To See Is To Change: Sebastian Lütgert
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Summary: Over two days, ten artists, critics and enthusiasts present a "recuration" of the 40 Years of German Video Art (
http://www.40jahrevideokunst.de), a collection being circulated internationally by the Goethe Institut. These respondents brought to the archive their own urgencies and preoccupations, and suggested that this "package" is not a sealed entity, and can be re-read as a history of encounter and entanglement between disciplines, geographies, schools of thought, agents and artforms.
A package in this form this suggests a certain stability in the category "German video art". At the same time its circulation opens up the material, and its context of production and thought, its "Germany", to review by diverse and sometimes unsolicited sources. It is our good fortune to be able to promote such activity. Sehen heißt ändern, to see is to change. For more:
http://camputer.org/event.php?id=45.
The 2-day screening program was held on 14th-15th November, 2008, at Jnanapravaha and Gallery Chemould in Mumbai.
Sebastian Lütgert is a writer, programmer and artist who lives in Berlin. Sebastian presented a calendar of "Germany years", passing through punk, the city, and "the other Max Mueller".
Shaina: With that I'd like to introduce Sebastian.. who... I have to say worked (on) and designed Pad.ma.. our Pad.ma project with us.. which is Public Access To Digital Media Archive.. and... and somewhere down the line, I think we can discuss art archives as well... that should be free for everyone share.
Shaina: With that I'd like to introduce Sebastian.. who... I have to say worked (on) and designed Pad.ma.. our Pad.ma project with us.. which is Public Access To Digital Media Archive.. and... and somewhere down the line, I think we can discuss art archives as well... that should be free for everyone share.
Germany
curation
video art
Queen's Mansion, Chemould Prescott Rd, Mumbai
South Mumbai
Sebastian: It's been long two days... and.. I'm gonna take it longer..Before, I do that, I need a few minutes to plug in and all that...
Sebastian: It's been long two days... and.. I'm gonna take it longer..Before, I do that, I need a few minutes to plug in and all that...
Sebastian: I'd especially like to thank Max Mueller for bringing me over to this lecture, from University of Jadavpur and especially this department for bringing me here. Of course also to CAMP for organizing this. Also like the the last person to speak here also needs to offer some kind of closure.
Sebastian: I'd especially like to thank Max Mueller for bringing me over to this lecture.. from just some ordinary ... to university of Charlotte and especially this department for bringing me here.. of course I'm going to have an open mike for this. Also like the last..the previous kind of ..the last person to speak here also named ..some kind of closure. I'm also very thankful for a couple of things.. which Shaina shared in the last round ..which lead back to the talk towards the strange kind of.. probably the strangest film in 40 years of German video art and when I come back to the 40 years question.. its strange ..might become German... too German not just in relation with the art...so these are like... just two examples... it is digital, arthouse ..at the end it was something you could think of...and meant us to be loyal to this kind of varied German venture... believe there's a document we could seek.. and if its not these ventures.. from digital, arthouse or probably if you meant there was digital arthouse.. then there's a reason there would be places such as ... castles, houses in the country..this happened... in these places.
Arthouse
Digital
I'm also very thankful for a couple of points that Shaina shared in the last round, which leads back to the more strange kind of, or probably the strangest film in 40 years of German video art. And when I come back to the 40 years question, it might be too German not just in relation with the art. So there are these two examples... it is digital powerhouse, a very German idea and Documenta was very loyal to this kind of very German venture. And if its not these ventures from digital powerhouse, then at least it is these places like Kassel. No other country in the world has this happening in these places.
Sebastian: In the end if I make a reference, then it's not a reference too and that's what I'm going to show but I'll show it a little differently. It's films brought up by Ranjeet and Nancy that I'm going to come back to..rather.
Sebastian: In the end if I make a reference, then its rather a reference to, and that's what I'm going to show but I'll show it a little differently. These are the films brought up by Ranjeet and Nancy that I'm going to come back to, in one way or another.
Sebastain: First of all I'd now say that I've to make a change of plans..I actually had planned to do something very specific which falls in the programme, which was to talk about, or take the videos by Stephan Geene and Judith Hopf from Berlin and talk about it when I have it here. I haven't unpacked and I have been back for ten days, as I was travelling. I have it here. But, it's nice to think and it's not a trick. I really thought that this would be possible to do this with this video with question of production, and the conditions of production but it's specific in time. And I'm not saying that it is the video... I mean the sound, it starts somewhere.
Sebastain: First of all I'd now say that I've to make a change of plans..actually I'd planned to do something specifically which wasn't robotic talk about I mean.. to take the videos by Stephan Geene and Judith Hopf from Berlin and talk about it when I have it here. But I haven't packed up my bags in ten days either as I was..travelling. I have it here. But, it's nice to think and it's not a trick. I mean I'm not saying it's happened to me as I'm really foxed. Yet yesterday I still thought that this would be possible to do this with this video with question of production, and the conditions of production but it's specific in time. And I'm not saying that it is the video... I mean the sound of it has been lost somewhere.
Sebastian: I have thought that it was with a very good title, but this doesn't have subtitles and would then it be wasted here. I am not saying that it is impossible to do this-to take this video by Judith Hopf - one of the two filmmakers. And to actually talk very specifically and completely about the people and the places you see.
