just as a quick reminder:
we’re going to do a workshop about the basics of video on coming thursday, 2pm.
it’s going to be not so much application orientated, but rather about the guts of what is video, like different formats (ntsc/pal/hd), interlacing, codecs, storage formats, webclips etc.
the following week we’ll look at the basics of final cut pro.
see you around
++ christoph ++
– on thursday 14.00h, we’re going to do the workshop on
scanning and printing, and get a first glimpse into the deep
waters of color management.
– next week, i wont be at the university.
– ariel would like to change the inks in the epson large
format printer, if anybody needs to do any urgent prints on
semiglossy or glossy paper, please let me know asap,
otherwise we’re going to flush them on thursday after the
workshop.
bests
++ christoph
just wanted to let everybody know that we’ll do the photoshop III workshop tomorrow (thur 22) as planned because i think it’s really important, so we’re going to look at adjustment layers and mask again and add some smart filters and blending modes, pretty complicated things but i think it would be useful if you have a general idea of what is possible..
we’ll look at scanning/printing/color management next week and move to video after that.
++ christoph +++
Hier die vorläufige Planung für das kommende Semester, dass am 14.4 beginnt. ANGABEN OHNE GEWÄHR!
>>>scroll down for the English version<<<
24.6.
Termin wurde auf den 17.6. verschoben
1.7.NEUER TERMIN!!! statt des 8.7.
Es zeigen: Ole, Artur, Sergio, Lena
8.7. Termin wurde auf den 1.7 verschoben!!!!
15.7. Letzte Klasse des Sommersemesters
Geplant sind: die Besprechung des Semesters und Aussichten auf das nächste Semester
Bringt Kuchen mit
Zeigung: Philip M. Stefanie, Andreas Gruner, Filmpresentation von Imri
28.10
Bewerbungen von Hochschulwechslern und Gästen
ab 10:00
Here the plans so far for next semester, starting on April, 14. CONDITIONS SUBJECT TO CHANGE!
24.6.
Date got changed to 17.6. because of the absolventenprüfung-exams taking place on the 24.6
1.7.
NEW DATE!!!!
There will be presentations from Ole, Sergio, Artur and Lena
8.7.
DATE GOT CANCELED (preponed to 1.7.)
15.7. Last classmeeting of the summer term
review of the semester and perspectives for the next term
Bring some cake!
Presentation Philip, Stefanie, Andreas Gruner, Filmpresentation von Imri
28.10
10:00 Applicants from other universities and gueststudents
liebe klasse,
um es für euch so bequem wie möglich zu machen (ist ja auch schlechtes wetter) könnt ihr mit den nebenstehenden links einen kalender mit allen daten der klasse anschauen. es gibt noch eine neuerung. die papierlisten zur gerätereservierung in raum 98 verschwinden. der zweite link führt euch zu einem kalender im internet auf dem ihr euch für computerarbeitsplätze und geräte eintragen könnt. dafür müsst ihr euch einloggen mit folgenden daten:
Emailadresse: steyerl.list@gmail.com
Passwort: listlist
die geräte dürfen ab jetzt wirklich nur noch eine woche ausgeliehen werden, da wir ja wieder eine ziemlich volle klasse sind und nur eine strenge organisation sichert, dass alle etwas von dem gerätepool haben. habt bitte verständnis!
liebe grüße,
die tutorinnen
dear class,
to make it as easy as possible for you (since the weather is so shitty) you have now the opportunity to check the class schedule via internet. use the link on the right. There are more improvements. the paper lists for the equipment reservation in room 98 will disappear. the second link leads you to a calendar in the internet where you can sign up for computer workstations and equipment. you have to logg in using the following data:
email adress: steyerl.list@gmail.com
passwort: listlist
from now on the equipment can only be rented for one week max. since we are again a very full class and a strict organization is the only way to make everybody profit from the equipment pool. please understand!
bests,
the tutors
hier einmal der plan für die workshops in diesem semester.
es ist diesmal hauptsächlich mit schwerpunkt computer und software, aber mir ist aufgefallen dass dabei immer am meisten probleme entstehen und dass es in der heutigen zeit immer wichtiger wird.
die workshops werden immer am donnerstag sein, jeweils von 14-17 uhr:
Do, 17.4.
