The events establish the opportunity to see the basic conditions of the equipment and the resulting aesthetics and variables of the relationship between technology, the individual and the medium.

Recording, montage and viewing of image and sound will be realised, discussed and played out individually and collectively.

WE SHALL SURVIVE IN THE VIDEOS OF OTHERS

With this ongoing title, the results from the winter and summer semesters are presented in a screening of artistic and performative media practice.

"We shall survive in the memories of others" - Vilem Flusser's statement "We survive in the memories of others" is further imagined in a figurative sense in the exercises of artistic and performative media practice.

Who participates in the other and how?

The videos that are created in the events on various topics initially result from the intensive viewing of videos and audiovisual works by others.

Vilem Flusser, cultural theorist and media philosopher, thematised photography and video as art, wrote of the techno-imaginary, of the new power of imagination that we have to learn through the digital and which we digitally rewrite and transfer.

The process and principles of transferring are part of the exercises of artistic media practice in different ways. The collective work in the studio, within which the positions in front of and behind the camera change, is the starting point for joint realisation. These are carried out in different ways by students on a daily basis or as assignments based on formal, seemingly absurd tests with and without a camera. This creates a pool of raw material that is used by all participants.

The groups also work with found footage, i.e. found audio and film material that is transferred from a foreign context into a new structure of meaning. In this way, the rotating principle of internal camera work is supplemented by the inscription of external images and sounds.

Revolt, pop or contemplation - I hope you enjoy taking notes, transferring and playing out internal images and compositions during the artistic, performative media practice events.

Working in a film collective:

How do collective work processes function in a non-hierarchical team: e.g. daily direction? Within all exercises, a pool of video and audio material is jointly created, which is used by all participants in the events.

Planning and realisation of artistic video or media projects:

Minimalism - formalism - electronic vocabulary - artistic narratives - experimental narrative forms and documentary essays.

Video sketches in camera editing mode between chance and control, formal concepts, scripts and planned sequences explore different working methods. Visual axes, directions in shots and sequences, image composition and editing, rhythms and transitions require complex formal and content-related decisions. My own judgements and expectations shape not only the appearance of the montage but also the recording of image, language, text and sound. How do I compose acoustic spaces, image sequences and settings or the sound-image scissors or text-image scissors? Which dimensions and parameters define the audiovisual construction and principles of representation? Interpretative sovereignty and principles of medial diversity are further developed together and expanded to include divisible truths.

Plenum:

Joint viewings form the basis for discussions about formats of playout and publication as well as interactions between videos in the sequence of a programme and principles of intermedial effects.

Installation - video sculpture and object - media spaces, projection and virtuality:

The example of projection reveals a hybrid space between physical and virtual space that can be used as an orbital, non-relativistic place for teaching. The transition between physical and virtual surfaces triggers investigations into the immaterial and its tangible carriers, such as Android gadgets, natural interfaces and two-dimensional shadows or images of the sun or in the sundial.

Light:

Fundamentals of lighting design within diverse lighting logics as well as experimental work with light as a medium.

Sculptural action - creature and camera - live appearance and recording - performance - live art - film & stage:

Based on the distinction between models and actors in the context of Robert Bresson's "Notes on the Cinematograph", different possibilities of directing and staging people in front of and with camera (work) are tested, as well as performative formats such as video walk, performance lecture/lecture, reenactment and media activism. The latter is based on the directionality, immediacy and real time of the medium of video, which has represented a constant socio-political creative potential since the 1970s.

Found footage:

HEAVEN & ABUSE - how do we define the handling of found footage? Conceptual appropriation of AV materials, electronic vocabulary and film quotations - filmmaking without camera work.