Sebastian: I have thought that it was with a very good intent that it doesn't have subtitles. I am not saying that it is impossible to do it-to take this video, to do it, do it off.. see the film angles. And to actually talk very specifically and completely about the people and the places. And you put not just the video here you have Judith entering the hall..entering the door thats open and she sees (?) Yvespo in the midddle and Judith on the right. So you can, not just see the place in which you have the time running in cinema, but then it's a huge process.. I admit that the Hound Eitsen which later becomes a good end and then make room for higher cinema. Not only the place and the people but I could talk..I could talk about this thing you see behind Yvespo..I could talk about the redefining and guesswork... I could talk about a good story and a good time in contrast to the person on the map .. in contrast to the bookshelf you see in the second, this running... we could talk about the furniture in the long time..
And it would not just be here you have Judith entering the hall, entering the door that I have often entered. Then you have <name of actor/person>, Yvespo in the midddle and Judith on the right. It not just be the place, in which we were at the time running the cinema <name of place>, or <name of place> which would later become <name of place> and then make room for (??) cinema.
Not only the place and the people but I could talk about the furniture, this thing that you see behind Yvespo. I could talk about the book store Yvespo is running, in contrast to, and also on the map in contast to the bookstore that Stephan as you will see later, is also running. We could talk about the furniture in the long time..
Sebastian: And we will even be, or rather that this had to be so thorough and so precise, and I think that was the danger of his approach. That it was not just talking about <type of> people, their backgrounds to make clear also that there were things that were achieved in Berlin or not achieved. It's not exploring anything. That this would need to go beyond gossip, and it works. Piles of useless information, but it would rather have to be about that. More scene related... and there is Marion, Martin, Tiegger.
Sebastian: And we will even be.. that this had to be so thorough and so precise...that it's not just an ethical danger in his approach but... that it was not just talking about only these people, their backgrounds.. to make... clear also were things with the chief or not of the chief. It's not exploring anything. That this.. would need to go beyond gossip... and it works... I guess you could use this information... but it would rather have to be about that. Our thoughts are concerned more with... more scene related... and Martin and Stephan ..and.. for a while it would be good to show the conditions and see...
Conditions of production
Sebastian:
But it would be to show very specific conditions of production, people and space. And a moment in history, and a moment in Berlin.
And I thought it would be possible, and I'm not saying its impossible. I'm saying I could do it, but it would take three more hours. I could get there, but I won't. Its not possible here.
Sebastian: So the specific conditions of production keeep room and space... And a moment into history and a moment into length. Passage rather as I thought of it and I thought it was possible and then saying it is possible and then saying I tell you it would take me more hours. I couuld get it. Give me three hours and I could for that matter, want it. So its not.. it's not possible here.
While in the recent past, critics, philosophers and recipients have identified and experienced an increasing acceleration of images, present day image production shows a clear tendency towards slowing down, which is also making an impact on other art genres.
Obviously, it is part of our current experience that increased acceleration by all participants and movements also leads to a standstill, or that speed alone does not lead to progress.
Clearly the gulf between measured and experienced time is increasing all the time in our decade as well.
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'At the right place at the right time? A brief report on current video art' by Sabine Maria Schmidt in 40 Years Video Art De. Digital Heritage: Video Art in Germany from 1963 to the present, Rudolf Frieling/ Wulf Herzogenrath (EDS), pp. 38.
In the last three decades, the possibilities for using both analog and digitally generated images have changed enormously. And in the same way, art critical and theoretical debates about film and video have driven contemporary art forward on a number of levels.
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'At the right place at the right time? A brief report on current video art' by Sabine Maria Schmidt in 40 Years Video Art De. Digital Heritage: Video Art in Germany from 1963 to the present, Rudolf Frieling/ Wulf Herzogenrath (EDS), pp. 38.
Sebastian: And this was a passage of initially, and this would be a core group, but a passage of a rather large number of people, through a relatively extended period in time. Berlin of the 90s. And in specific conditions of how these rules, these spaces were possible... Why these people worked as they worked, relatively autonomously. What, became of them, and in what conditions of production.
Sebastian: As such of breadthwas initially.. but that would be as in correction of folk.. Now that's such a rather large number of people, relatively extended in period and time. But in the 90's specific conditions of how these rules, these spaces were possible... Why these people worked as they worked... What, became of them... conditions of production.
Sebastian: And it's also impossible.. oh it's not impossible to make this into a mix... this video does not show in anyway Mario, <name of person>. It does not show an important moment in that story, not at all. Its a bit late in that story. A lot of people whom I would have to talk about to make the point clear, that I'm only touching. That how was it possible in Berlin, and what were the conditions that allowed for certain types of production.
Sebastian: And it's also impossible.. oh it's not impossible to make this into a mix... this video does not show in anywhere (?), how they (?)... it does not show anybody important in that.. so not at all.. so they are too late in this kind of.. and also, a lot of people, who I won't have to talk about to make that all clear and how they would touch it.. and how was it possible today and what were the conditions that allowed some types of production.
According to sociological findings, society in the leading industrial nation's fears nothing more than it does boredom. Boredom can take control anywhere, at work and during meals-while watching television goes without saying. And the bored pose the potential danger of switching off altogether.
