https://pzwiki.wdka.nl/mw-mediadesign/api.php?action=feedcontributions&user=Sonia&feedformat=atom
XPUB & Lens-Based wiki - User contributions [en]
2024-03-29T13:09:44Z
User contributions
MediaWiki 1.38.2
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/13-06-2023_-Event_3&diff=242353
Calendars:Networked Media Calendar/Networked Media Calendar/13-06-2023 -Event 3
2023-06-13T11:14:36Z
<p>Sonia: </p>
<hr />
<div>LB Staff portraits photography w/ Sonia<br />
<br />
Location, "La Cantina"/the old office space<br />
<br />
(N.B. Priority on this day goes to Cihad, Rossella, Kate, Natasha, Sabine)<br />
<br />
Please type your name next to your preferred time slot<br />
<br />
12:00-12:15 Steve<br />
<br />
12:20-12:35 Natasha<br />
<br />
12:40-12:55 Cihad<br />
<br />
13:00-13:15 <br />
<br />
13:20-13:35 Rossella<br />
<br />
13:40-13:55 Kate<br />
<br />
14:30-14:45 Sabine<br />
<br />
15:30 Sonia photographs MIARD studio</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/13-06-2023_-Event_3&diff=242352
Calendars:Networked Media Calendar/Networked Media Calendar/13-06-2023 -Event 3
2023-06-13T11:11:40Z
<p>Sonia: </p>
<hr />
<div>LB Staff portraits photography w/ Sonia<br />
<br />
Location, "La Cantina"/the old office space<br />
<br />
(N.B. Priority on this day goes to Cihad, Rossella, Kate, Natasha, Sabine)<br />
<br />
Please type your name next to your preferred time slot<br />
<br />
12:00-12:15 Steve<br />
<br />
12:20-12:35 Natasha<br />
<br />
12:40-12:55 Cihad<br />
<br />
13:00-13:15 <br />
<br />
13:20-13:35 Rossella<br />
<br />
13:40-13:55 Kate<br />
<br />
14:30-14:45 Sabine<br />
<br />
14:50-15:05<br />
<br />
15:10-15:25<br />
<br />
15:30 Sonia photographs MIARD studio</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/13-06-2023_-Event_3&diff=242351
Calendars:Networked Media Calendar/Networked Media Calendar/13-06-2023 -Event 3
2023-06-13T11:09:24Z
<p>Sonia: </p>
<hr />
<div>LB Staff portraits photography w/ Sonia<br />
<br />
Location, "La Cantina"/the old office space<br />
<br />
(N.B. Priority on this day goes to Cihad, Rossella, Kate, Natasha, Sabine)<br />
<br />
Please type your name next to your preferred time slot<br />
<br />
12:00-12:15 Steve<br />
<br />
12:20-12:35 Natasha<br />
<br />
12:40-12:55 Cihad<br />
<br />
13:00-13:15 Sabine<br />
<br />
13:20-13:35 Rossella<br />
<br />
13:40-13:55 Kate<br />
<br />
14:30-14:45 <br />
<br />
14:50-15:05<br />
<br />
15:10-15:25<br />
<br />
15:30 Sonia photographs MIARD studio</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/13-06-2023_-Event_3&diff=242338
Calendars:Networked Media Calendar/Networked Media Calendar/13-06-2023 -Event 3
2023-06-13T09:30:06Z
<p>Sonia: </p>
<hr />
<div>LB Staff portraits photography w/ Sonia<br />
<br />
Location, "La Cantina"/the old office space<br />
<br />
(N.B. Priority on this day goes to Cihad, Rossella, Kate, Natasha, Sabine)<br />
<br />
Please type your name next to your preferred time slot<br />
<br />
12:00-12:15 Steve<br />
<br />
12:20-12:35 Natasha<br />
<br />
12:40-12:55 Cihad<br />
<br />
13:00-13:15 Sabine<br />
<br />
13:20-13:35 Rossella<br />
<br />
13:40-13:55 Kate<br />
<br />
14:30-14:45 David - not available <br />
<br />
14:50-15:05<br />
<br />
15:10-15:25<br />
<br />
15:30 Sonia photographs MIARD studio</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/13-06-2023_-Event_3&diff=242337
Calendars:Networked Media Calendar/Networked Media Calendar/13-06-2023 -Event 3
2023-06-13T09:29:48Z
<p>Sonia: </p>
<hr />
<div>LB Staff portraits photography w/ Sonia<br />
<br />
Location, "La Cantina"/the old office space<br />
<br />
(N.B. Priority on this day goes to Cihad, Rossella, Kate, Natasha, Sabine)<br />
<br />
Please type your name next to your preferred time slot<br />
<br />
12:00-12:15 Steve<br />
<br />
12:20-12:35 Natasha<br />
<br />
12:40-12:55 Cihad<br />
<br />
13:00-13:15 Sabine<br />
<br />
13:20-13:35 Rossell<br />
<br />
13:40-13:55 Kate<br />
<br />
14:30-14:45 David - not available <br />
<br />
14:50-15:05<br />
<br />
15:10-15:25<br />
<br />
15:30 Sonia photographs MIARD studio</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/12-06-2023_-Event_3&diff=240605
Calendars:Networked Media Calendar/Networked Media Calendar/12-06-2023 -Event 3
2023-05-22T11:29:47Z
<p>Sonia: </p>
<hr />
