[transmediale] recommends: Picturing Free Knowledge - TESLA video progr. for WOS4

Andreas Broeckmann abroeck at transmediale.de
Do Sep 14 13:47:28 CEST 2006

(English version and Full Programme - see below)

Bilder fuer freies Wissen

TESLA, fr / sa 15./16.9. 20:30 h

zwei Videoprogramme zur “Wizards of OS 4" Konferenz, kuratiert von
Vera Tollmann

Image Banks
Videoarbeiten von Johanna Billing, Nina Fischer / Maroan el Sani,
Nate Harrison, Sean Snyder, VitoriaMario, Florian Zeyfang, u.a.
Das Programm zeigt künstlerische Reflexionen über die kulturelle und
politische Bedeutung aktueller Bildarchive.

Ab 22 Uhr im Klub: radio cidadao comum: netbatucadabrasileira on free
and piracy music

Image Agents
Videoarbeiten von Anna La Chocha, Anja Kirschner, Tobias Werkner, u.a.
Gezeigt werden Videoarbeiten, die einen produktiven Umgang mit
vorhandenem Bildmaterial pflegen oder neue Konzepte für mediale
Wissensproduktion verfolgen.

Ab 22 Uhr im Klub: MyTube & Yourspace
from Dj Hugo Chavez & Vj Ahmedinejad

Als Partner der Konferenz 'Wizards of OS 4 -- Information Freedom
Rules' präsentiert TESLA zwei Videoprogramme, kuratiert von Vera
Tollmann. Ausgehend von der Diskussion über Urheberrechte beschäftigt
sich “Bilder für freies Wissen" mit der Privatisierung großer Mengen
von Bildern in Datenbanken und mit den Möglichkeiten alternativer
Bildproduktion in den Grauzonen der Copyright-Gesetzgebung, wie z.B.
mit dem Handy. Die Ästhetik aktueller Nachrichtenbilder ist von
marktkompatiblen Standards bestimmt, komplette Bildarchive, die
Jahrhunderte überdauern sollen, werden eingelagert und nur
gebührenpflichtig wieder verfügbar gemacht. Welche standardisierten
Bildertypen bestimmen heute die Diskurse der Medien? Für die Besitzer
populärer File-Sharing-Netze sind die ausführlichen Nutzerprofile am
interessantesten: was sieht sich die Kundschaft von morgen an? Welche
Methoden etablieren sich innerhalb der enormen Produktion in online
Video-Communities? Wird mehr Wissen verfügbar, oder werden mehr
Geheimnisse geschaffen?

Im Programm werden künstlerische Strategien vorgestellt, die in
Bildern repräsentierte Machtverhältnisse und mediale Bildpolitiken
reflektieren. Für einen Moment wird die Logik des kapitalistischen
Wertekreislaufes vorgeführt. Oder die Arbeiten verbinden sich mit
aktuellen Forderungen nach einem freieren Umgang mit Bildern.


Picturing Free Knowledge
Friday, 15 and Saturday, 16 September, 20:30, at TESLA Medien>Kunst<Labor

Two video programmes curated by Vera Tollmann.

Image economies take place between Big Business and Creative Commons
licences: The Brasilian agency Radiobrás started publishing its news
and multimedia broadcasts under CC licences just this summer. During
Robbie Williams' recent tour in Germany photographers were not
permitted to take pictures of the pop star. A Berlin newspaper
reacted by publishing mobile phone pictures taken by their reporter
-- the resolution was accordingly low. If one compares the search
results in Google Images with the results from databases like Corbis
and Getty Images, one has to find out that the pay services clearly
offer higher quality.

Starting from the debate on copyrights, the videos in the programme
ask for the power relations in image production and distribution.
Which pictures dominate the discourse of the media? How can images be
created and distributed outside copyright obligations? What does the
enormous and enthusiastic image production in online video
communities such as YouTube mean?

The programme presents artistic strategies by which power relations
and media image policies represented in images are reflected: The
correspondence with the footage-department of a company selling
royalty-free film and video clips for commercial purposes reveals
their guidelines allowing nothing but hegemonic and stereotypical
images. For a moment the logic behind the circulation of capitalist
value becomes visible. In other cases, works demand a freer way of
dealing with images, for example when public domain footage from film
archives is rearranged and published under a Creative Commons licence.