This is why the media everywhere fights for our attention, and successes and failures manifest themselves in numbers, in rates of circulation, or in audience ratings.
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2002| 'Bei Mir Zu Dir (TV – Low Dunkel): Judith Hopf/ Stephan Geene by Matthias Muhling in 40 Years Video Art De. Digital Heritage: Video Art in Germany from 1963 to the present, Rudolf Frieling/ Wulf Herzogenrath (EDS), pp. 330.
Sebastian: For example, video production here. Do you see there is another cinemahouse, and the Sony Center which was a bit further east. And there is Stephan, Aimasha... and Aimasha's friend was there. But it would have to be really long for me to make sense of it. Its not just that this point is not so relevant. Its that the people we have to talk about to make it work, are not even in the picture. And it would take even longer. And also another reason to maybe not do that is that is that we need to know what is the end of the story. Though the story hasn't ended. Or how would this story even be relevant to a place like Bombay? And what would I be in that story. I can't also edit myself out of the video. And what does it mean that I'm now in Bombay, does it mean that maybe that nothing happened. No, obviously. But it would take long.
Sebastian: For example, video production. Do you see the another cinemahouse and all... and the Sony set... which were the best.... and Stephan ..and Aimasha... and Aimasha's friend.. All of them..but you wouldn't have to be really long to make sense of it. It's not just that this point is not so relevant..it is also that a lot of you keep learning and you have to talk about it to me and make it work. I am not even in the picture. That would take me..even longer so...you just stick to this...and that would also be another reason to make it not into this frame. Especially, if the story ends there..What's the... What's the end of the story? It is not necessary that you have to end it. How would this story moulded...just like ordinary... and what would I be in that story? I mean if I was in the end then I must be in all of the video. And what does it mean? If I am not even prominent does it mean that nothing will happen.. no open ended thing will...it's..it's... it will take long.
Bei mir zu Dir
Sebastian: But its not only that. It'a also because there's another, and even more interesting problem. I had, this morning when I - ooops, the disk. Which was put in the programme, and that I was supposed to do a reading, and this was to be based upon a reading of Bei Mur du Zir. And I'm very sceptical actually about reading in regard to these images. I would not have been.. I think.. reading.
In Ber Mir Zur Dir, Judith Hopf and Stephan Geene describe the mass media's sometimes desperate, sometimes grotesque search for the kind of sensations able to keep their recipients glued to the medium. Shown is the story of a television show in which a dead man makes a guest appearance.
Aired live, discussing life from his otherworldly perspective is meant to offer the audience insight never gained before until now. But the show is a failure. The communication between the presenter and the dead man breaks down because of the mismatching concepts in which they think. Epistemically, the two speakers are light years apart. The language of life clings unceasingly to rational and economic pressures. But the perspective of the otherworldly guest has no way of understanding this language, since the contradictions of an estranged and earthly existence have already disintegrated in thin air in that other world.
During the discussions between the two disparate personalities, their concepts of being and time collide, just as much. Our society exists in a permanently 'live' state. Everything happens simultaneously. These time-related semantics lo longer apply to the hereafter, where eternity dominates.
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2002| 'Bei Mir Zu Dir (TV – Low Dunkel): Judith Hopf/ Stephan Geene by Matthias Muhling in 40 Years Video Art De. Digital Heritage: Video Art in Germany from 1963 to the present, Rudolf Frieling/ Wulf Herzogenrath (EDS), pp. 330.
Sebastian: But its not only that. It'a also because...There's another... there are many more interesting problems. I had it... This morning when I was in boots. Can I do this? Which is unimportant from the tropic. Which I was supposed to do ... a reading...that this would be based upon a reading of Bei mir zu Dir. And it's actually not very escatic. It's actually be about reading Bei mir zu Dir which is what I won't have time for. It would not have been.. I think.. reading. I mean I understand that you are reading an image and then you are like you have to rework on it. Certain times you are like... you just have to read the image... But in general... I mean not much old if reading... But then, it wouldn't be reading... it wouldn't be right.. it would be unwise... it would be bold... and...pointing all the time and telling you about these videos... and in a way I would feel more guilty with that kind of association. I am very happy and lucky for the collaboration with CAMP, Bangalore. For the reason to propose and have much more audacity to add layers of textual annotation on top of this footage and all this video... and all pertaining to the video.
I mean I understand the idea of reading an image, Peter Greenway for example you have to read it. Some times you just have to read the image... But in general... I'm not sure of reading. It would have been reading, it would have been stuff I write onto it. My own writing. I would have been pausing all the time and telling you about things you don't see. And in a way I feel even more guilty with that kind of association or collaboration. I am very happy and lucky for the collaboration with CAMP and Pad.ma. For the reason that we propose much more drastically to add layers of textual annotation on top of all this footage and all this video... and over-writing video.
Sebastian: Eventhough almost that was a secret... of my secrets... it all would mean that the movement is in reverse form. That it comes from within... from the reading before. And after the reading and writing production part you get to the point that you almost see something. Which is what I think the image should be... what the image is there for. First thing that happens... it can happen with the film. In position to the books... that's something you can see. So, it's also a question for this product, this project that ours. What's the direction I mean... in which you can test the image? And one aspect that I have realized is about some of this video. And also I am saying that you shouldn't be watching the whole footage. Keep in mind ... stuff together...so do. I mean, it's the (?).