<div>LB Staff portraits photography w/ Sonia<br />
<br />
Location TBC on the day ("La Cantina"/the old office space or Small project space or LB project space)<br />
<br />
(N.B. Priority on this day goes to Cihad, Rossella, Kate, Natasha, Sabine)<br />
<br />
Please type your name next to your preferred time slot<br />
<br />
12:00-12:15 Steve<br />
<br />
12:20-12:35 Natasha<br />
<br />
12:40-12:55 Cihad<br />
<br />
13:00-13:15 Sabine<br />
<br />
13:20-13:35 Rossella<br />
<br />
13:40-13:55 Kate<br />
<br />
14:30-14:45<br />
<br />
14:50-15:05<br />
<br />
15:10-15:25</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/22-05-2023_-Event_5&diff=240604
Calendars:Networked Media Calendar/Networked Media Calendar/22-05-2023 -Event 5
2023-05-22T10:45:03Z
<p>Sonia: </p>
<hr />
<div>LB Staff portraits photography, in the small project space<br />
w/ Sonia<br />
<br />
Location: in the small project space <br />
<br />
Please type your name next to your preferred time slot<br />
<br />
12:00-12:15. <br />
<br />
12:20-12:35 Barend<br />
<br />
12:40-12:55 <br />
<br />
13:00-13:15 Ine<br />
<br />
13:30 - 14:30 staff meeting in the small project space<br />
<br />
14:50-15:05. Simon<br />
<br />
15:10-15:25 Leslie</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Sonia&diff=232379
User:Sonia
2023-01-11T14:35:53Z
<p>Sonia: </p>
<hr />
<div><div style=' <br />
width: 96.4%;<br />
font-family: arial, helvetica, sans-serif;<br />
font-weight: bold;<br />
font-size:18px;<br />
line-height: 27px;<br />
colour:black;<br />
<br />
margin:1px;<br />
padding:20px;<br />
float: center;<br />
font-color : white;<br />
background-color:#f6f6f6;<br />
'><br />
<br />
[[File:©SoniaMangiapane SlitScan002.JPG|right|700px|where are you going?]]<br />
me<br><br />
[https://www.snmngpn.com <span style="color:#cccccc;">snmngpn.com] <br><br />
[https://www.instagram.com/soniamangiapane/ <span style="color:#cccccc;"> IG / visual diary]<br />
<br />
<br />
resources + inspiration <br><br />
[[Sonia/hardcopy| <span style="color:#cccccc;">hardcopy]] <br><br />
[[sonia/www| <span style="color:#cccccc;">web]] <br><br />
[[sonia/artists| <span style="color:#cccccc;">artists]] <br><br />
<br />
<br />
LB2 graduation seminar <br />
<br />
<span style="color:#cccccc;">project proposal<br /><br />
:[[sonia/gs2d| <span style="color:#cccccc;">gestures toward graduate project / 03.10.2019]] <br><br />
:[[sonia/gs1| <span style="color:#cccccc;">project proposal sketch]] <br><br />
:[[sonia/gs2| <span style="color:#cccccc;">project proposal opening lines]] <br><br />
:[[sonia/gs2c| <span style="color:#cccccc;">project proposal draft ]] <br><br />
:[[sonia/gs3a| <span style="color:#cccccc;">project proposal draft v2 / 15.10.2019]] <br><br />
:[[sonia/gs5b| <span style="color:#cccccc;">project proposal draft v3 / 04.11.2019]] <br><br />
:[[sonia/gs6b| <span style="color:#cccccc;">project proposal final / 21.11.2019]] <br><br />
<br />
<span style="color:#cccccc;">annotated bibliography<br /><br />
:[[sonia/gs2b| <span style="color:#cccccc;">annotated bibliography for thesis ]] <br><br />
:[[sonia/synopses| <span style="color:#cccccc;">synopses on texts]] <br><br />
<br />
<span style="color:#cccccc;">tutorials<br /><br />
:[[sonia/gs3| <span style="color:#cccccc;">natasha tutorial I / 03.10.2019 ]] <br><br />
:[[sonia/g5c| <span style="color:#cccccc;">natasha tutorial III / 08.11.2019 ]] <br><br />
<br />
<span style="color:#cccccc;">misc<br /><br />
:[[sonia/thesiscloud| <span style="color:#cccccc;">thesis cloud]] <br><br />
:[[sonia/journal001| <span style="color:#cccccc;">journal entry I]] <br><br />
<br />
<br />
<br />
self-directed research <br><br />
[[sonia/materials| <span style="color:#cccccc;">materials wishlist]] <br><br />
[[sonia/tutorial feedback| <span style="color:#cccccc;">tutorials]] <br><br />
[[Sonia/cameraresearch| <span style="color:#cccccc;text-decoration:line-through;">camera research]] <br><br />
[[Sonia/slitscan| <span style="color:#cccccc;">slit-scan]] <br><br />
[[sonia/doka| <span style="color:#cccccc;">darkroom research]] <br><br />
[[sonia/scrapbook| <span style="color:#cccccc;">scrapbook]] <br><br />
[[Sonia/bw01|<span style="color:#cccccc;"> trim 1. b+w darkroom prints]] <br><br />
[[Sonia/cyanotypes| <span style="color:#cccccc;">cyanotypes]] <br><br />
