{"id":802,"date":"2007-10-11T10:00:00","date_gmt":"2007-10-11T10:00:00","guid":{"rendered":"https:\/\/kdm.akbild.ac.at\/?page_id=802"},"modified":"2024-04-20T20:34:40","modified_gmt":"2024-04-20T20:34:40","slug":"ws-08-09","status":"publish","type":"page","link":"https:\/\/kdm.akbild.ac.at\/?page_id=802","title":{"rendered":"WS 08\/09 MEDIUMS AND FORMATS"},"content":{"rendered":"\n
<\/div>\n\n\n\n

WS 08 – MEDIUMS AND FORMATS PART 2:
UNTIMELY SPECIFICS AND DUAL ARTICULATIONS.

<\/strong><\/p>\n\n\n\n

(english below)
“<\/strong>WHAT DOES IT MEAN TO EXIST IN THE NO-MAN’S LAND OF ‘THE BETWEEN’?

<\/strong>For a long time \u2013 during the debates over modernism and post-modernism \u2013 we have thought that only one direction was possible: the shared apocalypticism of the tabula rasa of Futurist dreams or the eternal return of allegorical procedures; the structural equivalence of modernist abstraction or post-modernist citation, aesthetic originality or anti-aesthetic repetition, medium-specificity or intermedia hybridity. Such oppositions no longer hold; or rather, at times, they no longer seem opposed. (George Baker, Re-Animations (I), October 104, Spring 2003)<\/p>\n\n\n\n

Cinema\u2019s sole specificity is that of collecting images that are no longer made for it. (Serge Daney)<\/p>\n\n\n\n

Ausgehend von dem Experimentalfilm \u201eStandard Gauge\u201c des Avantgarde-Filmemachers Morgan Fisher, in dem das Verh\u00e4ltnis von 16mm- zu 35mm-Film, von Amateur- zu Profi-Formaten, aber auch die Wechselwirkungen zwischen Stand- und Bewegtbild untersucht werden, stehen im kommenden Semester die Begriffe des \u201eFormats\u201c und \u2013 damit untrennbar verbunden \u2013 des \u201eMediums\u201c im Zentrum der Aufmerksamkeit. Diese Begriffe werden anhand von theoretischen Referenzen und konkreten k\u00fcnstlerischen Praxen untersucht, um so die Frage nach der \u201eMedienspezifit\u00e4t\u201c  ins Blickfeld zu r\u00fccken. Rosalind Krauss\u2019 Kritik am Begriff des \u201eMediums\u201c, ihre These von der \u201epost-medialen Kondition\u201c und der von ihr vorgeschlagene Begriff der \u201edifferential specificity\u201c sollen hier als inhaltliche Koordinaten dienen.<\/p>\n\n\n\n

The rich satisfaction of thinking about film\u2019s specificity (in the late Sixties) derived from the medium\u2019s aggregate condition, one that led a slightly later generation of theorists to define its support with the compound idea of the \u201eapparatus\u201c \u2013 the medium or support for film being neither the celluloid strip of the images, nor the camera that filmed them, nor the projector that brings them to life in motion, nor the beam of light that relays them to the screen, nor that screen itself, but all of these taken together, including the audiences position caught between the source of the light behind it and the image projected before its eyes. Structuralist film set itself the project of producing the unity of this diversified support in a single, sustained experience in which the utter interdependence of all these things would itself be revealed as a model of how the viewer is intentionally connected to his or her world. The parts of the apparatus would be like things that cannot touch on each other without themselves being touched. (Rosalind Krauss,  A Voyage on the North Sea)<\/p>\n\n\n\n

At the point where the cinematographic image most directly confronts the photo, it also becomes most radically distinct from it. (Gilles Deleuze)<\/p>\n\n\n\n