– grundlagen zum computer
(hardware, betriebssystem, software, schnittstellen, tips zum effizienten arbeiten)
Do, 24.4.
– grundlagen des internets
(www, email, mailinglists, ftp, usenet, irc/im, torrents, netzwerk und IPs)
Mi, 30.4. (ausnahmsweise *mittwochs* weil am donnerstag 1.Mai ist)
– die eigene website
(domains, provider, struktur, html basics)
– photoshop 1 (grundlagen zu digitalen bildern)
– photoshop 2 (auswahl, ebenen, masken)
– photoshop 3 (actions, tips)
– scannen und drucken
– grundlagen zu video
– fcp 1 und quicktime
– fcp 2
– fcp 3
– dvd erstellung
– indesign (page layout etc)
daneben möchte ich hin und wieder am mittwoch einen film zeigen, zb:
– norman mclaren (div animationsfilme)
– buster keaton (kurzfilme und the general)
– vera chytilova (sedmikrásky)
– maya deren (meshes of the afternoon u.a.)
…
andere ideen sind immer willkommen
//////////////////////
here’s the plan for the workshops in this semester.
it’s mainly about computer and software this time, because i’ve noticed there’s still a lot of problems there and i have the feeling it’s getting more and more important these days.
the workshops will always be on thursdays, 2-5pm:
Thu, 17.4.
– computer basics
(hardware, operating system, software, connections,
tips for efficient working)
Thu, 24.4.
– internet basics
(www, email, mailinglists, ftp, usenet, irc/im, torrents, network und IPs)
Wed, 30.4. (This is a wednesday, because thursday is may 1st!)
– my own website
(domains, provider, structure, html basics)
– photoshop 1 (digital images)
– photoshop 2 (selections, layers, masks)
– photoshop 3 (actions, tips)
– scanning and printing
– video
– fcp 1 and quicktime
– fcp 2
– fcp 3
– dvd authoring
– indesign
(page layout, etc)
i’d also like to show a film then and there on wednesday, for example:
– norman mclaren (animation films)
– buster keaton (shorts and the general)
– vera chytilova (sedmikrásky)
– maya deren (meshes of the afternoon a.o.)
other ideas are always welcome
bests
++ christoph
liebe klasse,
unsere liebe silke ist aus paris zurück und wird ab nächster woche die geräteausleihe übernehmen. genaueres dazu auch noch beim ersten klassentreffen. für die anderen anliegen der klasse (schlüsselkarten, termine zum zeigen etc.) könnt ihr euch weiterhin vertrauensvoll an mich wenden.
kristina
dear class,
dear silke is back from paris and will take over the equipment lending for the class starting next week. more details will be given on the first class meeting. with all the other concerns, like key cards, dates for presenting your work etc. you can still confodently turn to me.
kristina
Der Reader für Hitos Seminar “The Documentary Turn” ist zum downloaden im Netz. Der Link steht rechts unter der Anwesenheit.
Außerdem gibt es eine Papierversion zum kopieren in Raum 98.
Frohe Ostern, Kristina
The reader for Hito’s class ” The Documentary Turn” is on the net to download. The links is on the right of this page below Anwesenheit.
There is also a paper version for copying in room 98.
Happy Easter, Kristina
Liebe Klasse,
hier der Seminarplan für Hitos Seminar im kommenden Semester. Der Reader mit den Texten wird bald zum Herunterladen auf der Homepage zu finden sein.
Beste Grüße,
Kristina
Dear class,
here for you the syllabus for Hito’s class next semester. The reader with the texts will soon be on the homepage to downlaod.
Bests,
Kristina
Documentary turn
Factography; conceptual documents; artistic research
Seminar Hito Steyerl
Wed 10-14h, room 4
What is the documentary turn?
This seminar will provide a historical background to the contemporary return of documentary forms into the artfield, which started around the mid-90es. A discussion of this phenomena has been much obscured by competing definitions of documentary and different historical evaluations of documentary forms both within art history and documentary film and photo theory. The seminar will investigate contradictory concepts of the documentary, starting from the use of the document within factography and productivism of the 1920es to the role of documents within conceptual art of the 60es and 70es as well as video essayism, and recent artistic research and knowledge production. The contemporary documentary turn thus opens up a field of contestation, where different concepts of truth, of art and reality clash with each other. An „aesthetics of administration“ (B. Buchloh) encounters a vital documentary politics of visuality.