Sebastian: The secret hope would be that the movement is the inverse one. That it comes even before the reading, the googling, and after the reading, and then you finally get to the point when you can see something. Which is what I think what the image is there for - to be seen. First thing that happens... it can happen with the film. In position (relation) to books, that it is something that you can see. So, it's also a question for this collaborative project of ours. What's the direction to take, image and text, context and image. Now I skip that (forwarding video) and I'm not saying you shouldn't be watching this. It is Judith Hopf and Marion - its good stuff.
The previewed presentation of Bei Mir Zu Dir schedules a lecture on the topic of violence. But the program is a dismal failure since the presenter forgets her glasses and her manuscript's sense-giving system of signs turns into an illegible 'black snow'.
A television viewer is more likely to expect well researched topics and a thoughtful presentation where ratings fail to play a significant role.
During late night TV on a private channel, for example, Alexander Kluge found a niche for his one-on-one intellectual discussions only because the unique rights of German television allow this to happen. But while with Kluge sense-giving sequence emerges after the sub-sequent editing of the material, in Bei Mir Zu Dir, this sense is lost in the so-called authentic live format and discloses the inconsistencies of our media reality.
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2002| 'Bei Mir Zu Dir (TV – Low Dunkel): Judith Hopf/ Stephan Geene by Matthias Muhling in 40 Years Video Art De. Digital Heritage: Video Art in Germany from 1963 to the present, Rudolf Frieling/ Wulf Herzogenrath (EDS), pp. 333.
Sebastian: When I say this, I was very,very confident that CAMP will provide for in the near future another, maybe better conditions of production for talking about and seeing, watching, discussing; conditions of production again. And so, it's not lost. Maybe just, delayed. I mean I felt so. To me, ours is this kind of crazy, understanding that you need to take this video, and make it tell a story that is not actually finished.
Sebastian: When I say this... I was able to take this kind of... I was very,very confident that time will provide for in the near future... another, maybe better conditions of production for talking about, seeing, watching, discussing; conditions of production. And so, it's not lost. Maybe just, delayed. I mean I felt so. To me, hours of... this kind of crazy, understanding that you need to... take this video... make it tell a story that is not actually finished. It's that kind of...
Sebastian: I think I'd rather come back to the question that came up yesterday. Which is an image that I... It's this image actually. It's this image. It's also something about the image. When we were selecting something the day before we started, screensavers or images in between. (drop in video) Its punk.
Sebastian: I think I'm not going to come back... I'd rather come back to the question that came up yesterday. Which is an image that I... It's this image actually. It's this image. It's also something about this image. When you are selecting something that day for... When you started selecting, you screensave those images in between.
Sebastian: The one critical point or rupture is punk. Which means, which could be explained a bit more in detail than I am able to. Which is..what I'm also saying is that critical punk may be here, not there (jumping to point to a different year). So, it's no longer revolution against the Nazi parents. It's no longer about such relations, or the uprising against the social democratic teachers. It's a completely different configuration. Its not like a logo of revolution. Revolt that has the name 'No future'. So it's a completely different kind of setting, which had some resonance, and I think it was cleary visible in the whole programme of the last two days.
Sebastian: Which means... which can also be explained a bit more in detail than I am able to. Which is..what I'm also saying is that typical parts may not be easy. Here..Here... So, it's no longer. It's not about the revolution against the Nazi harrasment. It's no longer in relation with the uprising against the social system or teachers... it's completely different configuration. I'ts not like a logo of revolution. Revolt that has the name 'No future'. So it's completely different concept... which had some presence... and I think it had something clearly visible in the whole talk.
Sebastian: I think yesterday.. we talked about it.. for example now I'm here to give you a very adult, brief idea about bodies and their movements... I think it's also very comprehensive.. like, for example, thinking that whoever.. I mean maybe feathers have structure .. it's kind of strange and funny .. and it's obvious... but it's unnatural...for it's impostuous.. to keep the culture there.. but it's mouth and form is funny. Or this...one space which we have... the case that we see ... the case isn't grave... let me tell you. Often there's on the field but I think there is stuff.
Sebastian:
Even yesterday, it was rather obvious with <specific reference to music video>. And its about bodies and their movement. I think its also obvious that, for example <insert name of project> this kind of strange and funny animals. But its a matter of skill, or ___culture there, but the mode or form is punk. Or this one screen saver which we had, of the kids... In that the hidden motive and still a later point in that rupture, that was or is, punk.
Sebastian: In that you will see that the motive... in later point there's a rupture... that is one of the points of the case... or I mean.. looking like a horn...like, obviously and not just very visibly at the moment where she... presently at the moment where she cuts her hair... that point was... I mean, in the moment of time itself it is... that tends towards a point. It makes sense to cut your hair. It was a movement. It wouldn't have happened if I did it before, if I did it later, if her hair was short. So if it would have been short, it would have kind of.. just been a correction. Of course also that would make sense... after a particular time.
Sebastian: Or Rebecca Horn, quite obviously and not just but very visibly in the moment where she cuts her hair. That points toward, in a moment of time in the 70s that tends towards punk. It makes sense to cut your hair. It was a movement. It wouldn't have happened five years before, or five years later when her hair was short. So if it was already short, it kind of anticipates this. ...
