KIT intermedia

Geert Lovink lecture “On the principle of Notworking”
will take place on 22 February from 10.00
at the Seminarrom KIT, NTNU Trondheim.

  
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FILMSCREENING : “Beautiful World”
Director: Mieke Gerritzen
Wednesday, February 22nd, 2006
15:00
Seminarrom KIT / NTNU Trondheim

Further info: http://www.kit.ntnu.no/lovink.html

The lecture and screening is public. YOU ARE ALL VERY WELCOME.
Address Innherredsveien 7 (Industribygget).
Contact Tel. +47 73 59 79 00

Geert Lovink is the guest lecturer at the KIT Intermedia input
programmed by Nomeda & Gediminas Urbonas.

16.00 – 18.00 film screening program
Peter Watkins “The War Game”.
Reading of a Peter Watkins’  critical media statement 
http://www.mnsi.net/~pwatkins/

Glad to present the second film from a series of Harun Farocki screenings.
This film works with psycho mechanisms of the repressive system, in this case the object of the search is…the shopping world.

“I shop therefore I am” : what rhetoric and logic are imbedded into this vicious script. tomorrow, FRIDAY from 5pm. at the seminarrom.

The Creators of the Shopping Worlds
a film by Harun Farocki / 2001  / 72 min.

when: from 17.00, Friday, April 22, 2005
where: SEMINARROM

nomeda & gediminas urbonas : a film screening program: open for ALL

———
ON FILM
Shopping is an everyday cultural act; it is inevitable, taken for granted. Entering into the world of shopping – the world of shopping malls – can be a Dantean voyage into hell or a redeeming ceremony of Communion. Everyone is familiar with this experience and knows what a mall looks like. This self-evident phenomenon is, however, the result of a highly complex process. The designing of shopping malls is
overseen by an army of planners, managers and scientists: there are consultants, re-launch analysts, a central association, mall magazines.
6000 guests and laboratories attended an annual convention in Las Vegas at which such questions were investigated as where the gaze of a customer falls and how a “spontaneous” purchase can be induced. Farocki shows how mall producers look at malls when they want to find out, for example, how passers-by move, where they stop and where they reach for an article. He adds these images to the everyday ones – and gives them a magical charge.

—————-
on HARUN FAROCKI
1944: born in Novy Jicin (Neutitschein), in German-annexed Czechoslovakia.
1966-68: attended the Deutsche Film- und Fernsehakademie Berlin (DFFB).

After teaching posts in Berlin, Düsseldorf, Hamburg, Manila, Munich and Stuttgart Farocki took up a visiting , professorship at the University of California, Berkeley from 1993-1999.

Farockis has made close to 90 films, including three feature films, essay films and documentaries. Produced numerous publications, exhibitions and installations in galleries and museums.
1974-1984: editor and author of the magazine Filmkritik (München).

Since 2004 visiting professor at the Akademie für Bildende Künste,
Vienna,Austria;

screening of the film “I Thouht I was Seeing Convicts”
by Harun Farocki / 2000 / 25 min.

It is part of a seria of Harun Farocki films, that are on the way to be presented at the screening series organized as part of “intermedia input:open for ALL”.

WELCOME to the screening! more info below.

—————-

“I Thouht I was Seeing Convicts”
by Harun Farocki / 2000 / 25 min.

when:
from 17.00, Wednesday, April 20, 2005

where:
SEMINARROM

introduction:
Gediminas Urbonas

—————-
on HARUN FAROCKI

1944: born in Novy Jicin (Neutitschein), in German-annexed
Czechoslovakia.

1966-68: attended the Deutsche Film- und Fernsehakademie Berlin (DFFB).

After teaching posts in Berlin, Düsseldorf, Hamburg, Manila, Munich and Stuttgart Farocki took up a visiting , professorship at the University of California, Berkeley from 1993-1999.

Farockis has made close to 90 films, including three feature films, essay films and documentaries. He produced numerous publications, exhibitions and installations in galleries and museums.

1974-1984: editor and author of the magazine Filmkritik (München).

Since 2004 visiting professor at the Akademie für Bildende Künste, Vienna,Austria;

—————-
ON FILM: I Thouht I was Seeing Convicts

Images from the maximum-security prison in Corcoran, California. The surveillance camera shows a pie-shaped segment: a conrete-paved yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend a half an hour a day. A convict attacks another, upon which those uninvolved lay themselves flat on the ground, their arms
over their heads.

Thy know what comes now: the guard will call out a warning and the fire rubber bullets. If the convicts do not stop fighting now, the guard will shoot for real. The picures are silent, the trail of gun smoke drifts across the picture.