Picturing Free Knowledge I: Image Banks
Friday, 15 September, 20:30

Videos by Johanna Billing, Nina Fischer / Maroan el Sani, Nate
Harrison, Marysia Lewandowska / Neil Cummings, Sean Snyder,
VitoriaMario, Florian Zeyfang and others

The first programme entitled 'Image Banks' takes existing images as
its starting point: Images and their sources are reflected in
different contexts, for example, the homogenous aethetics of news
images or the categories of commercial image databases are called
into question.

Later in the evening, Ricardo Ruiz and Tatiana Wells, currently
residents at TESLA, will play a music programme and live stream mix
from Brasilian radio stations.

22:00 Klub: rádio cidadão comum: net batucada brasileira on free and
pirated music

Picturing Free Knowledge II: Image Agents
Saturday, 16 September, 20:30

Videos by Anna La Chocha, Anja Kirschner, Dariusz Kowalski, TV-TV,
Tobias Werkner and others

'Image Agents' compiles video works that make productive use of found
footage or pursue new concepts for media knowledge production. The
programme is about the appropriation of visual technologies, formats
and styles.

Following this logic, Serhat Köksal stirs up mass culture:
orientalism, pop, politics and folklore collide in the works of DJ
Hugo Chavez & VJ Ahmadinejad.

22:00 Klub: 'MyTube & YourSpace' by DJ Hugo Chavez & VJ Ahmadinejad

The full video programme:

Programm 1: IMAGE BANKS

Nina Fischer/Maroan el Sani: Alles Wissen dieser Welt, 2005, 7 Min (loop)

Neil Cummings / Marysia Lewandowska / Eileen Simpson / Ben White: 
Screen Tests 3/4 Broadcast Times: The Birth of Westward, 2006, 12.29 

Florian Zeyfang: Pathos of Distance, 1996, 1.45 Min

Sean Snyder: Seiko, Sheraton, Toyota, Mars, 2004-2005, 13 Min

Carey Young: Terms and Conditions, 2004, 3.25 Min

Nate Harrison: Stock Exchange, 2006, 12.30 Min

VitoriaMario: Itau Cultural?, 2003, 1 Min

Neil Cummings / Marysia Lewandowska / Eileen Simpson / Ben White: 
Screen Tests 1/4 Screen Tests, 2006, 12.36 Min

Johanna Billing: Project for a Revolution, 2000, 3.14 Min (loop)

Programm 2: IMAGE AGENTS

The league of noble peers, Steal this film, 31 Min, 2006

Tobias Werkner: Aegypten 6600 (nach Lumière), 2004, 17 min

Stina Wirfelt: Collage, 2006, 7 Min

Anna Margarita Albelo, La Chocha: Peaches Reputation, 2003, 3 Min

Dariusz Kowalski (Krzeczek): Elements, 2005 , 8 min

Anja Kirschner: Polly II, 2005, 28 Min
Trailer http://www.difficultfun.org/items/pollytrailersm.html

Nina Fischer/Maroan el Sani: The world's knowledge, 2005, 7 Min
The old Bibliothèque Nationale de France in the centre of Paris is 
today largely vacant. In 1956 this library was the setting for the 
movie "Toute la mémoire du monde" by Alain Resnais, which shows how 
the library functions as a storehouse of the world's knowledge. 50 
years later Fischer and el Sani filmed the vacated location in slow 
tracking shots - just as Resnais did. An apocalyptic scenery. The 
knowledge has vanished. Amongst the waiting people the withdrawal of 
knowledge provokes first signs of resentment.

Neil Cummings / Marysia Lewandowska / Eileen Simpson / Ben White: 
Screen Tests 3/4 Broadcast Times: The Birth of Westward, 2006, 12.29 
For "Screen Tests" the collaborating artists have requested Public 
Domain films and music at film archives and the Library of Congress. 
This material was rearranged into new films. "Broadcasting Times" 
documents the lavish marketing of the beginnings of privately owned 

Florian Zeyfang: Pathos of Distance, 1996, 1.45 Min
When the internet was first introduced, advertising spots were much 
more euphoric. Zeyfang traces TV spots of IBM, in which nuns whisper 
about the joys of mobile phones, Arab men discuss the potentials of 
networks over a cup of tea, and paleonotologists download files in 
the African jungle.

Sean Snyder, "Seiko, Sheraton, Toyota, Mars", 2004-2005, 13 Min
In “Casio, Seiko, Sheraton, Toyota, Mars" (2004-2005) Sean Snyder 
reflects on the connection between image production and consumption. 
To put conventions of the processing and prodcution of images into 
question, he uses amateur images in combination with images of the 
Associated Press agency to reflect on the increasing influence of 
hobby photographers.