By the next time, after a question of maybe ten years, will you see a film or video of this kind? Because they have come before by the expert . If you just take a name, ten years later, all, not all, but so many cultural produces would have been funny, cheap or stolen and strange ...adopted, idiotic... name them and kept them till today.
You can see the women video artists are the young guard in that sense, because they had had punk before. If you take the name, just ten years later, all, but not all, but so many cultural produces would have this funny, cheap or stolen and strange ...adopted, idiotic... name them and many of them kept them till today.
Sebastian: Well, I think also that if I were to make a .. one of distinctions I should make is because if you also see India, you just see form, I mean ...one reason would be that the films before 1977 are films that are dealing very much with form ...which form a question. Whereas films after Khaled if you want... that's my key point, just a line somewhere.. are very much not interested in form... though they are not completly without form.. but they are rather not interested in this strictest direction of form.
Sebastian: Well, I think also that if there were one distinction I should make, is because you also see it in the images before punk. One thesis would be that the films before
India, you just see form, I mean ...one reason would be that the films before 1977 are films that are dealing very much with form ...which form a question. Whereas films after Khaled if you want... that's my key point, just a line somewhere.. are very much not interested in form... though they are not completly without form.. but they are rather not interested in this strictest direction of form.
Sebastian: And I think this one... we can just keep it running as we don't need some of it, but maybe this one for example...I mean... Sunny Orfest... I wasn't thinking so much about his background ... I don't even know too much of his background... I think child language would have inspired his form .. but.. I think this is a formal expression of television. and it's lukcy that it still happens in a moment but television is still relatively okay and impure.
Sebastian: And I think this one... we can just keep it running as we don't need some of it, but maybe this one for example...I mean... Sunny Orfest... I wasn't thinking so much about his background ... I don't even know too much of his background... I think child language would have inspired his form .. but.. I think this is a formal expression of television. and it's lukcy that it still happens in a moment but television is still relatively okay and impure.
form
television
Sebastian: Before the time of television, before the gameshows and the soaps and this is kind of, its both in representation of form and kind of... content ...this is the formal expression essence of television... this kind of image...the look... you don't even have words for that. It's not plain. This kind of portion was a combination of content. This feeling of getting both... you could send them television as adorned and a plain at this stage.
Sebastian: Before the time of television, before the gameshows and the soaps and this is kind of, its both in representation of form and kind of... content ...this is the formal expression essence of television... this kind of image...the look... you don't even have words for that. It's not plain. This kind of portion was a combination of content. This feeling of getting both... you could send them television as adorned and a plain at this stage.
Sebastian: You could see that this is what this video is about and I think we see today that whenever you keep doing something very similar you experiment with the expressions and forms and the nature of the digital which looks completely different but makes the same... like what is, how does, what's off that... what's happening when the video is buffering... what's this..we need to get to the essence of the visual...the core of the medium that television bore... digital, network images in the broader sense. If we have to go influx with this, see, you have to twist the antennas of the digital to the core to get to the point where this becomes actually very, very interesting.
Sebastian: You could see that this is what this video is about and I think we see today that whenever you keep doing something very similar you experiment with the expressions and forms and the nature of the digital which looks completely different but makes the same... like what is, how does, what's off that... what's happening when the video is buffering... what's this..we need to get to the essence of the visual...the core of the medium that television bore... digital, network images in the broader sense. If we have to go influx with this, see, you have to twist the antennas of the digital to the core to get to the point where this becomes actually very, very interesting.
Sebastian: It's not the only one of the forms to films that virtually presented. I mean it's just a square with some texture around it. Or it's just a circle with these wire, finer points dancing. Also, like, very similarly to this, attempts to deal with or dealing with a very, very... strictly dealing with form. It's interesting to see how this key is. Moving on...
Sebastian: It's not the only one of the forms to films that virtually presented. I mean it's just a square with some texture around it. Or it's just a circle with these wire, finer points dancing. Also, like, very similarly to this, attempts to deal with or dealing with a very, very... strictly dealing with form. It's interesting to see how this key is. Moving on...
Sebastian: First, let's go back to these non-english images. It's an image that's not in english but... maybe useful. Yesterday I was able to locate that... there's this moment which I think is important in itself because (?). If we really go to see it's hard to find another moment. In this image, which has no four lettered word yet... which I think would be... may be.. Of course in the sense if anyone sees anything that we can't see... there will be so many of these things... but it would be of course something like... the digital... eventhough it's not exactly... it's not just a...it's not just a technical shift. It's also a shift in perception... it's also a shift in approaches...shift in self perception, in self definition of the people who produce these videos.
Sebastian: First, let's go back to these non-english images. It's an image that's not in english but... maybe useful. Yesterday I was able to locate that... there's this moment which I think is important in itself because (?). If we really go to see it's hard to find another moment. In this image, which has no four lettered word yet... which I think would be... may be.. Of course in the sense if anyone sees anything that we can't see... there will be so many of these things... but it would be of course something like... the digital... eventhough it's not exactly... it's not just a...it's not just a technical shift. It's also a shift in perception... it's also a shift in approaches...shift in self perception, in self definition of the people who produce these videos.