[[Sonia/eye| <span style="color:#cccccc;text-decoration:line-through;">trim 2. eye]] <br><br />
[[Sonia/eye2| <span style="color:#cccccc;">trim 4. eye]] <br><br />
[[sonia/iffr| <span style="color:#cccccc;text-decoration:line-through;">trim 2. IFFR]] <br><br />
[[sonia/colourtheory| <span style="color:#cccccc;">colour theory]] <br><br />
[[sonia/tudelft| <span style="color:#cccccc;text-decoration:line-through;">TU Delft]] <br><br />
[[sonia/artmachines| <span style="color:#cccccc;text-decoration:line-through;">Art Machines – Joost Rekveld Workshop 17/18 May]]<br />
[[Sonia/riso| <span style="color:#cccccc;text-decoration:line-through;">trim 1. risograph printing]] <br> <br />
<br />
<br />
LB1 methods research <br><br />
[[sonia/notes| <span style="color:#cccccc;">notes on reading material]] <br><br />
[[Sonia/3things| <span style="color:#cccccc;">session one - three things - what / how / why]] <br><br />
[[Sonia/methodssession2| <span style="color:#cccccc;">session two - self-directed methods]] <br><br />
[[sonia/methodssession3| <span style="color:#cccccc;">session three - synopsis + breakdown]] <br><br />
[[sonia/methodssession4| <span style="color:#cccccc;">session four - reading images]] <br><br />
[[sonia/methodssession5| <span style="color:#cccccc;">session five - double synopsis]]<br><br />
[[sonia/methodssession6| <span style="color:#cccccc;">session six - eye project logline & writing style]] <br><br />
[[methods_trim3_session1|<span style="color:#cccccc;">trim 3 session 1 - essay on method [draft]]] <br><br />
[[sonia/essayonmethod|<span style="color:#cccccc;">trim 3 - essay on method [final draft]]] <br><br />
[[sonia/essay1| <span style="color:#cccccc;">essay: what does it take to make a contemplative practice?]] <br><br />
[[Mia/Annotated_Reader| <span style="color:#cccccc;">annotated reader - the apparatus]] <br><br />
[[sonia/artiststatements| <span style="color:#cccccc;">other people's artist statements]] <br><br />
[[sonia/prethesis| <span style="color:#cccccc;">pre-thesis cloud]] <br><br />
<br />
LB1 thematic workshops <br><br />
[[sonia/focalcamera| <span style="color:#cccccc;">focal camera w/ mathijs van oosterhoudt]] <br><br />
[[sonia/photobook| <span style="color:#cccccc;">photobook w/ frits gierstberg]] <br><br />
[[Sonia/glitching| <span style="color:#cccccc;">glitching w/ javi]]<br /><br />
[[Sonia/signalbending| <span style="color:#cccccc;">vga hacking/signal bending workshop w/ jeroen rijnart]]</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Sonia&diff=192331
User:Sonia
2021-04-08T13:49:04Z
<p>Sonia: </p>
<hr />
<div><div style=' <br />
width: 96.4%;<br />
font-family: arial, helvetica, sans-serif;<br />
font-weight: bold;<br />
font-size:18px;<br />
line-height: 27px;<br />
colour:black;<br />
<br />
margin:1px;<br />
padding:20px;<br />
float: center;<br />
font-color : white;<br />
background-color:#f6f6f6;<br />
'><br />
<br />
[[File:©SoniaMangiapane SlitScan002.JPG|right|700px|where are you going?]]<br />
me<br><br />
[https://www.snmngpn.com <span style="color:#cccccc;">snmngpn.com] <br><br />
[https://www.instagram.com/soniamangiapane/ <span style="color:#cccccc;"> IG / visual diary]<br />
<br />
<br />
resources + inspiration <br><br />
[[Sonia/hardcopy| <span style="color:#cccccc;">hardcopy]] <br><br />
[[sonia/www| <span style="color:#cccccc;">web]] <br><br />
[[sonia/artists| <span style="color:#cccccc;">artists]] <br><br />
<br />
<br />
LB2 graduation seminar <br><br />
<span style="color:#cccccc;">thesis outline<br />
:[[sonia/gs1a| <span style="color:#cccccc;"> thesis outline sketch / 28.09.2019]] <br />
:[[sonia/gs2a| <span style="color:#cccccc;">thesis outline draft v1 / 29.09.2019]]<br />
:[[sonia/gs4a| <span style="color:#cccccc;">thesis outline draft v2 / 15.10.2019]]<br />
:[[sonia/gs5a| <span style="color:#cccccc;">thesis outline draft v3 / 04.11.2019]]<br />
:[[sonia/gs6a| <span style="color:#cccccc;">thesis outline final / 21.11.2019]]<br />
<br />
<span style="color:#cccccc;">project proposal<br /><br />
:[[sonia/gs2d| <span style="color:#cccccc;">gestures toward graduate project / 03.10.2019]] <br><br />
:[[sonia/gs1| <span style="color:#cccccc;">project proposal sketch]] <br><br />
:[[sonia/gs2| <span style="color:#cccccc;">project proposal opening lines]] <br><br />
:[[sonia/gs2c| <span style="color:#cccccc;">project proposal draft ]] <br><br />