The camera and the gun are right next to each other. The field of vision and the gun viewfinder fall together…

20.00-02.00 Film screening at the SKYBAR:
“La Commune (Paris 1871)”.
Dir. Peter Watkins. 1999, 375 min.

note: film is 6 hour (its on French revolution, therefore cannot be short) so bring your drinks, mattresses, blankets or sleeping bags.
Against the will of director we gonna have breaks.

16.00-17.30 Film screening at the Seminaarom:
“FUTURO: tomorrow’s house from yesterday”.
Dir. Mika Taanila. 1998, 29 min.

16.00-17.30 Film screening at the Seminaarom:
“Future is not what it used to be”.
Dir. Mika Taanila. 2002, 52 min.

http://www.unpluggedstudio.com/

http://news.awn.com/index.php?ltype=cat&category1=Television&newsitem_no=11050

Seinfeld & Animated Superman AmEx Internet Webisodes Air on NBC and Net

May 20, 2004

Look up on NBC and the Internet, it’s a bird, it’s a plane – no it’s comedian Jerry Seinfeld and an animated Superman. Seinfeld and Superman return to the Internet May 20, 2004 with a second “webisode” for American Express while the first animated campaign airs tonight at 8:54to 9:00 pm on the NBC network before the encore performance of the FRIENDS finale. The first webisode, A UNIFORM USED TO MEAN SOMETHING, set in New York City, debuted on the American Express Website March 29 and drew enough attention to get a timeslot on TV in primetime.

The new four-minute webisode, entitled, HINDSIGHT IS 20/20, launched today exclusively at www.americanexpress.com/jerry. HINDSIGHT IS 20/20 is the second installment from “The Adventures of Seinfeld and Superman.” Both webisodes were co-written by Seinfeld and directed by acclaimed film director Barry Levinson (DINER, RAIN MAN). The animation was produced by Unplugged Studio in Toronto (www.unpluggedstudio.com).

The sequel, shot on location in Death Valley, California, follows Superman and Seinfeld as the two set out on a cross-country road trip in one of Seinfeld’s legendary vintage cars. As in the first installment, the two continuously banter, engaging viewers in a hilarious snapshot of the unique friendship between comedian and Kryptonian. While Superman nears his wit’s end trying to open a pesky pistachio and deflects questions from tourists about Green Lantern, Seinfeld tries to get The Man of Steel to reveal the origin of his moniker. When trouble ensues Seinfeld saves the day by employing Roadside Assistance, one of many services provided to American Express cardmembers.

“I love taking road trips and thought it would be fun to invite Superman along for the ride – I’m sure he misses a lot of scenic spots when flying at super-speed,” said Seinfeld. “I’m excited to debut HINDSIGHT IS 20/20 – we had a fantastic time making it, and I think our fans will really enjoy it.”

“The first webisode proved to be a great way to build consumer interest in our brand, and demonstrate our card benefits in a lighthearted way,” said John Hayes, American Express’ chief marketing officer. “We are excited to present the sequel so fans can enjoy more comedic adventures of Seinfeld and Superman.”

Visitors to www.americanexpress.com/jerry will once again be treated to a unique interactive experience. Viewers return to the cozy living room of a New York City apartment, complete with a view of the Empire State Building, candid snapshots of Seinfeld and his superhero pal, a clickable Broadway show program and more. In addition to viewing HINDSIGHT IS 20/20, visitors will find the first webisode, “A UNIFORM USED TO MEAN SOMETHING, plus behind-the-scenes footage from the making of both webisodes.

American Express Co. is a diversified worldwide travel, network, and financial services provider founded in 1850. It is a leader in charge and credit cards, Travelers Cheques, travel, financial planning, investment products, insurance and international banking. For more information, visit www.americanexpress.com.

the series of weekly screenings
every Thursday at the Seminarrom

This series as part of Nomeda & gediminas Urbonas teaching
in-put@intermedia, charts a territory emerging at the intersection of artistic and cinematic models and discourses.

The shift from being “on cinema” to drawing on a different modes of production articulates the structures, forces, and subjects at work in the relations between society, cinema, and culture.

The character of this screening series contributes structurally, a parallel to the development of the works and pursuing objectives during spring semester at KIT.
SCREENINGS ARE OPEN TO ALL INTERESETD THOUGH

<<<<<<<<<<<1_st_screening>>>>>>>>>>>>>

“Derrida”, by
Dir: Kirby Dick and Amy Ziering Kofman, 2002, 84’

at Seminar Room, KIT – January 27, from 14:00

“What if you could watch Socrates, on film, rehearsing his Socratic dialogues? What if there was footage of Descartes, Thoreau, or Shakespeare as themselves at work and in their daily life? Might we now look at these figures differently, with perhaps a deeper understanding of their work and lives?”
From Derrida the movie website.