Sebastian: The artist is an accident of the video film, the video artist. He was different from the '73 and 2000. That is something that is a result of the digital even though no longer would he die of the technical results. But, then... what I initially planned was that there's another point in this image which I was ... I was quite... my friends and I looked at it actually... it's like a 13 letter (?) in the room here... which is reading the implication.
Sebastian: The artist is an accident of the video film, the video artist. He was different from the '73 and 2000. That is something that is a result of the digital even though no longer would he die of the technical results. But, then... what I initially planned was that there's another point in this image which I was ... I was quite... my friends and I looked at it actually... it's like a 13 letter (?) in the room here... which is reading the implication.
german history
Sebastian: The fact that I completely overlooked it or did not read it here is maybe not such a bad sign. But, of course it is the... special introduction to the... I mean if you read through it...'77 ... some sort of relation which is complicated. Its this moment that I think I addressed that I think we should watch it now. It is only in Germany... its quite a surprising thing... only in East Germany... I think...it comes in a package...this thing here is to select what I thought and what you had.. I find this quite stunning not just because it is something that comes from your traditional form...that is like very basic camera, very basic film, imagery when it plays if you notice. But it's also because, when I said the invasion I actually mean the catastrophic also of German military... the president was nominated. It was an intellectual disaster... that the German election was. It's shot in... it's made in 1989. It's mostly shows how... takes how... some shots of the city, some shots of the sun... this kind of shot of the stairs... It's easy to make out the year by the floors... the structure of the stairs...
Sebastian: The fact that I completely overlooked it or did not read it here is maybe not such a bad sign. But, of course it is the... special introduction to the... I mean if you read through it...'77 ... some sort of relation which is complicated. Its this moment that I think I addressed that I think we should watch it now. It is only in Germany... its quite a surprising thing... only in East Germany... I think...it comes in a package...this thing here is to select what I thought and what you had.. I find this quite stunning not just because it is something that comes from your traditional form...that is like very basic camera, very basic film, imagery when it plays if you notice. But it's also because, when I said the invasion I actually mean the catastrophic also of German military... the president was nominated. It was an intellectual disaster... that the German election was. It's shot in... it's made in 1989. It's mostly shows how... takes how... some shots of the city, some shots of the sun... this kind of shot of the stairs... It's easy to make out the year by the floors... the structure of the stairs...
Sebastian: This is my study made largely on the basis of image and direction in 1989. It's the city of Neuenhaus ... it's the peaceful revolution. It's the church. It's ...and what we see here is definitely not the city of Neuenhaus. What we see here is this kind of progress... two years later they were found in the reef. He's a visionary. He makes this... this kind of perspective, this claim on Opus Senator...this peaceful revolution or... actually purification process.. and he goes and and he makes these...it's actually not so interesting... what he intended, what he came up with. Rather interesting is really the way... it's one of the few instances that we're gonna just... I don't know if it's about being professional but it shows a point where he is really being professional. He took it this way, he took this way...Personally I think there are very few you can name who just plainly took the German machines for massacre... which I think had attitude to talk about being professional. An eastern family if it goes to the western bay... makes sausages... Or.. join the docks manage all the essentials in the sense.. you can't come back to the east.
Sebastian: This is my study made largely on the basis of image and direction in 1989. It's the city of Neuenhaus ... it's the peaceful revolution. It's the church. It's ...and what we see here is definitely not the city of Neuenhaus. What we see here is this kind of progress... two years later they were found in the reef. He's a visionary. He makes this... this kind of perspective, this claim on Opus Senator...this peaceful revolution or... actually purification process.. and he goes and and he makes these...it's actually not so interesting... what he intended, what he came up with. Rather interesting is really the way... it's one of the few instances that we're gonna just... I don't know if it's about being professional but it shows a point where he is really being professional. He took it this way, he took this way...Personally I think there are very few you can name who just plainly took the German machines for massacre... which I think had attitude to talk about being professional. An eastern family if it goes to the western bay... makes sausages... Or.. join the docks manage all the essentials in the sense.. you can't come back to the east.
Sebastian: Or, in this case if you notice, the system has broken down ...and you can see the strange, breaking, landscape of the east. This kind of... dissolving fortification... you will find it... interesting. There's actually dying, tremor, murdering, strangling and it's strange that somebody has managed to produce a camera and make a film... this kind of strange drama of simple things... the mother is blocked at the stairs... When I see this... I don't really need a guide. I recognize it. I think it's my profit... to film this... to film this moment. Coz when I thought when I'm gonna see all this I was stuck for a point...which I find as the structure.. especially this point why I need the nation among the few lead points... I don't need the support of the SS of course. The dream of the state is to be one and the dream of the individual is to be two. And then the question of unification, how you make a film, about a war... how the Germans were made to apologize for the dream ... individually the dream of a state... the dream to be one... which is a contribution.. which is not in itself a contribution tha goes to a revolution... one-way...how the dream of the image came to be one... and I think the dream of this study is also a dream to be true.