:[[sonia/gs3a| <span style="color:#cccccc;">project proposal draft v2 / 15.10.2019]] <br><br />
:[[sonia/gs5b| <span style="color:#cccccc;">project proposal draft v3 / 04.11.2019]] <br><br />
:[[sonia/gs6b| <span style="color:#cccccc;">project proposal final / 21.11.2019]] <br><br />
<br />
<span style="color:#cccccc;">annotated bibliography<br /><br />
:[[sonia/gs2b| <span style="color:#cccccc;">annotated bibliography for thesis ]] <br><br />
:[[sonia/synopses| <span style="color:#cccccc;">synopses on texts]] <br><br />
<br />
<span style="color:#cccccc;">tutorials<br /><br />
:[[sonia/gs3| <span style="color:#cccccc;">natasha tutorial I / 03.10.2019 ]] <br><br />
:[[sonia/g5c| <span style="color:#cccccc;">natasha tutorial III / 08.11.2019 ]] <br><br />
<br />
<span style="color:#cccccc;">misc<br /><br />
:[[sonia/thesiscloud| <span style="color:#cccccc;">thesis cloud]] <br><br />
:[[sonia/journal001| <span style="color:#cccccc;">journal entry I]] <br><br />
<br />
<br />
<br />
self-directed research <br><br />
[[sonia/materials| <span style="color:#cccccc;">materials wishlist]] <br><br />
[[sonia/tutorial feedback| <span style="color:#cccccc;">tutorials]] <br><br />
[[Sonia/cameraresearch| <span style="color:#cccccc;text-decoration:line-through;">camera research]] <br><br />
[[Sonia/slitscan| <span style="color:#cccccc;">slit-scan]] <br><br />
[[sonia/doka| <span style="color:#cccccc;">darkroom research]] <br><br />
[[sonia/scrapbook| <span style="color:#cccccc;">scrapbook]] <br><br />
[[Sonia/bw01|<span style="color:#cccccc;"> trim 1. b+w darkroom prints]] <br><br />
[[Sonia/cyanotypes| <span style="color:#cccccc;">cyanotypes]] <br><br />
[[Sonia/eye| <span style="color:#cccccc;text-decoration:line-through;">trim 2. eye]] <br><br />
[[Sonia/eye2| <span style="color:#cccccc;">trim 4. eye]] <br><br />
[[sonia/iffr| <span style="color:#cccccc;text-decoration:line-through;">trim 2. IFFR]] <br><br />
[[sonia/colourtheory| <span style="color:#cccccc;">colour theory]] <br><br />
[[sonia/tudelft| <span style="color:#cccccc;text-decoration:line-through;">TU Delft]] <br><br />
[[sonia/artmachines| <span style="color:#cccccc;text-decoration:line-through;">Art Machines – Joost Rekveld Workshop 17/18 May]]<br />
[[Sonia/riso| <span style="color:#cccccc;text-decoration:line-through;">trim 1. risograph printing]] <br> <br />
<br />
<br />
LB1 methods research <br><br />
[[sonia/notes| <span style="color:#cccccc;">notes on reading material]] <br><br />
[[Sonia/3things| <span style="color:#cccccc;">session one - three things - what / how / why]] <br><br />
[[Sonia/methodssession2| <span style="color:#cccccc;">session two - self-directed methods]] <br><br />
[[sonia/methodssession3| <span style="color:#cccccc;">session three - synopsis + breakdown]] <br><br />
[[sonia/methodssession4| <span style="color:#cccccc;">session four - reading images]] <br><br />
[[sonia/methodssession5| <span style="color:#cccccc;">session five - double synopsis]]<br><br />
[[sonia/methodssession6| <span style="color:#cccccc;">session six - eye project logline & writing style]] <br><br />
[[methods_trim3_session1|<span style="color:#cccccc;">trim 3 session 1 - essay on method [draft]]] <br><br />
[[sonia/essayonmethod|<span style="color:#cccccc;">trim 3 - essay on method [final draft]]] <br><br />
[[sonia/essay1| <span style="color:#cccccc;">essay: what does it take to make a contemplative practice?]] <br><br />
[[Mia/Annotated_Reader| <span style="color:#cccccc;">annotated reader - the apparatus]] <br><br />
[[sonia/artiststatements| <span style="color:#cccccc;">other people's artist statements]] <br><br />
[[sonia/prethesis| <span style="color:#cccccc;">pre-thesis cloud]] <br><br />
<br />
LB1 thematic workshops <br><br />
[[sonia/focalcamera| <span style="color:#cccccc;">focal camera w/ mathijs van oosterhoudt]] <br><br />
[[sonia/photobook| <span style="color:#cccccc;">photobook w/ frits gierstberg]] <br><br />
[[Sonia/glitching| <span style="color:#cccccc;">glitching w/ javi]]<br /><br />
[[Sonia/signalbending| <span style="color:#cccccc;">vga hacking/signal bending workshop w/ jeroen rijnart]]</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189633
LB3 and V2
2021-02-09T10:11:14Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
jueyang22@gmail.com +31 6 36441638 <br />
<br />
