exciting forms of digital animation and motion-art being created today out to the entire world through a low-price, subscription based service. Launching on September 5th, 2019, anyone will be able to watch and enjoy Supernova’s carefully curated and cataloged digital animations anywhere and at anytime on their mobile devices, home entertainment systems or desktop computers.
The concept for the service grew grew holistically out of the desire to implement a meaningful audience vote award for the 2019 festival, and the potential in allowing the medium and artists to flourish in a manner not limited by the festival’s once a year singularity and unique presentation context. Supernova.video dovetails with the latest technology that provides a formidable template for streaming channels to house and deliver motion-based content. The service is in lockstep with today’s access driven culture, a result of technology’s remarkable impact on our daily lives, as well as the multitude of screens populating both public and private realms. Following Netflix‘ massive success in universally changing viewing habits, “streaming” channels are seen as the lucrative future of entertainment. Already considered the buzz-word of 2020, there is currently widespread debate over can compete and at what cost.
Supernova takes an alternate route into this universe, becoming the world’s first reputable arts-based platform to initiate an advanced, comprehensive niche service. Ahead of the curve and with room to grow, Supernova is set to open new doorways in association with the visionary artists and unique circumstances surrounding its creation. Just as independent film and other forms of more artistically driven entertainment have developed footholds over time against the major conglomerates, Supernova is poised to become the leading, curated service for digital animation and motion-based art, and a game-changer in the field of arts patronage.
Digital Animation Icon
Supernova categorizes collections within the streaming channel in a similar manner to the festival, distributing content based on genre, aesthetic and thematic direction. Supernova also remixes the full content library into consumer “vibes,” allowing viewers a different approach to enjoying the artworks. Users can create their own playlists, share works with friends and associates, or simply press a single button for hours of entertainment in order to create an ambience that complements any situation.
Supernova recognizes the growing need for archive-based concepts that allow sustained access to artist-driven content and curatorial initiatives that are largely lost in the blink of an eye. Supernova.video is for the artists, passionate consumers and the general public alike who are all seeking to diversify from the spoon-fed entertainment currently dominating the airwaves. Supernova.video is a beautiful and exciting alternative, the perfect entry point into a rapidly growing and infinitely exciting artistic arena.
Try it out and help us reach an incredible new plateu.
Vote through the APP!
Watch all the 2019 Festival Animations and cast your vote for the new $500 audience award from anywhere in the world. This year’s program animations will commence streaming through the App on Saturday September 21st. The window for public voting through the App is one week worldwide through September 28th, 2019. Find the link to our voting doc on the description for each individual video.
In support of a new paradigm
“Public festivals, like Denver Digerati and Supernova, intensify emotional reactions to the animation and generative art they feature by amplifying it to an epic scale. The act of viewing becomes an experience as crowds of strangers come together and share first impressions. When the same imagery is watched repeatedly at home on smaller screens, the experience is very different. A private, personal relationship develops between the art and the viewers that deepens our appreciation of the subtle details and complex ideas.
Festivals serve to highlight some of the best work being created, but the opportunity to see a work again is limited. So how to get this mesmerizing, moving imagery into our homes for self-controlled programing? One answer is a streaming subscription service that could be viewed on TVs and computers. Using the best content from the festivals, a streaming service will launch this emerging movement into the spotlight and help build a wider following. Those captivating encounters that occur at public festivals could then be continued in the private sphere.
Streaming allows the viewer to explore, curate, and enjoy the work up-close and personal or passively like background music that sets a mood and fills a room with atmosphere. Though the content is professionally curated, many of the gatekeepers that stand between artists and their audiences would be eliminated. The service would also provide creators with a new income source and promotional platform. Subscription is not the total solution, but it’s currently the most affordable, accessible way for individuals to view dynamic digital work, support daring artists, and advance computational art.” - Julia Morton, director of Generative Art Project, arts writer & curator, Austin, TX
“These days, people are out there talking about fractional ownership of art, and blockchain—all of these ideas trying, on the one hand, to keep art this sacred thing, but on the other hand to highly commercialize it within a small group of ultra-wealthy people. The artists won’t stand for it. Big artists insist on meaning. And right now, for a lot of artists, that means reaching a much larger audience. It means de-commodification and democratization of art.” - Marc Glimcher, Pace Gallery, 2019 (artnet News)
“For artists in the United States in particular, artisanal animated shorts live in a nebulous zone. The best venue for discovering this work and seeing it in a serious, considered context is still at film festivals or curated screenings (in my opinion, which is heavily influenced by the fact that I am a programmer at the GLAS Animation Festival and therefore should be taken with a heavy grain of salt). Seeing a survey of animated shorts from the past year in such a concentrated environment is a reminder of how vital, important, and inspiring this work can be, and that it is worthy of thought and attention. However, the physical limitations of this context make it impossible to scale in any way that is quantifiably comparable to the possibilities of the digital age. So where is this kind of work meant to live online where it can be consumed in a meaningful way? Is it possible to recreate anything similar to a curated, theatrical context in an online space at the same time that online spaces are moving away from providing a platform for the singular cinematic experience?
This leads us to contend with how animated shorts are encountered and contextualized more generally online. Speaking about his move away from making shorts, filmmaker David OReilly said “The difficult truth is that the vast majority of interesting animation is experienced by people as random internet junk, and not this incredible artform it might be to you.” This leads to the first, and probably most difficult obstacle for creating a serious context for animated shorts online: the sheer volume and saturation of video content. Some animated films thrive in this endless stream of video — and even benefit from being presented in a contextless flow.
I think it’s possible that a new platform could emerge that would be explicitly designed to emphasize films and filmmakers and could rethink the entire model of engagement with animated short films. It would need to pass some kind of niche tipping point to be successful, but I’m more ready than ever to be an early adopter of a new platform if the values feel right.” - Sean Buckelew, 2019 (Mostly Moving, Jan. 2019)
“Yes, I think that selling digital editions can be an option for an artist. I already mentioned this in my book on Digital Art, where I included the work of LIA , who is selling with Sedition and through the Apple Store……Having a platform for selling, renting or streaming artworks is an interesting business line in the future, but I think that it is really necessary to go beyond the flashy appearance. It could be an easy, accessible way to allow people to get involved with this kind of art, and that they understand at the same time its specific rules and aesthetics……….it can’t be denied that a increasingly larger part of society in this century will move more towards a nomad life, so many of our cultural artefacts will be in a digital format which we can carry around or just store in a cloud. We are developing a different attitude towards books, films and art that will be closer to how we consume music nowadays. So there is definitely a market developing in this field, a really broad one where more and more is in digital format. That seems obvious.” - Pau Waelder, gallerist and author of the book “The World of Digital Art” (H.F. Ullmann, 2010)
“By 1550, an Italian writer named Anton Francesco Doni complained of “so many books that we do not even have time to read the titles.” A present-day visitor to You-Tube’s teeming archives might feel the same way. What was needed was curation -- a method to organize and separate the really important stuff from the dross. The printers themselves began to favor certain titles and authors over others, based on their propensity to sell. Thus was the market-driven nature of publishing established: bestsellers tend to beget the same.” - Stephen Apkon , “The Age of the Image - Redefining Literacy in a world of Screens”