The Free Culture Incubator, a workshop and networking programme for independent creative and cultural producers was established at the last transmediale and has since developed into a bustling Berlin platform for Free Culture and the Open Net. Since October 2010, a 12-month series of workshops on topics such as Open Design, business models in the Free Culture sphere, etc., has been running, which is one of the most important initiatives of the FCI.
In today’s workshop, the initiators and project partners present their plans for the period until summer 2011, taking suggestions and requests for sessions from participants.
Public space does not end at the borders of the visible. In form of a workshop and presentation, the technologies and techniques of how to read the plethora of signal in the air, manipulate it and pass it on will be adressed.
The film is part two of the Bearing Witness trilogy which is concerned with how we, as a culture, watch ourselves, especially in moments of great emotional significance. With footage culled from mainstream media and television, the single-channel videos (The Eternal Quarter Inch, Somewhere Only We Know, The Burning Blue) distill moments of sincerity from perhaps insincere sources.
In 1927 Douglas Fairbanks and Mary Pickford – both great admirers of The Battleship Potemkin – visited the Soviet Union. Here as all over the world, they were acclaimed as stars and their railway carriage decked out in garlands. Director Sergei Komarov approached them with what was apparently a newsreel team and shot a few short scenes, including amongst other things a kiss that Mary Pickford planted on comedy star Igor Ilyinsky.
As a contribution to Gerry Schum's Identifications, Beuys adapted for television the Felt TV action previously staged for a live audience at a Happening festival in Copenhagen in 1966. It was the only Beuys action executed specifically for the camera. It opens with Beuys seated in front of a TV set showing a programme which is invisible because the screen is covered by felt.
Vostell's large-scale happening 9 Nein Décollagen (9 No – Dé-coll/ages) took place on 14 September 1963 in nine different locations in Wuppertal, and was organized by the Galerie Parnass. The audience was ferried by bus from location to location, including a cinema that screened Sun in Your Head while people lay on the floor. The film transfers to the moving image Vostell’s principle of ‘Décollage’.
A depressing fragment without sound. A village is seen, conquered by the Wehrmacht (the German army), and in it, living people. While the intention of this piece of propaganda to discredit the Soviet Union is clearly reflected in the title, one wonders, especially today, what happened to the frightened people after the cameras stopped rolling.
Since George Orwell’s 1984, the relationship between communication technology and surveillance has been discussed intensively. What’s surprising, however, is that already in 1939 the TV was planned as possibly helpful in the investigation of crimes.