DOCSLIB.ORG

EMAF Katalog 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EMAF Katalog 2016 SPECIALS FMB ANNIVERSARY & FILMFESTSPEZIAL-TV 30 Jahre Film & Medienbüro Niedersachsen – Perspektiven für Förderung von Medienkunst? Der frisch gewählte erste Vorstand des Film & Medienbüros: Jochen Coldewey, Henning Kunze, Susanne Degener und Marianne Lohmann. Nicht auf dem Foto: Gerd Dahlmann und Andreas Franzen. Vor 30 Jahren, am 31. Mai 1986, wurde das Film & Medienbüro Niedersachsen (FMB) während des In- ternationalen Experimentalfilmworkshop, dem Vorläufer des EMAF, in Osnabrück gegründet. Deshalb wird es am 22.4.2016 um 17 Uhr eine Veranstaltung beim EMAF geben, bei der wir mit Jochen Colde- wey, dem 1986 gewählten 1. Vorsitzenden des FMB, Michael Brynntrup (HBK Braunschweig), Alexandra Gerbaulet (Regisseurin von ›Schicht‹) und weiteren Gästen nicht nur über alte Zeiten und die Schwierig- keiten, von Experimentalfilm oder Medienkunst leben und überleben zu können sprechen wollen. Es soll auch um Perspektiven gehen, was kann strukturell verbessert werden, welche neuen Plattformen und Verbreitungswege für Medienkunst gibt es und wie können die sinnvoll genutzt werden. Und: welche Be- deutung hat die Filmförderung. Infos: www.filmbuero-nds.de. FilmFestSpezial vom EMAF Das Festival-TV-Magazin berichtet in einer 45-minütigen Sendung über das EMAF. Interviews mit Künst- lern und Jurymitgliedern, Filmausschnitte, Einblicke in die Workshops und die Ausstellung sollen die spannende Vielfalt des Festivals einfangen. Die EMAF-Sendung ist ab 4. Mai 2016 bei 11 Bürger-TV-Sen- dern – zum Teil als Stream – zu sehen: h1 Hannover, oeins Oldenburg, TV 38 Wolfsburg/Braunschweig, Radio Weser TV Bremen, Tide-TV Hamburg, Alex Berlin, OK Kiel, OK Kassel, rok-tv Rostock, OK Flens- burg und Fernsehen aus Schwerin. Die einzelnen Beiträge und Interviews sind bereits vorher auf www.youtube.com/ffspezial zu sehen. Weitere Infos und Sendetermine: www.filmfestspezial.de EMAF Filmfestspezial The Festival TV programme will report on the EMAF in a 45-minute-programme. It will feature interviews with artists and jury members, will show film excerpts and workshops. The exhibition will also be coverd by "Filmfestspezial". The EMAF-programme will be screened from 4th of May 2016 on web channels h1 Hannover, oeins Oldenburg, TV 38 Wolfsburg/Braunschweig, Radio Weser TV Bremen, Tide-TV Hamburg, Alex Berlin, OK Kiel, OK Kassel, rok-tv Rostock, OK Flensburg and Fernsehen aus Schwerin. For more information and the current broadcast dates see http://www.filmfestspezial.de. 19 CONTENT Specials: FMB Anniversary, FilmFestSpezial-TV 19 Imprint 22 Words of Welcome 24 Juries 30 Film- & Videokommission 31 FILM PROGRAMMES 32 P1 Preview 32 P2 The Same As It Never Was 35 P3 Securing Spaces 37 P4 Something Weird In The Magical Fores 40 P5 The Sky Trembles... 43 P6 This World Around Me 44 P7 Remainder 47 P8 Histories, Shadows, Visions and Dreams 48 P9 Ex Machina 50 P10 Don't Worry, It's Harmless 51 P11 Readymade Resources 56 P12 Falling Into Pieces, Falling Into Place 59 P13 Visions From The Past 62 P14 Watch Me, See Me Be! 65 P15 Havarie 67 P16 O For Oblivion 68 P17 A Clockwork Orange 70 P18 In A Queer Time And Place 71 P19 Off Center Stage 74 P20 Natural / Unnatural 76 P21 Me/We 79 P22 Future (Re)Visited 82 P23 Deconstructing - Reconstructing 84 P24 Posts From The Future 87 P25 Heart of a Dog 90 P26 The Music Parade 91 P27 La Vie Héroïque de B.S. 97 P28 Follow Me In This Direction 98 P29 Sabotage! 