TIFF-Experimental & Animation, Without Dialogue

Tatsuno International Film Festival

13 – 20 November 2022 Tatsuno / JPN

1439 Galleria, Tominaga, Tatsuno-cho, Tatsuno-shi, Hyogo, Japan.
Tatsuno, Hyogo 679-4167

https://tiff.tatsuno-fest.com/

152-year-old soy sauce brewery has been renovated as a screening venue for this film festival. Tatsuno is located 100 km west of Osaka, Japan. This year is the third edition of this film festival. Last year, the people of Tatsuno organized a new experiment: the Tatsuno International Film Festival – Experimental & Animation Without Dialogue. This film festival is developed from the “Tatsuno Art Project” that started in 2011, and will be managed by the “Tatsuno Art l Executive Committee” in 2022. (In 2021, the festival was managed through a local non-profit organization.) We are working to utilize the cultural heritage that remains in the region, to disseminate excellent art internationally, and to promote communication with local residents.

https://tiff.tatsuno-fest.com/ABOUT

Conditio Humana II

Following on from the work Conditio Humana I, the question of what the conditio humana is is continued here. Another aspect, in my opinion, is the ability of absolute body control. As distinct from artificial intelligence, it is physicality in combination with emotion and elegance.

In this work, complex human movements in the form of a dance are contrasted with the humanoid robot HRP-4C, as it was presented to the world public in 2010.

Dancer: Dominik Feistmantl

Visits: 1213
Today: 3
Total: 274206

74th Great Swabian Art Exhibition

26 November 2022 – 8 January 2023

Vernissage on 26.11.2022 at 11 a.m.

Halle 1,
H2 – Museum of Contemporary Art,
Beim Glaspalast 1,
Augsburg

Participating Artists

Lioba Abrell, Marie-Luise Anten-Dittmar, Verena Blunck-Mader, Anita Braxmeier, Florina Coulin, Lycien-David Cséry, Brigitte Dorn, Ekaterina Dronova, Dorothea Dudek, Maxwell Dunlop, Jochen Eger, Isolde Egger, Eva Engelien, Thomas Fackler, Gisela Frank, Wolf Gruber, Gabriele Gruss-Sangl, Ebby Hauser, Christian Hof, Bernd Hohlen, Jürgen Hörauf, Gabriele Hornauer, Ulrike Hüppeler, Heike Hüttenkofer, Peter Junghanss, Rainer Kaiser, Daniela Kammerer, Erika Kassnel-Henneberg, Mariella Kerscher, Wolfgang Keßler, Georg Kleber, Friederike Klotz, Thomas Kroeger, Inge Lemmerz, Hélène Lindqvist, Gabriele Lockstaedt, Henriette Macalik, Christa Maria Marschall, Karl Maure, Liliana Mesmer, Christine Metz, Sigrid Münch-Metzner, Tanja Popp, Maria Prinz, Werner Prinz, Andrea Reiners, Christine Reiter, Gerhard Ribka, Marc Rogat, Erwin Roth, Jochen Rüth, Sandra Samal-Anzer, Andrea Sandner, Jeannette Scheidle, Ilan Scheindling, Katharina Schellenberger, Otto Scherer, Alice Schöndorfer, Stephanie Sixt, Gabriele Stolz, Ting Tan-Mayershofer, Andreas Vogler, Stefan Wehmeier, Josef Wehrle, Elke Wieland, Gertrud von Winckler, Hildergard Winkler, Nina Zeilhofer, Rudolf Zimmermann.

https://kunstsammlungen-museen.augsburg.de/74-grosse-schwaebische-kunstausstellung

http://www.a3kultur.de/nachrichten/74-grosse-schwaebische-kunstausstellung

https://www.kunst-aus-schwaben.de/grosse-schwaebische-aktuell

A.TV about the Great Swabian

Rabbit Hole 4.0

This short film was made as part of my bachelor thesis on “Attention Engineering in Social Media”. It metaphorically describes the internet as a large experimental laboratory in which users are manipulated like “guinea pigs” with the help of psychological “weapons”.

Suzanne is lured into a virtual dream world by flashing buttons and the voice assistant on her computer, which promise her a solution to her sleeping problem. In fact, however, she is only part of a large scientific experiment in which the aim is to specifically manipulate her behaviour.

Similar to the “real” conversations in social networks, the main character “Suzanne” is represented by statements written in “real time” and fades into the background as a physical person. The camera thereby takes her point of view. This constellation results in three scenic levels in the film: 1.) the “virtual space”, which is at the same time the stage; 2.) the screen surface, on which Suzanne’s text messages appear; 3.) the invisible space in front of the screen, in which we sit together with Suzanne and follow the story.

In the first two parts, Suzanne is confronted with an anthropomorphic voice computer as an antagonist that can only be heard. The reversal of states, namely the dematerialisation of the human “Suzanne” and the humanisation of the robot “David” – only he has a voice – creates a discrepancy in the viewer’s expectations that is very suspenseful.

The action is accompanied by a fly. Through its presence, it repeatedly draws attention to itself and thus demonstrates “attention engineering” in a penetrating way. The fly as the physical “protagonist” in the film illustrates the absurdity of the situation, because it belongs to both the real and the virtual world, and it is both perpetrator (draws attention to itself) and victim (dies) at the same time.

Dança em Foco

dança em foco – International Video & Dance Festival

Rio de Janeiro / BRA, Choreographic Center

7. – 13.11.2022, online http://dancaemfoco.com.br/edicoes/

“dança em foco – International Video & Dance Festival was founded in 2003 in Rio de Janeiro as the first Brazilian event to develop the interface between video and dance. Through its actions, it has established itself as a reference point and the main context for the dissemination and development of video dance production in the country. In the 20 years since its creation, dança em foco has gone from Rio to the world, with 38 editions in 13 state capitals, reaching an audience of over 20,000 people in its on-site activities, in addition to the hundreds of thousands who follow the festival annually via the Internet.

Celebrating its 20th edition, the festival will dedicate special attention to productions dealing with gender and sexual diversity, afro-diasporic, indigenous and plural cultures.”

http://dancaemfoco.com.br/projeto/

Cleaning Up GEDOK

Annual exhibition of GEDOK Munich.

15.10. until 13.11.2022

Vernissage: 15.10.2022 at 11 a.m.

Municipal Gallery Traunstein

Women artists’ tour on 13.11.2022 at 1 pm

Conditio Humana I

The starting point for this work was a report on the radio about a new milestone in the development of artificial intelligence. In 2019, researchers had succeeded for the first time in developing an AI that won in poker against five real professional players.

The special thing about poker is the complexity of strategy calculation, because – unlike in chess, for example – the information is incomplete (hidden hand) and the opponents act unpredictably (concealing one’s own hand and constantly changing strategy in response to opponents). At the same time, the AI must also deceive the opponent in order to win.
All in all, this demands special skills from the AI that catapult it to the next evolutionary level.

If an AI had its own consciousness, what would it do with this ability?

Dancer: Dominic Feistmantl

Premiere: Façade projection in Buenos Aires / Argentina on December 17 2022

Visits: 1689
Today: 4
Total: 274206

Art Award Winners 2022

“Erika Kassnel-Henneberg’s media are collage, photography and video. The content of her works revolves around her own as well as found memories and their artistic reflection. The focus of her interest is always the human being with his subjective perception and his ability to remember, to forget, to associate and to create consciously or unconsciously his own utopia. In doing so, the artist characterizes forgetting as an ability, not as a deficit. At the same time, she embeds this approach, which is her own, in an expanded, existential questioning. “Today we know that memory is neither true, nor objective, nor complete. We lay traces, collect documents and photographs, and archive them. I see in this an existential doubt: who am I really if I cannot trust my memory and the memory of others? If I leave no traces, did I ever exist?”

Already in her earlier collage works, which are of high aesthetic quality and testify to a sensitive handling of the materials used, the confrontation with her own history is reflected. As viewers, we find in these artistic images assembled from drawing, frottage, various papers, photographs and wax, again and again a fundamental reflection on the nature of memory. This is also evident in the artist’s Polaroids, which represent a concentrated group of works in their own right. Technical observations (e.g. of “noise” as a physical quantity) are reflected here in her own aesthetic designs: “The Polaroid camera makes memory visible. It has a subjective and flawed view of the world. In it, the present rushes and leaves behind a vague view of the past.” We also find this in the experimental video works, which, for all their technical sophistication, sometimes seem almost like moving, faded images from a family album of days gone by. All of this together results in a homogeneous overall artistic design that is convincingly in line with the extremely conscientiously constructed CV in the artist’s application letter.”

Excerpt from the jury’s statement for the 2022 Art Award ceremony 2022/09/26

Imajitari – Intern. Dance Film Festival

Screening will be held on 29 September – 2 October 2022 at Kineforum – Taman Ismail Marzuki, Jakarta / IDN.

The competition will choose the best 6 works from the jury.

imajitari

Diversity is inevitable, especially in the context of the increasingly complex socio-cultural development of today’s society, which also affects the wider variety of language dance films. In 2022, IMAJITARI received around 1,000 works from more than a dozen countries in the world, it illustrates the spatiality of dance film practice which is no longer centralized.

Imajitari Festival Committee
Sumissionstotal1145
America315
Europa373
Asia377
Africa76
Fun Facts from: Program Book Imajitari 2022