'''description'''<br />
<br />
HD video with stereo sound, 7m37s<br />
<br />
{{vimeo|493692080}}<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor.''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars. <br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
'''stills'''<br />
<br />
[[File:Gravity1.png |500px]] [[File:Gravity2.png |500px]]<br />
<br />
[[File:Gravity3.png |500px]] [[File:Gravity4.png |500px]]<br />
<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 , Living in Amsterdam<br />
<br />
<br />
[[File:Screen Shot 2021-02-09 at 10.29.39.png|850px|frameless|center]]<br />
<br />
Above: Selection of C-prints (analogue). 76x90cm<br />
<br />
//<br />
<br />
https://vimeo.com/396996262<br />
Link to NTRNL RFLCTN, a short film which features three moving image sequences (I have more of these.) Final presentation would feature individual separate image sequences, not combined as shown in this short film. Exact configuration dependent on space. <br />
<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189632
LB3 and V2
2021-02-09T09:57:53Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
jueyang22@gmail.com +31 6 36441638 <br />
<br />
'''description'''<br />
<br />
HD video with stereo sound, 7m37s<br />
<br />
{{vimeo|493692080}}<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor.''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars. <br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
'''stills'''<br />
<br />
[[File:Gravity1.png |500px]] [[File:Gravity2.png |500px]]<br />
<br />
[[File:Gravity3.png |500px]] [[File:Gravity4.png |500px]]<br />
<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
<br />
[[File:Screen Shot 2021-02-09 at 10.29.39.png|850px|frameless|center]]<br />
<br />
Above: Selection of C-prints (analogue). 76x90cm<br />
<br />
//<br />
<br />
https://vimeo.com/396996262<br />
Link to NTRNL RFLCTN, a short film which features three moving image sequences (I have more of these.) Final presentation would feature individual separate image sequences, not combined as shown in this short film. Exact configuration dependent on space. <br />
<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189631
LB3 and V2
2021-02-09T09:53:49Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
jueyang22@gmail.com +31 6 36441638 <br />
<br />
'''description'''<br />
<br />
HD video with stereo sound, 7m37s<br />
<br />
{{vimeo|493692080}}<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor.''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars. <br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
'''stills'''<br />
<br />
[[File:Gravity1.png |500px]] [[File:Gravity2.png |500px]]<br />
<br />
[[File:Gravity3.png |500px]] [[File:Gravity4.png |500px]]<br />
<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
<br />
[[File:Screen Shot 2021-02-09 at 10.29.39.png|850px|frameless|center]]<br />
<br />
Above: Selection of C-prints (analogue). 76x90cm<br />
<br />
//<br />
<br />
https://vimeo.com/396996262<br />
Link to short film which features three moving image sequences. (I have more of these.) Final presentation would feature individual separate image sequences (not combined as shown in this short film). Exact configuration dependent on space. <br />
<br />
<br />
<br />
<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189628
LB3 and V2
2021-02-09T09:44:16Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
<br />
[[File:Screen Shot 2021-02-09 at 10.29.39.png|800px|frameless|center]]<br />
<br><br />
<br />
<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189622
LB3 and V2
2021-02-09T09:37:17Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[[File: Screen Shot 2021-02-09 at 10.29.39.png|900px|frameless|left]]<br />
<br><br />
<br />
<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189621
LB3 and V2
2021-02-09T09:35:56Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[[File: Screen Shot 2021-02-09 at 10.29.39.png|700px|frameless|left]]<br />
<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189620
LB3 and V2
2021-02-09T09:34:40Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[[File: Screen Shot 2021-02-09 at 10.29.39.png|SELECTION OF PRINTS 76X90CM]]<br />
<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=File:Screen_Shot_2021-02-09_at_10.29.39.png&diff=189619
File:Screen Shot 2021-02-09 at 10.29.39.png