101 P30 Theory of Obscurity 103 P31 Yallah! Underground 104 P32 Traceroute 105 P33 All That is Solid Melts into Data 106 P34 ESIOD 2015 107 RETROSPECTIVE 108 The Future Of Visions - Mensch-Maschine - Florian Wüst 108 Klaus Telscher - Das filmische Werk - Ralf Sausmikat 116 EXHIBITION THE FUTURE OF VISIONS 130 Don't Expect Anything - Hermann Nöring, Franz Reimer 130 What Do Machines Sing Of? - Martin Backes 132 The Long Now - Verena Friedrich 133 Jacobson's Fabulous Olfactometer - Susanna Hertrich 134 Deep Love Algorithm - Francis Hunger 136 Future - Esther Hunziker 137 Recruitment - Avi Krispin 138 Metronome Instruction (Etude Series) - Ji-Nin Lai 139 How to Nature - Leonie Link 140 JLM Inc - Jennifer Lyn Morone 141 20 Beat Box - Wolfgang Oelze 142 Die Mauer / Der Vertikale Horizont - Rotraut Pape 143 Firmamentum Continuitas / The Extension of the Heaven - Esteban Rivera 144 In the Future They Ate from the Finest Porcelain - Larissa Sansour, Søren Lind 145 The Brotherhood - Federico Solmi 146 Translantics - Britta Thie 147 Short Walk / Sirènes - Emmanuel Trousse 149 Uterus Man - Lu Yang 150 Delusional Mandala - Lu Yang 151 EXHIBITION KHM SECTION 152 Frozen Time - Ali Chakav 152 Maximum Power II - Bastian Hoffmann 153 Tangible Memorial - Julia König 154 Gedanken um die Bundesanwaltschaft - Damian Weber 155 EXHIBITION ARTIST TALKS 156 PRESENTATION WORKSHOP 158 Immersion – Cinematic Virtual Reality - From FullDome to VR-Video 158 Cinematic Virtual Reality 160 VR-Talks 164 BODY AND SPACE 165 Mensch-Sein - Musik & Kunstschule Osnabrück 165 Wartet bis es dunkel wird 165 INIT DER MEDIA CAMPUS 166 Expect Everything 166 Hochschule Osnabrück 167 Exhibition 168 Loophole Cinema: Alles ist Wiederholung 171 Hochschule für Gestaltung Offenbach 172 MUSIC & PERFORMANCE 174 AV Salon 174 Church Music 176 Nightshift 177 Nightstage 178 CONFERENCE THE FUTURE OF VISIONS 180 The Transparency of the Future - Alfred Rotert 180 Verfallsdaten der Zukunft - Der Transparenztraum der Avantgarden - Prof. Manfred Schneider 181 Public Preposition – Modelle Veränderter Öffentlichkeiten - Prof. Mischa Kuball 182 Walking A Daydream - Philip Rizk 183 Predicting the Past and Narrating the Future: the Techie in Networked Societies - Dr. Nishant Shah 183 Leibniz and Contemporary Calculation - Ramon Amaro 184 Big Data als permanente Zukunft - Marcus Burkhardt, Francis Hunger, Lena Brüggemann 184 REGISTER 186 List of Titles 186 List of Authors 188 List of Distributors 190 EMAF 2017 192 21 IMPRINT ORGANISATION SCHIRMHERR Veranstalter: Experimentalfilm Workshop e.V., Osnabrück Schirmherr des European Festivalleitung: Alfred Rotert, Ralf Sausmikat, Media Art Festivals 2016 Hermann Nöring ist der Ministerpräsident Kommission Internationale Film- und Video-Auswahl: des Landes Niedersachsen, Toby Ashraf, Katrin Mundt, Stefanie Plappert, Stephan Weil Ralf Sausmikat, Sebastiaan Schlicher Jury des ›EMAF Award‹ und des ›Dialogpreises des Auswärtigen Amtes‹: FÖRDERER Nadine Bors, Kevin B. Lee, Jasmina Metwaly FUNDED BY Jury des ›EMAF-Medienkunst-Preis der Deutschen nordmedia Fonds GmbH, Filmkritik‹: Wilfried Hippen, Johannes C. Tritschler, Hannover Carolin Weidner Stadt Osnabrück Konferenz: Alfred Rotert