Artist's presentation: Greg Pope
The Oslo-based filmmaker presents work on celluloid, first and foremost "Light Trap", a sound and light sculpture in which he whittles away film emulsion with sandpaper and other abrasive devices, in order to alter the image and sound tracks. The auratic manifestation of sound and images is hence subject to an ongoing process that generates unpredictable forms at each moment of the performance. This creative process in constant flux reveals, on the one hand, the juxtaposition of audio and visual elements in "the talkies" and, on the other, the uniqueness of the performance. At CTM.11 Greg Pope will perform "Light Trap" together with sound artist Gert-Jan Prins on Friday February 4 within the program Euphoric Distress
Artist's presentation: Yutaka Makino
Yutaka Makino's works deal with the multimodalities of human perception through the construction of dynamic systems as empirical environments. With his interdisciplinary background in art and science, his current research involves sound/form synthesis, spatial perception, complex dynamic systems, and new materiality. Makino will discuss in which ways his work focusses on deprivation and activation of the senses. He will relate his talk to his installation series Temporal Objects
, which may be experienced during the Festival at the Technical University Berlin.
Lectures & Discussion
Guest Speakers: Gabriele Klein | Werner Jauk | Beate Peter Chair: Marie-Luise Angerer
The interplay of sensory impressions triggered by audiovisual live-performances in a media arts or club context makes for an intense experience of and in the here and now. Reflection on the sensory appropriation of medial environments, the creation of experiential immersive spaces, sensory overload and/or deprivation, and conscious activation of heightened and possibly even transcendental moments of perception are all common artistic strategies. Recipients are suspended thereby between autonomy and loss of control, self-perception and voluntary dissolution. What promises, uncertainties and misunderstandings do such strategies imply? How might such artistically staged spaces of perception correlate theories of affect and embodiment?
› 7 € / 5 € concessions