Sebastian: Or, in this case if you notice, the system has broken down ...and you can see the strange, breaking, landscape of the east. This kind of... dissolving fortification... you will find it... interesting. There's actually dying, tremor, murdering, strangling and it's strange that somebody has managed to produce a camera and make a film... this kind of strange drama of simple things... the mother is blocked at the stairs... When I see this... I don't really need a guide. I recognize it. I think it's my profit... to film this... to film this moment. Coz when I thought when I'm gonna see all this I was stuck for a point...which I find as the structure.. especially this point why I need the nation among the few lead points... I don't need the support of the SS of course. The dream of the state is to be one and the dream of the individual is to be two. And then the question of unification, how you make a film, about a war... how the Germans were made to apologize for the dream ... individually the dream of a state... the dream to be one... which is a contribution.. which is not in itself a contribution tha goes to a revolution... one-way...how the dream of the image came to be one... and I think the dream of this study is also a dream to be true.
Sebastian: It's a different kind of descript... a different kind of mark. So how does state make its dream to be one? How does this benefit nationalism and verification? There's quite a lot of history, maybe which lead to French Revolution. We know also of the Great Revolution of Western Germany. From Western Germany... and just technically I'm going to say that there's also a point where my country dissapears. Which nobody got and which easily went bankrupt pretty soon and people were life... awful...this is normally the government ... it's the point where Germans joined Germany. But I think also that probably.... This was Germany that seemed to be useless... ponds, structures... there was not just breeze there.. also.. it was a welcome point where all they did was all this kind of masswork.
Sebastian: It's a different kind of descript... a different kind of mark. So how does state make its dream to be one? How does this benefit nationalism and verification? There's quite a lot of history, maybe which lead to French Revolution. We know also of the Great Revolution of Western Germany. From Western Germany... and just technically I'm going to say that there's also a point where my country dissapears. Which nobody got and which easily went bankrupt pretty soon and people were life... awful...this is normally the government ... it's the point where Germans joined Germany. But I think also that probably.... This was Germany that seemed to be useless... ponds, structures... there was not just breeze there.. also.. it was a welcome point where all they did was all this kind of masswork.
Sebastian: Before I get to the last, there's one thing I want to show. But, before I get there... how do I understand this moment? How do I understand this particular moment in five years? I think we are in good sense completely stunning about many happenings. Which is also a good thing as it won't be that difficult to record it. It says, okay whatever we say about many lessons the most important thing about towers was that there was two of them. I don't know about the army and if the army continues but the I find it stunning. I didn't need a argument and I don't want to make an argument that I find war understandable. And that it's easier to ground its that... and every war has two sides. And that's the story of the German war. And I'm specifically on the Eastern side of the war and I'm stupid and I'm fooling. I didn't have the composure to contain it... And the East Germans didn't work and were thrown out and it was the most deadly...deadly war. I was shocked and I was just 26 years..just as every person today is shocked and many died... In about six weeks we were ashamed and defeated.
Sebastian: Before I get to the last, there's one thing I want to show. But, before I get there... how do I understand this moment? How do I understand this particular moment in five years? I think we are in good sense completely stunning about many happenings. Which is also a good thing as it won't be that difficult to record it. It says, okay whatever we say about many lessons the most important thing about towers was that there was two of them. I don't know about the army and if the army continues but the I find it stunning. I didn't need a argument and I don't want to make an argument that I find war understandable. And that it's easier to ground its that... and every war has two sides. And that's the story of the German war. And I'm specifically on the Eastern side of the war and I'm stupid and I'm fooling. I didn't have the composure to contain it... And the East Germans didn't work and were thrown out and it was the most deadly...deadly war. I was shocked and I was just 26 years..just as every person today is shocked and many died... In about six weeks we were ashamed and defeated.
unification
war
Sebastian: So it' also about the relations between the borders... between the Austrian border and the Iran-German border. In the German border there is a problem of unification. That's for everyone to decide. To be more precise, the Western side of the border there wasn't the faintest piece of architecture ever built. I mean if you could ever just build one side of Bauhaus one made this faintest piece of architecture ever built in Germany put this an abstract construction ...It was actually a matter of the war on the coast not because it was acutally intended as one but because it functioned as one. It was gigantic with a stop sign... Gigantic and marine? Monsters reminding of something whatever it was in the past... It also completely had to take this opportunity ffom Vienna.. it had territorial use, political use, and production use. The West side of the war was always... I would say in terms of use...
Sebastian: So it' also about the relations between the borders... between the Austrian border and the Iran-German border. In the German border there is a problem of unification. That's for everyone to decide. To be more precise, the Western side of the border there wasn't the faintest piece of architecture ever built. I mean if you could ever just build one side of Bauhaus one made this faintest piece of architecture ever built in Germany put this an abstract construction ...It was actually a matter of the war on the coast not because it was acutally intended as one but because it functioned as one. It was gigantic with a stop sign... Gigantic and marine? Monsters reminding of something whatever it was in the past... It also completely had to take this opportunity ffom Vienna.. it had territorial use, political use, and production use. The West side of the war was always... I would say in terms of use...
Sebastain: But in the end, it's also like what kind of... I guess West Germany has this very artificial construction.. kind of wall ... If it's about experts or political experts...also... They could have entered in dialogue with Weimar for example. It would be much more interesting and useful then than now for example... the question of petition with Adenauer.. The question of terror... what conceptions they had of terror... the state territory has a queen... the state of Kashmir and North East had a queen... The conceptions of territory... This breeding of the territory.. The kind of breeding they had in the territory... that breeds in the Maoists and the people, rivers and drought an famine... It adjusts to peace and ventures and the interesting mess to protect the image of the queen. To breed into it...to breathe all that has the queen. Maybe the West set up an example that this country had the shape of a tower...just the tower... will be a better part of the ... this kind of problem of unification and petition .. I don't know what exactly the shape of new Germany is like...