PS.

“The very condition of a deconstruction may be at work in the work, within the system to be deconstructed. It may already be located there, already at work. Not at the center, but in an eccentric center, in a corner whose eccentricity assures the solid concentration of the system, participating in the construction of what it, at the same time, threatens to deconstruct.
One might then be inclined to reach this conclusion:
deconstruction is not an operation that supervenes afterwards, from the outside, one fine day. It is always already at work in the work. Since the destructive force of Deconstruction is always already contained within the very architecture of the work, all one would finally have to do to be able to deconstruct, given this always already, is to do memory work. Yet since I want neither to accept nor to reject a conclusion formulated in precisely these terms, let us leave this question suspended for the moment.”
Jacques Derrida, Mémoires, pour Paul De Man, read by Amy Ziering Kofman

From Derrida the movie website
What if you could watch Socrates, on film, rehearsing his Socratic dialogues? What if there was footage of Descartes, Thoreau, or Shakespeare as themselves at work and in their daily life? Might we now look at these figures differently, with perhaps a deeper understanding of their work and lives?

Filmmakers Kirby Dick and Amy Ziering Kofman asked themselves these questions, and decided to team up and document one of the most visionary and influential thinkers of the 20th century, a man who single-handedly altered the way many of us look at history, language, art, and, ultimately, ourselves: the brilliant and iconoclastic French philosopher Jacques Derrida.

For over five years, Dick (“Sick: The Life and Death of Bob Flanagan, Supermasochist”) and Ziering Kofman (Producer, “Taylor’s Campaign”) played Plato to our own modern day Socrates. The filmmaking team shadowed the renowned philosopher, best known for “deconstruction,” and captured
intimate footage of the man as he lives and works in his daily life.
They filmed Derrida on his first trip to South Africa, where — after visiting President Mandela’s former prison cell — he delivers a lecture on forgiveness to students at the University of the Western Cape. The filmmakers travel with him from his home in Paris to New York City, where he discusses the role of biographers, and the challenges that are faced when one attempts to bridge the abyssal gulf between a historic figure’s work and life. They capture Derrida in private moments, musing reluctantly, about fidelity and marriage, narcissism and celebrity, and the importance of thinking philosophically about love.

Yet DERRIDA is in no way a talking heads movie or conventional biographical portrait. Its bold, visual style, mesmerizing score by Oscar-winning composer Ryuichi Sakamoto, and novel editorial approach create a rich, lively cinematic experience, at once provokes, amuses and entertains. In resisting any predictable, formulaic approach, they make Derrida a living, informal demonstration of “deconstruction” – a system of thought which up to now has otherwise eluded cinematic capture. The result is not only thought provoking, but ground-breaking.

we discussed FILM SCREENING PROGRAM:
we suggest we would run it on behalf of Intermedia
and it would be open for ALL. It’s important that it has
consequent screenings, so if its fine we stick to proposed date:
each Thursday from 14.00 at Seminarrom.

so the program we suggest:

27.Jan. “Derrida”.Dir. Kirby Dick and Amy Ziering Kofman. 2002
03.Feb. “Future is not what it used to be”. Dir. Mika Taanila. 2002
10.Feb. “The War Game”. Dir. Peter Watkins. 1966
17.Feb. “BaadAsssss Cinema”. Dir. Isaac Julien. 2002
24.Feb. “Frantz Fanon: Black Skin, White Mask”.  Dir. Isaac Julien. 1996
03.Mar. “The Battle of Orgreave”.  Dir. Jeremy Deller. 2001
10.Mar. “La Commune (Paris 1871)”. Dir. Peter Watkins. 1999
17.Mar. “I Thought I was Seeing Convicts”, Dir.Harun Farocki. 2000

under consideration (in case if 3 last films are not here in time):
“Consolation Service”. Dir. Eija Liisa Ahtila. 1999
“Marat/Sade” Dir. Peter Brook.  1966
“Punishment Park”. Dir. Peter Watkins. 1971
“Looking for Langston”. Dir. Isaac Julien. 1989
“Reminiscence of a Journey to Lithuania”. dir. Jonas Mekas. 1972

we would love if you would bring your suggestions.
We could either “mix” them showing the same day 2 films during
Thursdays screenings starting from 14.00 to 17.00;

Or we could “split” into two weekly sessions, lets say yours
is on Tuesdays after group meetings???
You decide how you plan to do it.

we will provide you (during next weeks) with .pdf files
for posters, so you could distribute info about sreenings.