2021-02-09T09:31:38Z
<p>Sonia: </p>
<hr />
<div></div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189618
LB3 and V2
2021-02-09T09:31:08Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189617
LB3 and V2
2021-02-09T09:27:02Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.<br />
<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189616
LB3 and V2
2021-02-09T09:26:17Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
Presented as a series of photographic prints (76x90cm) and short moving image sequences, the conceptual framework of ''Ambient, Aberrant'' intertwines my interests in optical phenomena, journey and the landscape. In this work I employ abstraction as a method to address the constructed nature of reality inherent in photomedia's apparatuses and processes and our culturally constructed concepts of nature and truth.<br />
<br />
Through a combination of abstract photography, camera-less production methods, and kitsch aesthetics I seek to expose the inauthenticity of the ‘nature’ we experience—particularly in Europe. The landscape in my work is a symbol of my idea of nature; yet it is a tamed, domesticated and manageable version of the real thing. There is no nature here.<br />
<br />
I use the productive practice of photomedia (expanded photography) to mediate my own touristic experience of “nature” in the same way that users of the Claude Mirror—a pre-photographic optical device used by painters and tourists in the eighteenth and nineteenth centuries—mediated their experience of the landscape. The Claude Mirror was used to frame and simplify the visual qualities of the landscape; to depict nature as “picturesque”, unthreatening and therefore one step removed from reality. <br />
<br />
Sometimes I place prisms, or other optical modifiers, in front of the lens during in-camera exposure, distorting, fragmenting and abstracting the view. I then subject some of these images to a second iteration of mediation through ‘darkroom interventions’, extending the timespace of the image beyond the moment of in-camera exposure. I seek to expose the process and the constructed nature of image-making, while simultaneously allowing for poetic expression.<br />
<br />
Given the emphasis I place on materiality and process I feel the most impactful presentation of this body of work (the prints at least) is in a physical space. If an online presentation is the only feasible option, I’d like to adapt the work in some way, as a simple document-and-show-on-the-web approach doesn’t feel appropriate. <br />
<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.<br />
<br />
<br />
<br />
===Cem Altınöz: Borderless Existence (2021)===<br />
cemaltinoz8@gmail.com, +31687644530<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
Cem Altınöz (1993, İstanbul, TR) works and plays with images and texts. In his artistic research he investigates the problematic metaphorical medical language used in the definition of autoimmune diseases; the place of ‘ownership’ in one’s relationship with the lived body, and the place of the Other in the self-definition of the individual. Deriving from his own experiences with autoimmunity, he strives to make connections between the singular and the universal; often resulting in autobiographical still and moving images that are impure and sullied, roaming in the realms of the uncanny. <br />
<br />
Altınöz has concluded his studies in Piet Zwart Institute in 2020 and is currently residing in Rotterdam.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189611
LB3 and V2
2021-02-09T08:53:04Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189610
LB3 and V2
2021-02-09T08:52:47Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
As a ''photomedia'' artist I employ media and processes defined primarily by their use of light, as opposed to the exclusive use of the camera. Working with a range of camera-based and camera-less processes, I approach the (expanded field of) photography primarily as a medium of light writing, rather than a medium of representation. Guided by my fascination with the physical properties and ethereal qualities of light I explore concepts relating to journey, place and notions of time.<br />
<br />
===Felix Obermaier: Structured Light Portraits (2021)===<br />