Diese Themen werden anhand der Werke einer Reihe von K\u00fcnstlerInnenexemplifiziert, deren Arbeiten einerseits die Differenz von Medien, dieWechselwirkung von \u201eKonvention\u201c und \u201eMaterial\u201c, und andererseits dieBeziehung zwischen Film und Fotografie, also zwischen Stillstellung undBewegung, in den Blick nehmen. Diese Beziehung stellt die zweitethematische Referenz dar, auf die im Rahmen der Projektarbeiteingegangen werden soll.  Bei den vorgestellten Werken handelt es sichh\u00e4ufig um Produktionen, die im \u00fcbertragenen Sinn \u201egegen\u201c ihr jeweiligesProduktionsmedium Widerspruch einlegen, indem Eigenschaften andererMedien r\u00fcck\u00fcbertragen, zitiert oder emuliert werden, und die sich sobewusst in einem terrain vague, in einem Niemandsland zwischenverschiedenen Medien und Formaten positionieren.  \u201eWhat does it mean toexist in the no-man\u2019s land of the \u201ebetween\u201c?\u201c ist eine Frage, die zustellen sein wird.<\/p>\n\n\n\n

Betweentwo actions, between two affections, between two perceptions, betweentwo visual images, between two sound images, between the sound and thevisual: make the indiscernible, that is the frontier, visible. (GillesDeleuze)<\/p>\n\n\n\n

Der Begriff \u201edual articulation\u201c (\u201ezweifache \u00c4usserung\u201c) wird erstmals vom Autor George Baker in seinem Text Reanimations zum Werk von JamesColeman aufgebracht, in dem er vorschl\u00e4gt, dass eine \u201edualarticulation\u201c nicht von der Kollision zweier Medien als gegens\u00e4tzlicher\u201eEssentialismen\u201c handelt, die mit den materiellen Einschr\u00e4nkungen desTr\u00e4germediums zusammenfallen \u2013 beispielsweise die der Fotografieinh\u00e4rente Stasis, die dem Fluss der Kino-Bilder den Krieg erkl\u00e4rt. Nochsoll der Begriff mit der verschwommenen Ungenauigkeit assoziiertwerden, den die Rede von der \u201eIntermedialit\u00e4t\u201c suggeriert. Die\u201ezweifache \u00c4usserung\u201c steht vielmehr der von Rosalind Krauss an andererStelle entwickelten Vorstellung eines \u201eself-differing medium\u201c nahe: dask\u00f6nnte man eine \u201eselbst-ent\u00e4usserte\u201c Form nennen, eine Form, die sichselbst an etwas anderes \u201eweiter-gibt\u201c. \u201eZweifache \u00c4usserung\u201c hie\u00dfe dannso etwas wie ein radikales Teilen von Formen: Wir w\u00e4ren also gezwungenuns vorzustellen, dass Medien einander durchdringen k\u00f6nnen, ohne ihreSpezifizit\u00e4t zu verlieren, ohne \u201egenerell\u201c zu werden.<\/p>\n\n\n\n

WERKE VON<\/strong>
Fareed Armaly, Marcel Broodthaers, Charles Burnett, James Coleman,Jeroen De Rijke \/ Willem De Rooij, Rainer Werner Fassbinder, MorganFisher, Hollis Frampton, Dan Graham, Gordon Matta-Clark, Chris Marker,Christopher Nolan, Louise Lawler, Michael Snow, Felix Gonzalez-Torres,Christopher Williams, Frederic Wiseman u.a.<\/p>\n\n\n\n

TEXTE VON<\/strong>
Julie Ault, Roland Barthes, George Baker, Thomas W. Benson &Carolyn Anderson, Raymond Bellour, Christa Bl\u00fcmlinger, MarianneBrouwer, Jean Fisher, Morgan Fisher, Michael Fried, Dan Graham, StephenHeath, David E. James, Philipp Kaiser, Rosalind Krauss, Miwon Kwon,Scott McDonald, Rachel Moore, Michael Newman, Juliane Rebentisch, B\u00e9r\u00e9nice Reynaud, Tim Rollins, D. N. Rodowick, Robert Storr, KajaSilverman, Susan Tallman, Alan Williams u. a.<\/p>\n\n\n\n