Bundesministerium für Ausstellung: Hermann Nöring, Franz Reimer Bildung und Forschung Musik & Performances: Melvin Neumann Stiftung Niedersachsen Retrospektiven: Ralf Sausmikat, Florian Wüst Landschaftsverband Media Campus: Robert Schnüll (Leitung), Pia Beholz, Osnabrücker Land e.V. Lennart Bramlage, Jannik Bussmann, Tim Duvendack, Auswärtiges Amt, Berlin Dirk Erdmann, Sandra Fulbrecht, Wiebke Glaw, Botschaft von Kanada, Merle Lembeck, Michelle Matizick, Jemma MacDonald, Berlin Carlos Niermeier, Jan Hendrik-Steffan Ausstellungsführungen: Franziska Finke, Hanjo Volke, Birgit Kannengießer, Silke Grob IMPRESSUM Presse- und Öffentlichkeitsarbeit: Kerstin Kollmeyer Editor: Finanz- und Hotel-Organisation: Andrea Gehling Experimentalfilm Workshop Disposition Film/Video: Gunther Westrup, Thorsten Alich e.V., Osnabrück Katalog- und Fotoredaktion: Alfred Rotert, Gunther Westrup, Ralf Sausmikat Hermann Nöring, Recherche: Katharina Lohmeyer Ralf Sausmikat Technik: Thorsten Alich, Christian Löwrick, Lohstraße 45a Michael Rosbeck, Reinhard Westendorf, D-49074 Osnabrück Gunther Westrup, outdoorbeamer.com Tel. ++49(0)541/21658 Ausstellung Bau & Technik: Andreas Zelle, Fax ++49(0)541/28327 Stefan Hestermeyer [email protected] Übersetzungen: Teresa Gehrs, Stephanie Brouwers, www.emaf.de Matthew Rees (Lingua Connect) Fotografie: Angela von Brill, Kerstin Hehmann Praktikant: David Heck ISBN Webdesign: Hüben und Drüben Heimat für 978-3-926501-38-7 Kulturkommunikation Berlin, Oldenburg, Zürich Webmaster: Stefan Hestermeyer Web-Pflege: Kerstin Kollmeyer, Stefan Hestermeyer Grafische Gestaltung: Holger Risse (und ich), Köln Satz: www.dieter-lindemann.de Druck: FROMM Druck- und Verlagshaus, Osnabrück 22 KOOPERATIONSPARTNER Förderer / Funded by COOPERATION-PARTNERS AGENCIA – Portuguese Short Film Agency ARGOS, Centrum voor Kunst en Media, Brussels ARTE Creative Arsenal Filmverleih, Tübingen AV-Arkki, Helsinki CaRTe bLaNChe comfuse GmbH cybob communications, Osnabrück Datahaus Publishing GmbH Fachbereich Kultur, Stadt Osnabrück Film & Medienbüro Niedersachsen e.V., Osnabrück Filmakademie Baden-Württemberg Filmtheater Hasetor, Osnabrück Filmuniversität Babelsberg Konrad Wolf Goethe Institut, München Haus der Jugend, Osnabrück hase29, Gesellschaft für zeitgenössische Medienpartner / Mediapartners Kunst Osnabrück e.V. HEAD Genève Hochschule Osnabrück, Medienlabor Hochschule für Gestaltung, Offenbach Hochschule für Künste, Bremen Kulturpartner: Kunsthalle Osnabrück Kunsthochschule für Medien, Köln Kunstquartier des BBK, Osnabrück Lagerhalle e.V., Osnabrück Le Fresnoy, Tourcoing Projektpartner / Projectpartners LUX, London numbo jumbo media, Osnabrück Picture Palace Pictures, New York Piffl Medien GmbH, Berlin pro helvetia, Zürich PSM Gallery, Berlin Real Fiction Filmverleih sixpackfilm, Wien Stray Dogs UDK Berlin Universität Osnabrück Video Data Bank, Chicago Winnipeg Film Group Zimmertheater, Osnabrück BESONDERER DANK AN SPECIAL THANKS TO Rotraut Pape Mischa
Load more

Recommended publications
  • THE AUDIOVISUAL BREAKTHROUGH Ana Carvalho