The course is taught in international english. A reader will be available. Active participation and a presentation will be expected from students. Texts marked with an X are available in the reader.
16.4. Introduction: Documentary Forms as Liminal Sites.
23.4. Lecture: Politics of truth
XMichel Foucault: „Technologien der Wahrheit“. In: Foucault, Botschaften der Macht. Reader Diskurs und Medien. (Hg.)Jan Engelmann. Stuttgart: DVA, 1999. S133-144.
XJohn Rajchman: „Foucaults Kunst des Sehens“. In: Imagineering. Visuelle Kultur und Politik der Sichtbarkeit. (Hg.)Tom Holert. Köln: Oktagon 2000.
s.a. Toby Miller: Technologies of Truth. Cultural Citizenship and the popular Media. Minneapolis: University of Minnesota, 1998.
30.4. Lecture: Orientalism and the politics of truth
XEdward Said: „Introduction“. In: Orientalism, Vintage books, New York, 1979. S 1-30.
s.a. Aijaz Ahmad: „Orientalism and after“. In: Colonial discourse and postcolonial theory; Ed. Laura Chisman/Patrick Williams; New York: Columbia University Press, 1994. pp162-171.
Timothy Mitchell: „Orientalism and the exhibitionary order“. In: The Visual Studies Reader; Ed. Nicholas Mirzoeff, London/New York: Routledge, 1999; pp293-303.
Malek Alloula: „From the colonial harem“. Ibid. pp317-321.
7.5 Witness:
XJohn Ellis: „Witness – a new way of perceiving the world“ and „Witness through the 20th century“. In: Seeing Things. London/New York: I.B. Tauris, 2000. P 6-16 and 17-39.
XHito Steyerl: Können Zeugen sprechen? In: „Die Farbe der Wahrheit“, Wien: Turia und Kant, 2008.
Visual Material:
Bringing the war home Marta rosler http://home.earthlink.net/~navva/photo/index.html
Film: Rashomon. Akira Kurosawa, J1950, 88min.
14.5 no session
21.5. Truth: Georges Didi-Huberman: Bilder trotz allem.
XThe version in the reader consists of a transcript of a talk in Vienna in 2003.
The extended version is published in: Georges Didi-Huberman: Bilder trotz allem. Freiburg: Fink, 2007.p15-80.
Alain Resnais: Nuit et brouillard, fr. 1960, 32min.
Or Michail Romm, Obyknovennyy fashizm (Ordinary fascism). 1965, 133min. (clip)
28.5 Factography:
XWalter Benjamin: „The autor as producer“; In: New Left Review I/62, July/August 1970.
XJohn Roberts: „Photography, the Everyday and the Russian Revolution“ In: The Art of Intervention. Manchester: Manchester University Press, 1998. p14-39.
Chris Marker: Fr 1971 Le train en marche 32min; or: Tombeau d´alexandre 1992, 120min
4.6 Conceptual documents
Presentation: Hito Steyerl
XJohn Roberts: „Photography, Iconophobia and the Ruins of Conceptual Art“
In: The impossible document: Photography and Conceptual Art in Britain 1966-1976, Ed. John Roberts.London: Camerawork, 1997. P 7-46.
s.a.
XLucy Soutter “The photographic idea: reconsidering conceptual photography”. Afterimage. March-April 1999. FindArticles.com. 13 Feb. 2008. http://findarticles.com/p/articles/mi_m2479/is_5_26/ai_54421750
Benjamin Buchloh: „Conceptual Art 1962–1969: From the Aesthetics of Administration to the Critique of Institutions“, in: October 55, 1990, 105–143.
Catherine Moseley: History of an infrastructure. In: ed. Moseley Conception – The Conceptual Document 1968-1972, Norwich: Norwich Gallery 2001. P 154-167.
