Kulturni dom Nova Gorica

Pixxelpoint 8. mednarodni festival novomedijske umetnosti/8th International Festival of New Media Art

Kustosa/Curators Narvika Bovcon, Aleš Vaupotič

7. - 15. 12. 2007

festival

http://pixxelpoint.org

http://black.fri.uni-lj.si/riii/files/katalogpixxelpoin2007.pdf

green desert / zelena puščava

Film Nostalgija (1983) Andreja Tarkovskega se zaključi s slavnim travelingom kamere, ki razkrije postopno prehajanje filmskega prostora iz podobe ruske pokrajine z glavnim junakom v okvirjajočo se podobo notranjosti toskanske cerkve. Zanjo se v tretji fazi nepretrganega posnetka izkaže, da je brez strehe in odprta za vremenske vplive, saj se prizor sklene s sneženjem v tem hibridnem interierju-eksterierju. Drugi primer je reklamna kampanja podjetja Diesel Global Warming Ready (2006) s podobami prostorskih kolažev, npr. Gore Rushmore kot obmorske pečine ali pa prizora barvitih tropskih papig v Benetkah namesto letečih podgan. Sicer zelo različni konkretizaciji združuje skupna tema, povezava dveh, na prvi pogled nezdružljivih prostorov na enem mestu. Posledica tovrstne prostorske katahreze pa je praviloma razkritje specifične družbenopolitične problematike, ki je lahko kompleksnejša, kot v primeru raziskave razmerja med ruskim razumevanjem življenjskega sveta in zahodnjaškim, ki ga predstavlja Toskana pri Tarkovskem, ali pa le na pol resna, kot v reklamni kampanji, ki želi ozaveščati globalne javnosti o problematiki varstva okolja s podobami šokantnih in obenem privlačnih ekosistemov, ki so že zdavnaj padli iz ravnovesja. Tema Pixxelpointa »zelena puščava« se nanaša torej na kontroverzno povezavo nečesa sicer lepega vendar obenem mrtvega, s pozitivnimi pomeni zelenine, ki je v puščavi seveda ni. Ostaja pot iz te zagate, vendar*r je predlagana možnost omejena na virtualnost tehnosimulirane realnosti. Drugi izhod pa je sprememba v človeku, ki si s prizadevnostjo izostri posluh za krhko ravnovesje v svoji okolici, ki ni zgolj predmet za izkoriščanje, ampak preplet plasti različnih svetov na isti geografski lokaciji, ti pa se kažejo različno različnim očem.

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green desert

Andrey Tarkovsky’s Nostalghia (1983) ends with the famous traveling of the camera which reveals the gradual transition from the scene showing the protagonist in the Russian countryside, to the framing image of a Tuscany chapel interior. The third stage of the uninterrupted shot reveals that this chapel has no roof and that it is open to weather conditions, and the scene closes as it begins to snow in this hybrid interior/exterior. A second example is Diesel’s advertising campaign Global Warming Ready (2006) featuring collages such as Mt. Rushmore depicted as a seaside cliff, or Venice full of colorful tropical birds instead of the “flying rats” we are more used to. These disparate concretizations share a common theme, a combination of two seemingly incompatible spaces in a single place. Usually, the purpose of such locational catachresis is to point to a specific sociopolitical issue, which can be either complex, as seen in the contemplation of the relationship between the Russian and Western understanding of the world, represented by Tuscany in Tarkovsky’s work, or it can be only half-serious, as seen in the advertising campaign which aims to raise the global public’s awareness on environmental issues by showing images of shocking yet attractive habitats in which natural balance has collapsed long ago. The “green desert”, the underlying theme of Pixxelpoint, therefore builds upon the controversial contrast between something beautiful, yet dead, with the positive connotations of the color green, which obviously has no place in a desert. While there is still a way out of this conundrum, the proposed solution is limited to the technologic simulation of reality. The other solution is to achieve the change in man, to strive to increase our sensitivity for the delicate balance in our environment, which is not merely a resource to be exploited but rather a complex set of interweaving worlds sharing the same space, and these worlds appear different to different eyes.

Srečo Dragan (Slovenia) - Technoperformance 07
Joerg Auzinger (Austria) - Blind Spot: the observation of the observer
John Callanan (UK) - Sonification of You
Blake Carrington (USA) - Sky and Wires: At Home and Homeless
DigitGroup (Serbia) - The BETA E project
Erika Lincoln (Canada) - Liquid Prairie: Creeping Change
Martin Bricelj (Slovenia) - Everlandia: virtual travel agency Dušan Bučar (Slovenia) - Videocasino or Dismissing Misfortune
Blaž Erzetič (Slovenia) - Transparent Liquids Cycler
Klemen Gorup (Slovenia) - That Night
Tadej Komavec (Slovenia) - Green Line
Vanja Mervič (Slovenia) - An Invitation to a 20th Century Dinner
Tilen Žbon (Slovenia) - Hybrid – subjects III
Narvika Bovcon, Aleš Vaupotič (Slovenia)
Robert Černelč (Slovenia) - Črvi (Worms), Deževanje (Raining), Abadon