    THE AUDIOVISUAL BREAKTHROUGH Ana Carvalho and Cornelia Lund (eds.) 21 41 83 109 129 THE AUDIOVISUAL BREAKTHROUGH 7 PRACTICE AND DISCOURSE. AN INTRODUCTION AS MANUAL Ana Carvalho and Cornelia Lund The Audiovisual Breakthrough guides us across the landscape of artistic live practi- ces that present sound and image through technological means. This landscape has been radically reshaped during the last 20 years due to technological developments causing what we might call an “audiovisual breakthrough,” which means that audio- visual artistic production has gained a certain visibility and a certain, even institutionalized, standing. The main objective of this book, however, is not to portray this landscape with its main players and their activities, but to find out more about the underlying concepts that help us explain these activities. � Whoever has been trying to write an academic or curatorial text on this area has probably felt trapped in a confusing web of unclear, or even inconsistent, definitions. Visual music, expanded cinema, VJing, live cinema, and live audiovisual performance are the most widely used concepts here, each of these terms addressing a different angle of contemporary audiovisual pro- duction contextualized within specific fea- tures and a related history. Holding this in mind, The Audiovisual Breakthrough aims at developing useful definitions for both the theoretical debate and the performance obvious that clarifications were needed for context. � � � We might of course say— meaningful communication about and with- especially as performers—that we “really 9 in the field of artistic AV production to be don’t care” and that we are “more interested possible in the future.
    [Show full text]
  • 2016-Program-Book-Corrected.Pdf
    A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue.
    [Show full text]
  • Noordegraaf DEF.Indd 1 08-01-13 14:33 FRAMING FILM
    FRAMING ET AL. (EDS.) NOORDEGRAAF JULIA NOORDEGRAAF, COSETTA G. SABA, FILM BARBARA LE MAÎTRE, VINZENZ HEDIGER (EDS.) PRESERVING AND EXHIBITING MEDIA ART PRESERVING AND EXHIBITING MEDIA ART Challenges and Perspectives This important and fi rst-of-its-kind collection addresses the Julia Noordegraaf is AND EXHIBITING MEDIA ART PRESERVING emerging challenges in the fi eld of media art preservation and Professor of Heritage and exhibition, providing an outline for the training of professionals in Digital Culture at the Univer- this fi eld. Since the emergence of time-based media such as fi lm, sity of Amsterdam. video and digital technology, artists have used them to experiment Cosetta G. Saba is Associate with their potential. The resulting artworks, with their basis in Professor of Film Analysis rapidly developing technologies that cross over into other domains and Audiovisual Practices in such as broadcasting and social media, have challenged the tradi- Media Art at the University tional infrastructures for the collection, preservation and exhibition of Udine. of art. Addressing these challenges, the authors provide a historical Barbara Le Maître is and theoretical survey of the fi eld, and introduce students to the Associate Professor of challenges and di culties of preserving and exhibiting media art Theory and Aesthetics of through a series of fi rst-hand case studies. Situated at the threshold Static and Time-based Images at the Université Sorbonne between archival practices and fi lm and media theory, it also makes nouvelle – Paris 3. a strong contribution to the growing literature on archive theory Vinzenz Hediger is and archival practices. Professor of Film Studies at the Goethe-Universität Frankfurt am Main.