obermaier.felix@me.com, +4915126652373 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
A series of portraits which are photographed using structured light. Structured light is used as a vision aid for machines. Usually, it is not made visible to human spectators, but used in automated computational image making, which eventually produces images that we consume. In this work however, the structured light is exposed, and re-purposed to create abstract images of white spots against black background. – How does the information in these images differ to the human versus the non-human spectator?<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|400px|frameless|left]] <br />
[[File:Ugo Petronin 2021 3.png|400px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|400px|frameless|left]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."<br />
<br />
<br />
<br />
===Ana Brumat: Synthetic Envisions [working title] 2020 - ===<br />
<br />
'''project description'''<br />
<br />
I am working on a series of short movies, max 25min long all together. <br />
The narrative is given in a form of imaginary field reports. The protagonist an individual of an unknown specie, who tries to adapt to (devastated) hostile environments. It tries to survive by modifying the habitat itself, its own body or by creating new artificial machines. <br />
In the form of an allegory, the films describe the environment where the creatures within my artwork grow and develop, my personal relation with the material I work with and the method of materializing them through processes and techniques of experimentation. The field reports and the moving image serve as a means to observe my own process and at the same time merge with it. My work also addresses a broader context: Evolution Theory, Theories of Artificial Intelligence, General Systems Theory, System Biology, Eugenics and Nature of Consciousness.<br />
===Example of the field report n.1.2.3===<br />
The habitat n.HKA.89 is a hostile. Most of its solid structure is made of thin filaments. The magnetic field has almost vanished. The solar wind blows wildly on the surface, slowly stripping away the atmosphere. I have found entrances to tunnels, leading to a labyrinth below the surface.<br />
The life inside n.HKA.89 persists far below the ground in the cosmic silence, where ruthless creatures desperately hunt for food. Hiding in starvation, they wait inside the tunnels for ages, until a lost soul happens by. This is when all inhabitants’ greed, lust and hunger come out. They execute a ferocious assault on the victim. In the first stage, the hunters satisfy their appetite by devouring the non-vital parts. Afterwards, they modify their prey’s genes so the carcass starts a process of continuous, rapid regeneration. In this way the precious organs regrow and the life fluids are replenished. The rest of the fleshy muscle tissue starts to grow in irregular extremities and forms; the cells multiply where they can find space, creating shapeless deformations. Luckily, the hunters always remove neural systems and parts for consciousness from the victims to avoid any attempts at escape. The nutrition with the half living corpse can last for millennia, until the body’s genes become weak enough to completely stop the regeneration. As the final stage, the hunters integrate the rest of the carcass inside the terrain’s structure to fortify the complex architecture of filaments which protects them from cosmic rays. Thereafter they position themselves inside their dead-end traps and wait for the next prey.<br />
<br />
<br />
<gallery mode="packed-hover" heights=200px><br />
File:Synthetic 01.png<br />
File:Synthetic 02.png<br />
File:Synthetic 03.png<br />
File:Synthetic 04.png<br />
File:Synthetic 05.png<br />
File:Synthetic 06.png<br />
File:Synthetic 07.png<br />
File:Synthetic 08.png<br />
</gallery><br />
<br />
<br />
'''bio'''<br />
<br />
Ana Brumat graduated in Fine Arts at the Accademia di Belle Arti di Venezia [2017], where she explored the arts of printmaking, painting and multimedia. Afterwards she moved to Berlin and formed an experimental multimedia project ‘‘mraak’’. To further her studies, she moved to Rotterdam where she graduated as a Master of Arts in Fine Art and Design: Lens-Based Media at Piet Zwart Institute in Rotterdam<br />
