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VICTIMS FROM BASRA
January 30, 2008, 8:54 pm
Filed under: DANIEL DEMOUSTIER, IMPACTOLOGY, IRAQ, VICTIMS, WARUM 2.0
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WARUM CALLING & CALLING
January 30, 2008, 8:50 pm
Filed under: VICTIMS, WARUM 2.0

WAR VICTIMS

Six hosts will enact & do 2.0 in the WARUM 2.0 installation arena during the Artefact Festival in Leuven, between 12 and 17 February. Who wants to join and assist them? Interested?



LET THE VICTIMS SPEAK
January 30, 2008, 7:18 pm
Filed under: AFGHANISTAN, DANIEL DEMOUSTIER, IMPACTOLOGY, WARUM 2.0

WAR VICTIMS

Daniel Demoustier told me that when he was filming the war victims he talked to them and they to him. These conversations however were not recorded. We then, we see the faces, but we don’t hear them speaking to us. So then, why not go back to them? Anybody interested? Support? Suggestions?



HAITI CITE SOLEIL
January 30, 2008, 4:54 pm
Filed under: DANIEL DEMOUSTIER, HAITI, IMPACTOLOGY, WARUM 2.0

Moving image with a comment by cameraman Daniel Demoustier (such will be rarely the case in this blog, in contrast to the daily practice of it on television). Original shooting treated for WARUM 2.0. Obviously, this image is far too layered for a blog… (anyways)



WARUM 2.0 AS MERZBAU
January 30, 2008, 12:55 pm
Filed under: IMPACTOLOGY, WARUM 2.0

HANS ULRICH OBRIST

The questioning in the quote here under, by Hans Ulrich Obrist (on page 107, as published by Sternberg New York/Berlin, 2006), can easily be transported from the context of the museum space towards the context of media. This is a stimulating exercise for us of creative reading, maybe also for you.

“How can we actually introduce, reintroduce, or re-inject the notion of smallness into ‘bigger’ conditions? And that leads to the question of complexity, which I would like to address here. After having long discussions about the exterior aspects of museums, which were all about the façade, I think it is also relevant to talk about interior complexity, a new Merzbau condition, which will bring up urgent questions in the next few years about the future of museums. The situation of museums of obviously complex and I think, when we try to work out how to deal with this complexity, it is important not to reduce our reflections to a single model of museum space, but to study several different ones, both historical models and contemporary models, and to take an experimental approach with regard to this complexity.

One of the problems of globalization is the spatial and temporal homogenization of the world of museums, and it is urgent to actually generate a situation which is receptive to a kind of interlocking of spaces, or bridges between the old and new – as exemplified by Rem Koolhaas’s work on the Guggenheim Hermitage in Las Vegas – while also keeping in mind the notions of acceleration and deceleration, moments of speed and moments of slowness, where there should be zones of noise and zones of silence, where there are also negotiations between private and public space”.



WARUM PAUL VIRILIO
January 27, 2008, 2:03 pm
Filed under: IMPACTOLOGY, PAUL VIRILIO, WARUM 2.0

PAUL VIRILIO: “We are now moving from the politically correct of the written, writing, the oratorical and the speaker, from the tribune, from politically correct to optically correct for the screen”.



WARUM ILLUSION
January 27, 2008, 1:19 pm
Filed under: AFGHANISTAN, IMPACTOLOGY, VICTIMS, WARUM 2.0

WARUM 2.0 takes the form of a dream, of hallucination even, but without the loss of control normally involved in dreaming and hallucinating. It is not so much based on speed, as it is on suspension. Repetition and suspension that is, of what could have been live, alive, testimony, archive and memory. This space has nothing to do anymore with confusion, neither between fiction and reality, nor between the real and the artifice. It manages and produces illusion.

VICTIMS AFGANISTAN

Warum 2.0, as 2.0, takes the pictures of Daniel Demoustier, the pictures he originally took from war victims, and projects them on transparant screens. The pictures are then repeated, enlarged, doubled and enhanced, until they fill a studio and form a stage, in which hosts and visitors perform as actors. Users and victims, pictures and positions start to double, repeat and mirror each other endlessly through media, until they form a world that becomes real as event, which in turn can be filmed again, even as a newsevent. Of course this event is a pseudo-event. It is an illusion. Like the real in reality tv, it is a non-reality. It is a tv reality, without tv. In the same way the real is no longer where it once was, television does no longer need that kind of real reality. It needs mediareality (no problem, television produces it itself), and it needs ‘us’ in it, to make the event come true.