Carey Young, "Terms and Conditions", 2004, 3.25 Min
Commissioned by Henry Moore Institute, Leeds
A besuited female presenter appears to discuss the 'site' whilst 
standing in an idyllic agricultural landscape, However, the text is 
actually a composite of disclaimers from corporate websites. The 
rural setting in the background looks like an idealised nature image 
from a commercial image bank.

Nate Harrison, "Stock Exchange", 2006, 12.30 Min
Music: Tom Heasley
Nate Harrison sent a letter to the footage acquisitions department at 
Artbeats Software, Inc., a company whose main business is to provide 
high quality and royalty-free film and video clips for commercial 
clients. Asked by Harrison to define their selection criteria, the 
representative lists guidelines which don't allow any but 
stereotypical hegemonic images. Actual clips from the Artbeats 
catalog are juxtaposed to the text. By this the perversion of the 
image economy becomes all too clear.

VitoriaMario, "Itau Cultural?", 2002, 0.32 Min
The video is meant to show that the only interest of the bank Itau is 
to increase symbolic capital by appropriation arts from institutions. 
Its all about the perverse connection between capital and art and the 
image transfer that firms like Itau hope to gain. In fast forward 
mode, you see a video produced by Itau in which it ’eats up' the 
cultural production.
The name VitoriaMario represents a loose group of people, who wrote 
manifestos and applied cut and paste methods from 2000 to 2003 to 
overload discourses with information.

Neil Cummings / Marysia Lewandowska / Eileen Simpson / Ben White: 
Screen Tests 1/4 Screen Tests, 2006, 12.36 Min
In loose sequences, like in Andy Warhol's films, actors practice in 
front of the camera: they experience their facial play, exercise the 
cat walk, and slowly it appears that all of them are students at an 
art academy.

Johanna Billing, "Project  for a Revolution", 2000, 3.14 Min loop
In "Project for a Revolution" Billing imitates a scene from 
Antonioni's Zabriskie Point, in which students are waiting together 
for the beginning of a political demonstration. A Xerox ejects only 
blank sheets of paper. The group lacks the decision for a political 
message or the group could appropriate one any time.

The league of noble peers, Steal this film, 31 Min, 2006
In 2004 the Swedish anti-copyright-organisation Piratbyran (pirate 
bureau) founded the increasingly popularden Bit-Torrent-tracker The 
Pirate Bay. In may 2006 their servers were confiscated by the police. 
After the raid the videos from the surveillance cameras of the 
building were published on the video broadcasting platform YouTube. 
The Pirate Bay is back online since June 3. "Steal this film" 
documents what happened and the discussion on The Pirate Bay.

Stina Wirfelt, Collage, 2006, 8 Min
An old man's memories unfold while he is waiting for his wife in his 
car outside a supermarket. He recalls how they met and their journeys 
to different places. The line between memory and imagination is 

Anna Margarita Albelo, La Chocha, Peaches Reputation, 2003, 3 Min
Albelo produced her own music video for "Reputation", a song by the 
Berlin singer Peaches. The song text jumps in big letters across the 
screen and with that underlines the message.

Tobias Werkner: Aegypten 6600 (nach Lumière), 2004 , 17 min
More recently produced mobile phones come with a function to record 
moving images - yet the resolution is low, because of the limited 
memory space. This effect is a reversal to the early days of film. In 
order to exagerate this fact, Werkner chose an absurd motif, the 
pyramids in Egypt.

Dariusz Kowalski (Krzeczek): Elements, 2005 , 8 min
Kowalski mounts online data images of the “Alaska Weather Camera 
Program", showing occupied territories in the ice desert, into a 
landscape portrait. The landscape cannot be taken, yet the images are 
available. The motifs of the webcams are small airports in Alaska and 
their weather conditions, but due to the fast collage in quick 
motion, functional data as well as planes and cars disappear.

Anja Kirschner, "Polly II - Plan For a Revolution in Docklands", 2006, 28 Min
Anja Kirschner tells the story of a revolution that takes place in 
the near future. The reason for the uprising is the gentrification of 
London's East End. Kirschner developed the characters for her film on 
the basis of John Gay's opera Polly (1727): as ghosts of England's 
maritime past, pirates come to the aid of the local Docklands 
residents in their fight against investors. For her compositions, 
Kirschner drew on the socio-political illustrations of the British 
caricaturist William Hogarth, a contemporary of Gay's. In the film's 
four scenes, historical references mix with TV drama gestures and 
science fiction effects.