Monitoring. Zum Phänomen der Desktop-Filme

22.06.2017 | Workshop mit Sven von Reden und Jan Distelmeyer

Der Workshop behandelt das bislang noch wenig diskutierte Aufkommen der Desktop-Filme, die in unterschiedlicher Form – vom Thriller Open Windows über den Horror-Film Unfriended bis zum Essay Transformers: A Premake – den Computermonitor und seine Interfacegestaltungen als Filmschauplatz nutzen. Wir diskutieren dieses Phänomen mit dem Filmkritiker Sven von Reden, der sich als Stipendiat des Siegfried-Kracauer-Preises 2015 mit Desktop-Filmen auseinandergesetzt hat. Wenn, so von Reden, „in der Folge von Siegfried Kracauer oder André Bazin das Kino eher als 'Fenster zur Welt' zu verstehen“ ist, wohin führt uns dann "dieses neue Genre, in dem ausschließlich das zu sehen ist, was sich auf dem Bildschirm eines Computers abspielt“? Diese und weitere Fragen wird der Workshop anhand von Beispielen der Desktop-Filme bearbeiten.

Sven von Reden arbeitet als Redakteur und Autor in Köln. Studium der Anglo-Amerikanischen Geschichte, Mittleren und Neueren Geschichte und Kunstgeschichte in Köln. Seit 1997 Filmkritiker u.a. für die tageszeitung, Der Standard, Berliner Zeitung, Welt am Sonntag, Spex. Seit 1998 Filmredakteur der StadtRevue – Das Monatsmagazin für Köln. Seit 2005 Mitarbeiter des Film Festival Cologne. 2005 bis Ende 2012 Autor für das 3sat Kinomagazin, u.a. Sendungen über Christian Petzold, Ken Loach, Apichatpong Weerasethakul und Todd Haynes.

ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam
Salon für Ästhetische Experimente #2
24.04.2017 | Configuring Corporeality: Performing bodies and autonomous machines

Marco Donnarumma, artist, scholar and Research Fellow at Berlin University of the Arts, hosts a one-day symposium investigating the hidden threads across posthuman affect, cognitive robotics, ritual performance and art. Three stakeholders engage in a series of lectures and an ensuing collective conversation so as to offer a transdisciplinary insight into how today's forms of (intelligent?) computation can affect - and be affected by - bodies, machines and the arts. Coupling theory with practice, the event features the exhibition of a prototype for Donnarumma's forthcoming new artwork, an autonomous prosthetic sculpture named Amygdala, as well as a screening documenting the creative process of the artist and his collaborators.

The event is part of Configurations (2016-18), an artistic research project exploring the abject and intimate borders between human and machine through performance, ritual and sound. The project is funded by Graduiertenschule at Berlin U. of the Arts, Berlin Centre for Advanced Studies in Arts and Sciences and Einstein Stiftung Foundation. It is made possible by a partnership with the Neurorobotics Research Laboratory (DE),  a collaboration with Ana Rajcevic Studio (DE/UK), and support from Hack the Body, Baltan Laboratories (NL).

Open to the public, no prior registration is needed.

Invited speakers:

Marie-Luise Angerer
Chair for Media Theory / Media Studies, Institute of Arts and Media, Potsdam University, Berlin, and author of the forthcoming Ecology of Affect (Meson Press)

Irini Papadimitriou
Digital Programmes Manager, Victoria & Albert Museum, and Head of New Media Arts Development at Watermans, London

Manfred Hild
Professor of Digital Systems at the Beuth University of Applied Science, and Head of the Neurorobotics Research Laboratory, Berlin

Monday, 24 April 2017

Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin

[event was held in English]

Screen-Images (Bildschirmbilder) - In-Game Photography and Screenshots as Photographical Praxis
July 6-7, 2017 in Brandenburg Center for Media Studies (ZeM), Potsdam (Germany)