XMaria Teresa Gramuglio, Nicholas Rosa: Tucuman burns. In: Conceptual Art, a critical anthology. Ed. Alexander Alberro, Blake Stimson. Cambridge, Mass.: MIT Press, 1999. P76-79.
Jeff Wall: Marks of indifference. Aspects of Photography in or as conceptual Art. In: Reconsidering the object of art: 1965-1975. Eds. Anne Goldstein and Ann Rorimer, Museum of Contemporary Art Los Angeles. Mit Press, Cambridge/Massachussetts 1995.
Material:
Robert Morris: Document – Statement of aesthetic withdrawal.
Films: David Lamelas ; A study of the relationships between inner and outer space, 1969, 20min.
Joseph Kosuth: Photography.
11.6 Postconceptual documents
XMartha Rosler: „Drinnen, Drumherum und nachträgliche Gedanken (zur Dokumentarfotographie“. Martha Rosler, Positionen in der Lebenswelt. (Hg.)Sabine Breitwieser. Wien: Generali Foundation, 1999. P?
XAlan Sekula: „Documentary and Corporate Violence“. In: Conceptual art. Ed. Alex Alberro, Blake Stimson. Cambridge, Massachussetts: MIT Press, year? P. 360-365.
s.a.
XBuchloh: Allegorische Verfahren. Über Appropriation und Montage in der Gegenwartskunst. In: Art after conceptual art. Ed Alex Alberro, Sabeth Buchmann. Köln: Walter König 2006. p31-58.
Marta Rosler: Semiotics of the kitchen US 1975, 5min; Vital Statistics of a Citizen US 1977, 40min.
18.6 The Artist as Ethnographer
XHal Foster: „The Artist as Ethnographer“. In: The Traffic in Culture: Refiguring Art and Anthropology, Ed. G.Marcus/F.Myers, Berkeley: California University Press, 1995. P?
XTrinh T. Minh-ha: The totalising quest of meaning; in: Michael Renov (Hg.), Theorizing Documentary, New York, London 1993, S.90-107.
Critical art ensemble: Video and resistance: Against documentaries: http://www.critical-art.net/books/ted/ted3.pdf.
Trinh T. Minh-Ha; Reassemblage, 40min. (clip)
and other clips.
25.6 The Artist as Global Citizen
XOkwui Enwezor: Documentary/Verité: Biopolitics, Human Rights and the Figure of Truth. In: Australian and New Zealand Journal of Arts, 2003, vol5, part 1, p: 11-42.
As the text is so long, there is no screening.
2.7 The Artist as Journalist:
XStefan Jonsson; Facts of aesthetics and Fictions of journalism
Online: www.nordicom.gu.se/common/publ_pdf/157_057-068.pdf
Amar Kanwar. A season outside, In 1997, 30min.
Katya Sander: Televised I: the Anchor, the I, and the Studio, 2006 multichannel video.
Jeanne Nouhaim: Control Room, US 2004, 84min
9.7. The Artist as Researcher
XSarat Maharaj: UNFINISHABLE SKETCH OF‘AN UNKNOWN OBJECT IN 4 D’:SCENES OF ARTISTIC RESEARCH. In: Lier en Boog, nr. 18, p 39-58.
XDieter Lesage: The artist as researcher. Online at: http://sum
mit.kein.org/node/233
Material: presentation of students project.
16.7 The Artist as Researcher II
XHenk Slager: Methododicy. In: Lien en boog, Nr. 18, p12-14.
XMultiplicity: Frequently asked questions. In: Multiplicity, Uncertain states of Europe. Milan: Skira Editore, p. 14-27.
Material : presentation of project, tbd.
liebe klasse,
in den semesterferien bin ich aufgrund der nachfrage nur mittwochs von 12-15 uhr in raum 98. wenn ihr geräte braucht, kann ich aber auch dienstags oder in wichtigen fällen zu anderen zeiten. sagt mir einfach frühzeitig per email oder handy bescheid.
hoch.bahn@web.de
0171 5365312
liebe grüße,
kristina
dear class,
because of the general demand during the semester break i will only be in room 98 on wednesday 12-3pm. if you need equipment i am also available on tuesdays and in urgent cases also at other times. just let me know on time via email or cell phone.
hoch.bahn@web.de
0171 5365312
bests, kristina