Sebastain: But in the end, it's also like what kind of... I guess West Germany has this very artificial construction.. kind of wall ... If it's about experts or political experts...also... They could have entered in dialogue with Weimar for example. It would be much more interesting and useful then than now for example... the question of petition with Adenauer.. The question of terror... what conceptions they had of terror... the state territory has a queen... the state of Kashmir and North East had a queen... The conceptions of territory... This breeding of the territory.. The kind of breeding they had in the territory... that breeds in the Maoists and the people, rivers and drought an famine... It adjusts to peace and ventures and the interesting mess to protect the image of the queen. To breed into it...to breathe all that has the queen. Maybe the West set up an example that this country had the shape of a tower...just the tower... will be a better part of the ... this kind of problem of unification and petition .. I don't know what exactly the shape of new Germany is like...
Sebastian: But I would end on what actually... and I always wanted this since something like this is ...biggest of governer of peace... also for the first time that the Max Mueller I am staying in .... beautiful chance to talk in India...in Bangalore in time... i would like to take over to introduce you to the other Max Mueller ...because there's another Max Mueller... you would see a couple of other friends since I'm staying here since the beginning. But his name is also Max Mueller... This Max Mueller is not made after the American president but before the American president. Max Mueller is a wonderful and most precious department they have for producability which is very very marvellous. He is a singer and the writer and President of Giethe institute and Max Mueller. And he wrote and came up with this video. He made a record in 1993 on the other side of the war in the same kind of ... That is what's interesting in the video. Almost the... and much of the... because of years of the historic relation... because of the essence of the music... The music and the video go closely with the visual track of the song...The record is called 'You are not my brother' and that's obviously not a record about reading this lecture. It's about the title song of the record called 'Do you know my brother'. It's a story produced by kind of parody... you can read it.. it's in english language... which is a song about disease and being in desperacy... being in (?)... its about sticking with.. grief .. sticking with basic kind of family life... and then they say... you are not my brother... you are not my sister.. this kind of story... and it's still about finding Max Mueller...
Sebastian: But I would end on what actually... and I always wanted this since something like this is ...biggest of governer of peace... also for the first time that the Max Mueller I am staying in .... beautiful chance to talk in India...in Bangalore in time... i would like to take over to introduce you to the other Max Mueller ...because there's another Max Mueller... you would see a couple of other friends since I'm staying here since the beginning. But his name is also Max Mueller... This Max Mueller is not made after the American president but before the American president. Max Mueller is a wonderful and most precious department they have for producability which is very very marvellous. He is a singer and the writer and President of Giethe institute and Max Mueller. And he wrote and came up with this video. He made a record in 1993 on the other side of the war in the same kind of ... That is what's interesting in the video. Almost the... and much of the... because of years of the historic relation... because of the essence of the music... The music and the video go closely with the visual track of the song...The record is called 'You are not my brother' and that's obviously not a record about reading this lecture. It's about the title song of the record called 'Do you know my brother'. It's a story produced by kind of parody... you can read it.. it's in english language... which is a song about disease and being in desperacy... being in (?)... its about sticking with.. grief .. sticking with basic kind of family life... and then they say... you are not my brother... you are not my sister.. this kind of story... and it's still about finding Max Mueller...
Sebastian: And so on.. and of course I am not saying that with this short note and short presentation... that... we are not here to promote our cultural heritage... that is somewhere on this other english that I have closed now. It is somewhere... some bit of cultural heritage.. Native, dialectal punk... it's a specific term ... but I am also presenting this because as long as funds are not there... and that would be a long time... it will always be in the name of Max Mueller...
Sebastian: And so on.. and of course I am not saying that with this short note and short presentation... that... we are not here to promote our cultural heritage... that is somewhere on this other english that I have closed now. It is somewhere... some bit of cultural heritage.. Native, dialectal punk... it's a specific term ... but I am also presenting this because as long as funds are not there... and that would be a long time... it will always be in the name of Max Mueller...
Shaina: This was 40 years of video art... to see is to change. I hope we managed a parallax view ...when you see... when you (?) ... and you can see into all kinds of distortions... look deep into one and then into the other... ten or twelve mirrors... so, I hope we ..we've started something... some conversations... every one of you who stays here will be into folk tales ... i hope you will come more often... and hope we can have more )... we can talk one on one we can share interesting things. Thank you very much Sebastian Lutbertg . It's so wonderful to meet someone like you ... or the director of the Goethe institute. Some really wonderful people like Nancy and Rashmi and Kavita.
Shaina: This was 40 years of video art... to see is to change. I hope we managed a parallax view ...when you see... when you (?) ... and you can see into all kinds of distortions... look deep into one and then into the other... ten or twelve mirrors... so, I hope we ..we've started something... some conversations... every one of you who stays here will be into folk tales ... i hope you will come more often... and hope we can have more )... we can talk one on one we can share interesting things. Thank you very much Sebastian Lutbertg . It's so wonderful to meet someone like you ... or the director of the Goethe institute. Some really wonderful people like Nancy and Rashmi and Kavita.
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