AUSSCHNITTE AUS<\/strong>
The Wire
Westwing
Curb Your Enthusiasm<\/p>\n\n\n\n

Das Semesterthema wird hinsichtlich des Projekts  \u201eMonat derFotografie\u201c vorgeschlagen, an dem Studierende der Klassen Herrmann,Margreiter und Ruhm teilnehmen k\u00f6nnen. Dieses Projekt findet seinenAbschluss in einer gemeinsamen Ausstellung, die im November 2008 in derAkademie der Bildenden K\u00fcnste er\u00f6ffnen wird.<\/p>\n\n\n\n

We photograph things to drive them out of our minds. (Franz Kafka)<\/p>\n\n\n\n

—<\/p>\n\n\n\n

MEDIUM AND FORMATS:
UNTIMELY SPECIFICS AND DUAL ARTICULATIONS.<\/strong>
“WHAT DOES IT MEAN TO EXIST IN THE N0-MAN’S LAND OF THE ‘BETWEEN’?”<\/p>\n\n\n\n

For a long time \u2013 during the debates over modernism and post-modernism \u2013 we have thought that only one direction was possible: the shared apocalypticism of the tabula rasa of Futurist dreams or the eternal return of allegorical procedures; the structural equivalence of modernist abstraction or post-modernist citation, aesthetic originality or anti-aesthetic repetition, medium-specificity or intermedia hybridity. Such oppositions no longer hold; or rather, at times, they no longer seem opposed. (George Baker, Re-Animations (I), October 104, Spring 2003)<\/p>\n\n\n\n

Cinema\u2019s sole specificity is that of collecting images that are no longer made for it.
(Serge Daney)<\/p>\n\n\n\n

Based on American experimental filmmaker Morgan Fisher\u2019s film \u201eStandard Gauge\u201c which investigates the relation of 16mm- to 35mm-film standards, of \u201eamateur\u201c vs. \u201eprofessional\u201c, as well as reflecting on the interplay of still and moving image, the terminologies of \u201eformat\u201c and (inextricably linked) of \u201emedium\u201c are at the center of interest. These terms will be investigated by using theoretical references as well as artistic practices, in order to focus on the question of \u201emedia specificity\u201c. Rosalind Krauss\u2019 critique of the \u201emedium\u201c as such, her thesis of a \u201epost-medium condition\u201c, as well as her terminology of \u201edifferential specificity\u201c will orient the discourse.<\/p>\n\n\n\n

The rich satisfaction of thinking about film\u2019s specificity (in the late Sixties) derived from the medium\u2019s aggregate condition, one that led a slightly later generation of theorists to define its support with the compound idea of the \u201eapparatus\u201c \u2013 the medium or support for film being neither the celluloid strip of the images, nor the camera that filmed them, nor the projector that brings them to life in motion, nor the beam of light that relays them to the screen, nor that screen itself, but all of these taken together, including the audiences position caught between the source of the light behind it and the image projected before its eyes. Structuralist film set itself the project of producing the unity of this diversified support in a single, sustained experience in which the utter interdependence of all these things would itself be revealed as a model of how the viewer is intentionally connected to his or her world. The parts of the apparatus would be like things that cannot touch on each other without themselves being touched. (Rosalind Krauss,  A Voyage on the North Sea)<\/p>\n\n\n\n

At the point where the cinematographic image most directly confronts the photo, it also becomes most radically distinct from it. (Gilles Deleuze)<\/p>\n\n\n\n

Those subjects will be introduced and discussed by exemplifying works of a number of artists who on the one hand reflect on the distinction between media and the interplay of \u201econvention\u201c and \u201ematerial\u201c, and who on the other hand deal with the notion of the relation of film and photography, thus with the relation of still and moving image. This relation constitutes the second focal point in regard of developing a project during the coming semester. The works discussed are productions which \u201econtradict\u201c their original medium by re-engineering, re-projecting, by quoting or emulating specifics of other media. Thus these take up a position in a no man\u2019s land between distinct media formats. \u201eWhat does it mean to exist in the no-man\u2019s land of the \u201ebetween\u201c?\u201c is the question to be asked.<\/p>\n\n\n\n