Starting from the phenomenon of In-Game Photography this workshop investigates the status of the screenshot as a photographical genre which includes but is not limited to computer games. Both, Screen-Photography and In-Game Photography belong to a number of everyday photographical practices that are performed within the digitally produced realities as well as the digitized realities we inhabit and which are largely mediated via screens and screen-like surfaces. Amongst those practices are the so-called “screenshotting” in computer games (e.g. in order to document unusual in-game events and to share those), photorealistic captures of digital 3D models (as they often occur in architecture or design contexts) or, much simpler, the screenshot as a form of camera-less photography. In addition there exist hybrid cases such as photography in augmented realities (which most recently became popular through the smartphone game Pokémon Go (2016)), screen captures with real cameras in artistic contexts, and the creation of screenshots of digital photographs in the computer. Eventually, in the history of “real-world” photography exists a significant amount of photographs which show 1) tv or computer screens, 2) billboards showing photographs of real physical screens and 3) photographs of photographs which are held in hands. 
Such practices and phenomena have hitherto rarely been subjected to scientific investigation. There is a considerable lack of aesthetical, cultural, technical and historical analyses as well as a lack of theories and theory production in relevant disciplines. The goal of the workshop is hence to describe screenshot-like practices and phenomena and to ask questions regarding the status, the ontology, the aesthetics, as well as the cultural and artistic significance of such phenomena and practices. The workshop thereby intends to investigate the potential of a new subject area for future research from the perspective of media studies, media aesthetics, and media history, as well as image studies, photography theory and game studies.  
Thursday, July 6, 2017
10:00 Winfried Gerling and Sebastian Möring: Welcome und Introduction of ZeM and DIGAREC
10:30 - 11:15 Stephan Günzel: From Screen to Screen – A Dislimitation of the Photographic Image 
11:15 - 12:00 Birgit Schneider: Framing the frame - media mimicry from a historical perspective
12:00 - 13:30 Lunch break
13:30 - 14:15 Sebastian Möring: Artistic In-Game Photography and the Conditional Image of the Computer Game
14:15 - 15:00 Cindy Poremba: Constructing through Creating: In-Game Photography
15:00 - 15:30 Coffee break
15:30 - 16:15 Margarete Pratschke: The Materiality of Screenshots. Historical Screenshots as Photo-Objects and their Role within Visual Culture 
16:15 - 17:00 Marco de Mutiis: Photo Modes - sketches for a post-photographic apparatus
17:00 - 17:30 Hans Kannewitz: How to Frame Screenshots of Operating Systems – On the Arrangement of a Collection

Friday, July 7, 2017
10:30 - 11:15 Jan Distelmeyer: Using Depresentation. Observations on/by Desktop Movies  
11:15 - 12:00 Winfried Gerling: The Schirmbild - The Long and Short History of Screenphotography 
12:00-13:30 Lunch break
13:30 - 14:15 Matteo Bittanti: tba
14:15 - 15:00 Markus Rautzenberg: Ways of Vanishing. Ludic Mediality in Computer Games and Photography
15:00 - 15:30 Coffee break
15:30 Final Discussion/Outlook 
This workshop is a collaboration between Brandenburg Center for Media Studies (ZeM), Digital Games Research Center (DIGAREC), European Media Studies (EMW,), University of Applied Sciences Potsdam (FHP) and University of Potsdam (UP). The workshop is supported by Potsdam Graduate School (PoGS).
The workshop is organized by Winfried Gerling and Sebastian Möring.
ZeM – Brandenburgisches Zentrum für Medienwissenschaften 
Friedrich-Ebert-Straße 4 
14467 Potsdam
Approach/Site plan:
Workshop - Remix practices in art and new media within the digital paradigm


29.06.2017 | Workshop - Remix practices in art and new media within the digital paradigm

This workshop will focus on the notion of remix in art and digital art. Many elements like the technicality of the medium, the malleability of the contents, the banalisation of copyright infringement or the unprecedented availability of materials impact creation directly. All this has given birth to multiple creation strategies by, for, with or out of the Internet. Artworks are open, processual, interactive. Digital art is a flourishing movement and remix occupies a key place within. It is thus in the long history of artistic remix and the new emerging history of digital creation that I choose to enrol as a Ph.D candidate on this subject. My research focus on how the digitalisation of nearly all types of media and their increase accessibility with the Internet change the paradigm of remix practice in art. I defended this Ph.D in 2016 in the University of Toulouse II (France).

The first part of this workshop will include a presentation about remix theory, and remix practises in art and digital art. I will start with an introduction about the three different types of remix, their differences, their common points (for example the collection, the sustainability of the fragment, the question of originality and plagiarism). Then will follow a presentation on the history of remix in art since 1900 and a focus on contemporary artistic practice on the Internet. This last part of the presentation will include a screening of a selection of artworks related to this theme. For the second part of the workshop I will make a presentation of my artistic work for the past decade in relation to this theme (

(The next part depends on the time left) The last part of the workshop will be more practical. Students will be invited to use simple digital tools and the contents of others found on the Internet to create a new version, a remix to obtain after using a multitude of sources, an « original work ».

KOORDINATION Torsten Schöbel, Fachhochschule Potsdam

Nicolas Boillot is a French/Swiss artist living and working in Berlin (DE) and Nice (FR). His works, mostly real-time processed video installations have been shown in various new media exhibitions/festivals in Europe and America since 2005.

Torsten Schöbel, M.A./Art in Context, ist seit 2008 Lehrkraft für besondere Aufgaben im Studiengang Europäische Medienwissenschaft. Torsten Schöbel war von 2003 bis 2008 Künstlerischer Mitarbeiter im Fachgebiet Bildende Kunst / Intermediäre künstlerische Praxis an der Technischen Universität Berlin und von 2001 bis 2012 Lehrbeauftragter am Institut für Kunst im Kontext an der Universität der Künste Berlin. 2007 und 2009 Gastprofessur für Medienkunst an der Universität der Künste Berlin im Chinesisch-Deutschen Masterstudiengang Bildende Kunst an der China Academy of Art in Hangzhou.


ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam