From Euroscreen to Globalscreen
Having been successful on a European level in the projects euroscreen21 and euroscreen21projects, our collaboration between artists and arts institutions is in the process of widening. Globalscreen is a media art platform and stands for world-wide collaboration between video and media artists working on new developments in contemporary art and communication. These are experiments by artists from various states on contemporary themes and political, aesthetic and philosophical reflections.
The new projects are not inflexibly limited to Europe; specific 'target groups' can be invited according to the topics at hand. The venues are museums, galleries, festivals and public spaces in general. Not only arts institutions, but notably public spaces as sites of human interaction are of central significance. They reflect the culture-specific forms of communication in their condition of permanent change. Consumption, advertising and media-oriented technology all exercise an increasing and inescapabale influence on human existence. In this context, too, Globalscreen takes up a position of artistic comment, as other artists and networking art and artist organisations are and have been doing.
2007/8: Globalscreen in cooperation with Appendix i-i-i-i.org.
Theme: Visual Sound
In 2007/8 Globalscreen and Appendix are co-operating for the first time on a common theme.
Both media-art platforms, globalscreen.org and Appendix, i-i-i-i.org, are engaged in research on contemporary means of artistic expression and on collective forms of perception and dialogue. In the theme of 'Visual Sound' we are setting out on a synaesthetic approach that places the visual and acoustic aspects of video production side by side as equals. The key concepts are perception, sound IDs, visual and auditory (media) scapes - sound in public spaces, experimental sound and video art, synergies, synaesthesia, visual frequencies, sonograms, formal and scientific explorations�
Judith Nothnagel, Hubert Baumann, Dr. Petra Schwarz, Germany
http://www.i-i-i-i.org and http://exstat.org/exstat/automata/appendix3.html
Tanja Vujinovic & Zvonka Simcic, Petja Grafenauer Krnc, Slovenia
What is the intention of the 'Visual Sound' Project? - Some remarks by Dr. Petra Schwarz, D
To register the world and one's own being on the basis of several simultaneous sensory impressions assures us of reliable access to reality. Synaesthetic perception can also undermine that confidence, however. A stimulus for one sensory organ, the eye, invokes not only the sensation proper to it but also a 'harmonic' response in another sensory sphere such as the ear. The simultaneous sensing of different kinds of sensations of smell, hearing, sight or touch makes possible an intense sensory perception of the object world.
The deep desire for evidential experience elicits faith in the discovery of one's own identity or its confirmation within the scope of sensory experience. Running counter to this with unabated energy and through all spheres of life is the process of digitisation, which allows all classes of phenomena to be translated and further processed within a single code. A world of the digital is forming over or beside the world susceptible of sensate perception - while remaining dependent for all that on the human individual, the body, the sensory organs. It is at this pivotal threshold between the digital and the sensually perceivable world that 'Visual Sound' picks up the dialogue to explore the ways in which reality and identity are built or then again, demolished, in the interplay of image and sound. The coupling of the visual and the aural ranges from more or less self-sufficient pictorial/acoustic spaces to attempts to reconstruct everyday structures patterns of noise/sense processes and to acoustic creations that generate realms of pictures and the converse.- Realms of pictures that represent poetical, political, martial or utopian realms of the everyday.
Petja Grafenauer Krnc, Slovenia:
THE SOUND OF VISION/THE VISION OF SOUND.