    [Show full text]
  • Interactive Audiovisual Objects
    This dissertation presents four interactive audiovisual pro- jects by Video Jack, a duo composed of Nuno N. Correia and Interactive André Carrilho. The projects are: Heat Seeker (2006), AVOL Audiovisual (2007), Master and Margarita (2009) and AV Clash (2010). The three last works have adopted an Interactive AudioVisual Ob- Objects jects (IAVO) approach, consisting of the integration of sound, audio visualization and graphical user interface into modular 21/2013 Aalto-DD units. The projects have been developed with a crossmedia perspective, ranging from performance to installation and net art, and the study emphasizes the last area. The conclusions Nuno N. relate to audiovisual content, interaction design and user ex- Correia perience. The IAVO approach is presented as a path to create projects for integrated audiovisual art that are coherent, flex- ible, easy to use, playful and engaging to experience. Interactive Audiovisual Objects ISBN 978-952-60-5000-3 BUSINESS + ISBN 978-952-60-5001-0 (pdf) ECONOMY ISSN-L 1799-4934 ISSN 1799-4934 ART + ISSN 1799-4942 (pdf) DESIGN + ARCHITECTURE Nuno N. Correia Aalto University School of Arts, Design and Architecture SCIENCE + Department of Media TECHNOLOGY books.aalto.fi www.aalto.fi CROSSOVER DOCTORAL DISSERTATIONS Interactive Audiovisual Objects Nuno N. Correia Nuno N. Correia Interactive Audiovisual Objects Aalto University publication series DOCTORAL DISSERTATIONS 21/2013 School of Arts, Design and Architecture Aalto ARTS Books Helsinki books.aalto.fi © Nuno N. Correia Graphic design: Hannu Hirstiö
    [Show full text]
  • Media Art in Central and Eastern European Countries - an Outline
    Ryszard W. Kluszczynski The Past and Present of (Multi)Media Art in Central and Eastern European Countries - An Outline [3.983 words] Poland Ryszard W. Kluszczynski The Past and Present of (Multi)Media Art in Central and Eastern European Countries - An Outline This text was archived at the Institute for Contemporary Art in Zagreb collection, as part of the Research project conceived in 1997 by a SCCAN – Soros Centers for Contemporary Art Network, funded by the Open Society Foundation, New York. The purpose of the project was to select, collect and disseminate texts on contemporary art practices in the Central and Eastern Europe and Central Asia, around Soros Centers for Contemporary Art, written in and about art of the 1990s. The coordination of the project was carried out by Janka Vukmir, SCCA – Zagreb, today the Institute for Contemporary Art, Zagreb. We did not intervene in any of texts more than just correcting obvious typos and spelling. On the occasion of collecting texts, we were given permission from all authors, to rightfully use them. If anyone now has different instructions, please, contact us at the [email protected]. All of the texts we have collected at the time have been later published on the website of the I_CAN, International Contemporary Art Network, the short-lived successor of the SCCAN. On the occasion of the exhibition 90s: Scars, revisiting the art practices and social and political context of the 1990s in the postcommunist countries, the Institute for Contemporary Art is now reoffering a collection of 89 texts and a comprehensive list of then proposed further readings, on the website of the Institute for Contemporary Art, www.institute.hr.
    [Show full text]
  • Front Matter
    Copyright by Leonardo de Cardoso 2010 The Report Committee for Leonardo de Cardoso Certifies that this is the approved version of the following report: Visual Music: an Ethnography of an Experimental Art in Los Angeles APPROVED BY SUPERVISING COMMITTEE: Supervisor: Veit Erlmann Sonia Seeman Visual Music: an Ethnography of an Experimental Art in Los Angeles by Leonardo de Cardoso, B.M. Report Presented to the Faculty of the Graduate School of Music The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master’s of Music Master of Music The University of Texas at Austin May 2010 Dedication To my parents, Edmundo and Arminda. Acknowledgements My idea with this study was to write a narrative where voices other than mine could be put together, and where the resulting consonances and dissonances could somehow delineate the field I was trying to understand. In that sense, I want to thank all my ethnographic collaborators for being part of this research. Hopefully I have not misrepresented any of them, and my own interpretation of their practices will be understood as a valid and thought-provoking point of view. Other collaborators I would like thank include ethnomusicologists from the Group of Musical Studies at the Federal University of Rio Grande do Sul, Brazil, with whom I was associated from 2005 to 2008 and where I found a fruitful space to learn collaboratively about anthropology, musicology, and ethnomusicology. At the University of Texas at Austin I was also nurtured with stimulating ideas. Professors James Buhler, Caroline O’Meara, and Robin Moore assisted me in different ways during my studies.
