Gebhard Sengmüller on Sun, 29 Apr 2007 19:23:39 +0200 (CEST)
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<nettime-ann> SLIDE MOVIE - new installation by Gebhard Sengmueller at EMAF Osnabrueck, April 25th - May 20th 2007
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- To: nettime-ann@nettime.org
- Subject: <nettime-ann> SLIDE MOVIE - new installation by Gebhard Sengmueller at EMAF Osnabrueck, April 25th - May 20th 2007
- From: Gebhard Sengmüller <gebseng@vinylvideo.com>
- Date: Thu, 26 Apr 2007 12:15:34 +0200
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SLIDE MOVIE - DIAFILMPROJEKTOR
a new installation by Gebhard Sengmueller
will be presented at the European Media Art Festival Osnabrueck,
April 25th - May 20th 2007
Black cube installation: A film sequence (35mm motion picture, 24
frames/sec.) is cut up and the individual frames are mounted as
slides. They’re then distributed among 24 slide projectors that are
all focused on the same screen (the exact same point). Via electronic
control of the projectors, these individual images are then
reassembled-in an extremely cumbersome way-into a chronological
sequence. The formula “one projector per frame” thus gives rise to
something that at least rudimentarily (and inevitably very
inaccurately, due to the lack of precision of the mechanical devices)
suggests a motion picture. The film soundtrack emerges as a byproduct
- the mechanical clattering of the projectors changing slides.
[...] Slide Movie, the most recent of Sengmueller's apparatuses, is
located not only in the field of media archeology, though, but also
in the field of media theory. With the infernal noise produced by
twenty-four slide projectors changing pictures, the "film projector"
is liberated from the sound-proof projection room and opened up.
With the inside out, we find ourselves no longer in the audience
space, but in the middle of the projector. The film, whose content
is conventionally the focal point, moves into the background. What
becomes visible, as though under a magnifying glass, is the medium,
the illusion, the way still images are turned into moving pictures.
In the terms of cognitive psychology, from which Heideggerian
phenomenology also draws, this can be understood as a displacement of
"figure" and "ground". The figure is that, to which attention is
directed; the ground is everything that first makes the figure
possible, but which is omitted by perception, so that we can
concentrate on the figure. The ground of the figure "film" is the
cinema, the box office cashier selling tickets, the darkened
projection room, the muted projector, the electrical currents that
provide the projector with energy, and so forth. All of this must be
present, in order for us to see the film. At the same time, however,
we must also fade it out, so that we can concentrate on the content
of the film, the "figure". Although - or perhaps specifically
because - they are faded out, all these things have a much more
lasting influence on our culture than any single film, which often
disappears again after a few weeks, only to be replaced by the next
film. [...] (Felix Stalder)
Gebhard Sengmueller is an artist working in the field of media
technology, currently based in Vienna, Austria. Since 1992, he has
been developing projects and installations focussing on the history
of electronic media, creating alternative ordering systems for media
content and constructing autogenerative networks. His work has been
shown extensively in Europe and the US, among others at Ars
Electronica Linz, the Venice Biennale, ICA London, Postmasters
Gallery NYC. His main project for the last few years has been
VinylVideo™, a fake piece of media archeology.
http://www.gebseng.com/04_slidemovie/
http://www.emaf.de
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