Between two actions, between two affections, between two perceptions, between two visual images, between two sound images, between the sound and the visual: make the indiscernible, that is the frontier, visible. (Gilles Deleuze)<\/p>\n\n\n\n

The term of \u201edual articulation\u201c is raised for the first time by author George Baker in his text on James Colemans oeuvre, where he suggests that \u201eDual articulation is not about a collision of mediums as opposed \u201eessences\u201c \u2013 the inherent stasis of photography, for example, proclaiming war upon the flux of cinema \u2013 essences identical with the material limitations of the medium\u2019s support. Nor is it to be equated with the mushy imprecision of what has been called \u201eintermedia.\u201c It is close to what (Rosalind) Krauss will elsewhere theorize as the \u201eself-differing medium\u201c; call it, rather, something like a \u201eself-exposed\u201c form, a form that \u201egives\u201c itself to others. Dual articulation would be seomthing like a radical sharing of forms. It would force us to imagine that mediums could interpenetrate without losing their specificity, without becoming \u201egeneral.\u201c<\/p>\n\n\n\n

WORKS BY<\/strong>
Fareed Armaly, Marcel Broodthaers, Charles Burnett, James Coleman, Jeroen De Rijke \/ Willem De Rooij, Rainer Werner Fassbinder, Morgan Fisher, Hollis Frampton, Dan Graham, Gordon Matta-Clark, Chris Marker, Christopher Nolan, Louise Lawler, Michael Snow, Felix Gonzalez-Torres, Christopher Williams, Frederic Wiseman et al.<\/p>\n\n\n\n

TEXTS BY<\/strong>
Julie Ault, Roland Barthes, George Baker, Thomas W. Benson & Carolyn Anderson, Raymond Bellour, Christa Bl\u00fcmlinger, Marianne Brouwer, Jean Fisher, Morgan Fisher, Michael Fried, Dan Graham, Stephen Heath, David E. James, Philipp Kaiser, Rosalind Krauss, Miwon Kwon, Scott McDonald, Rachel Moore, Michael Newman, Juliane Rebentisch,  B\u00e9r\u00e9nice Reynaud, Tim Rollins, D. N. Rodowick, Robert Storr, Kaja Silverman, Susan Tallman, Alan Williams et al.<\/p>\n\n\n\n

CLIPS FROM<\/strong>
The Wire
Westwing
Curb Your Enthusiasm<\/p>\n\n\n\n

We photograph things to drive them out of our minds. (Franz Kafka)<\/p>\n","protected":false},"excerpt":{"rendered":"

WS 08 – MEDIUMS AND FORMATS PART 2:UNTIMELY SPECIFICS AND DUAL ARTICULATIONS. (english below)“WHAT DOES IT MEAN TO EXIST IN THE NO-MAN’S LAND OF ‘THE BETWEEN’? For a long time \u2013 during the debates over modernism and post-modernism \u2013 we have thought that only one direction was possible: the shared apocalypticism of the tabula rasa […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-802","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/kdm.akbild.ac.at\/index.php?rest_route=\/wp\/v2\/pages\/802","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kdm.akbild.ac.at\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/kdm.akbild.ac.at\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/kdm.akbild.ac.at\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kdm.akbild.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=802"}],"version-history":[{"count":3,"href":"https:\/\/kdm.akbild.ac.at\/index.php?rest_route=\/wp\/v2\/pages\/802\/revisions"}],"predecessor-version":[{"id":806,"href":"https:\/\/kdm.akbild.ac.at\/index.php?rest_route=\/wp\/v2\/pages\/802\/revisions\/806"}],"wp:attachment":[{"href":"https:\/\/kdm.akbild.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=802"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}