    [Show full text]
  • The Academy of the Senses
    The Academy of the Senses SYNESTHETICS IN SCIENCE, ART, AND EDUCATION FRANS EVERS The Academy of the Senses SYNESTHETICS IN SCIENCE, ART, AND EDUCATION FRANS EVERS Compiled and edited by VINCENT W.J. VAN GERVEN OEI ArtScience Interfaculty Press SYN·ES·THET·ICS n. 1. (used with a sing. verb) a. The branch of esthetics (Eng. aesthetics) dealing with joint esthetics, the artistic effects resulting from bringing together esthetics from different disciplines in one work of art, often as a consequence of the use of new technologies b. In Kantian philosophy esthetics is the branch of metaphysics concerned with the laws of perception. Synesthesia “is a term that refers to the transposition of sensory images or sensory attributes from one modality to the other”(Marks). The word synesthesia is composed of two elements: syn (with, together, alike, similarity) and aesthesia (to feel, per- ceive). In analogy we may describe synesthetics as “joint esthetics” c. Synesthetics, synesthetic art, verbal synesthesia, and sensory synesthesia are all manifestations of a guiding perceptual principle: “the unity of the senses.” According to ethnomusicologist Erich M. von Hornbostel this interrelatedness of the senses can be observed in daily life situations, in new media such as film as well as in the unity of the arts which was given from the origin (masked dance) 2. (used with a sing. verb) The study of the esthetics of visual music (Castel), Gesamtkunst (Wagner, Kandinsky), the art of relationships (Mondrian, Moholy-Nagy), synaesthetics and kinaesthetics: the way of all experience (Youngblood) as well as more recent forms of genera- tive art, interactive art and mediated environments 3.
    [Show full text]
  • Visual Music Masters Adriano Abbado
    Visual Music Masters Adriano Abbado Visual Music Masters Abstract Explorations: History and Contemporary Research Contents Cover The author wishes to thank: 7 Introduction Bret Battey Luciana Abbado Pestalozza and Clonal Colonies, detail, Paolo Martelli for their invaluable I. History 2011 support; Costanza Tessarolo and Marcello Abbado for their 10 1 The Beginnings Design suggestions; Melinda Mele for 18 2 Music and Early Twentieth-Century Painting Marcello Francone her review of the original Italian 28 3 Luminous Instruments Copy Editor text; Emmanuel Gallina, 42 4 Abstract Films Maria Conconi Elisabetta Minonne, Rembert 66 5 Music and Abstract Art Layout Noppe, the Prometheus Centre, Anna Cattaneo Andreas Seegatz and Dagmar 76 6 Electronic Art Trinks for their help regarding Iconographic Research Paola Lamanna foreign language issues. II. Contemporary Developments Thank you also to the publisher Translation 90 7 Animations and Videos Skira and to all the artists and Melinda Mele 106 8 Installations organizations that have kindly contributed to the making of this 124 9 Performances book. 136 10 Language All rights reserved under international copyright Appendix conventions. No part of this book may be reproduced or utilized 142 Synesthesia in any form or by any means, electronic or mechanical, References including photocopying, 150 Bibliography recording, or any information storage and retrieval system, 156 Websites without permission in writing 168 Index of Names from the publisher. 175 Photo credits © Giacomo Balla, Vladimir Baranoff-Rossiné, Hans Richter, Leopold Survage, Jean Tinguely, by SIAE 2017 © Antonella Vigliani Bragaglia, by SIAE 2017 © Succession Marcel Duchamp, by SIAE 2017 © Man Ray Trust, by SIAE 2017 © 2017 Skira editore, Milano First published in Italy in 2017 by Skira Editore S.p.A.
    [Show full text]