Media-Scape in Novigrad / Cittanova
Workshops, Presentations, Screenings, Exhibitions
"Per(mutations)" Part I
"Per(mutations)" Part II
Per(mutations)" Part IV
expanding its scope onto the field of the city architecture Novigrad-Cittanova,
a small but old town in Istria, serve as a good example for discussions
about and the production of art works (workshops, lectures, screenings,
exhibition, performances) that examine the influences of new architectonic
developments in the old city centre. These works of art will aim
to confront such developments with the critical points of view of
present-day digital era created the technical preconditions for
the conception, editing, archiving and the output of hitherto separate
areas of artistic production on the basis of a common code. Artistic
goals are always positioned at the limits of available technologies.
The boundaries of the possible have grown significantly wider, placing
the longing for the Gesamtkunstwerk, the total work of
art, into focus again. On the other hand, the perils of arbitrariness
are lurking, of linking of everything with everything else, of the
"white noise", the senselessness of the information overflow.
But also new ways of discourse, of work and interaction, already
announced years ago by the media enthusiasts, appear at the horizon.
Crossover art forms are emerging.
channels have always existed between the spheres of visual art,
technical innovations and experimental music. Though the forms of
expression seem to differ at first sight, they represent variations
of the reflection on one and the same reality. Synaesthesiae, relations
between the media, have always interested scientists and artists,
and numerous attempts were undertaken in the early years of the
past century to couple various media - like at the Bauhaus stage.
Movements in the visual arts, such as the Fluxus, the happening
and the expanded cinema in the sixties, experimented with new approaches.
Combinations of images and music have become very popular at the
latest with the appearance of music videos at the beginning of the
eighties - putting the question of their meaning aside for the moment.
History does not pass us without leaving a trace: "all that
emerges (is) a part of the social process of life, the consequence
of certain facts, which then influences the emerging intentions.
Based on the emerging, an ideology is created, a certain way of
looking at things, an interpretation and a relation which in turn
influence the emerging" (Laszlo Moholy-Nagy).
views were expressed also in the field of music. As Arnold Schönberg
put it in a letter to his publisher Hertzka concerning the planned
filming of his musical drama The Lucky Hand: "Just
as music never drags a meaning around with it, at least not in the
form in which it manifests itself, even though meaning is inherent
to its essence, so too this should simply be like sounds for the
eye, and as far as I am concerned everyone should think or feel
something similar to what he thinks or feels while hearing music."
turbulences created since the dynamisation of music 100 years ago
still resonate today. It will be interesting to observe how the
images and the sounds of the future will slowly turn from a closed
unity to modular parameters, which the viewer/user may manage and
freely manipulate. In the future audiovisual data will certainly
not contain and transfer the entire information but only its definitions,
vectors and coordinates, which will again be converted to images
and sounds with the help of a processor. But hold on! Does this
not sound as a comprehensive notation for some future optophonetics?
Daxl / Ingeborg Fülepp