[2020]. Following the completion of her study she has continued to reside in Rotterdam, taking part in various audio visual projects and film making all over the Netherlands and even further abroad.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189588
LB3 and V2
2021-02-08T17:09:51Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
===sonia mangiapane: Ambient/Aberrant (2019-ongoing)===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
'''project description'''<br />
<br />
'''bio'''<br />
<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|300px|frameless]] <br />
[[File:Ugo Petronin 2021 3.png|300px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|300px|frameless|center]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=LB3_and_V2&diff=189587
LB3 and V2
2021-02-08T17:07:19Z
<p>Sonia: </p>
<hr />
<div>== LB alumni 2020 and V2_ ==<br />
<br />
About the collaboration between LB alumni 2020 and V2_.<br />
*The schedule includes two days of build-up (e.g., Tues 23 - Wed 24) and roughly four days of exhibition (e.g., Thursday25 -Sunday 28) with a two-hour live-streamed program on each exhibition day for live presentation and performance.<br />
-The whole program can take place using V2_’s streaming and presentation equipment.<br />
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.<br />
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.<br />
<br />
<br />
== V2_ assistants ==<br />
<br />
Jue Yang, LB alum 2020<br />
<br />
jueyang22@gmail.com<br />
<br />
Ugo Petronin, LB alum 2020<br />
<br />
ugopetronin@hotmail.com<br />
<br />
== Details ==<br />
<br />
<br />
<br />
== Alumni proposals ==<br />
* Please add your name, email address and phone number plus a short project description, bio and no more than three images<br />
<br />
===sonia mangiapane: Ambient/Aberrant===<br />
sm@snmngpn.com, +31 687253205 <br />
<br />
[rest is coming 9 Feb]<br />
<br />
===Mia Paller: BARRICADES (photographic series, 2020-ongoing)===<br />
mia.paller@gmail.com, +31640016527<br />
<br />
'''project description'''<br />
<br />
is a series of analogue photographs and frottages of the barricades from the ‘’10-day war’’ for Slovenia (1991). These concrete pyramids were roughly dropped by the road in the village of my parents and have become overgrown with ivy and shrubs. As I was born in 1995, the barricades seem to me like monuments of the war I did not live and know little about. I understand frottaging and photographing as means of close examination with forensic quality. As if the time was a sedi¬ment compressed in one layer, flattened in a drawing or an analogue photograph. Images expose the texture and its ‘flaws’ and echo my fas¬cination for surfaces and the concepts of trace, index and abstraction.<br />
<br />
'''bio'''<br />
<br />
Mia Paller (1995, Ljubljana, SI) graduated in Lens-Based Media Design (MA) from Piet Zwart Institute (Rotterdam). Prior to that, she finished her BA studies of painting at the Academy of Fine Arts and Design, University of Ljubljana (SI). Her practice consists of painting, moving image, and photography. She participated in several exhibitions and film festivals mainly in Slovenia, but also in the Netherlands, UK, and Croatia. Mia Paller currently lives and works in Rotterdam, the Netherlands.<br />
<gallery mode="packed-hover" heights=400px><br />
File:1_2020_BARRICADES_3-DrCam_11_edit.jpg <br />
File:2_2020_BARRICADES_2-DrCam_6_edit.jpg <br />
File:3_2020_BARRICADES_3-DrCam_2_edit.jpg<br />
</gallery><br />
<br />
<br />
<br />
===Ugo Petronin: ABIDINGS (film series, 2019-2020)===<br />
ugopetronin@hotmail.com, +31640219519<br />
<br />
'''project description'''<br />
Abidings are short experimental films each made of a single 35mm color photograph produced through a shutterless camera. The films are driven by my interest in the interrelationships between techniques, gestures and metaphors and stem from my exploration of fluidity and continuity in cinematographic processes. <br />
<br />
You can preview the films with these links:<br />
Password: ABD2021<br />
<br />
https://vimeo.com/509843092<br />
<br />
https://vimeo.com/509841337<br />
<br />
https://vimeo.com/509839640<br />
<br />
https://vimeo.com/509837715<br />
<br />
<br />
For this particular event I have four short films available, none of them have been previously released. Their duration range between 5 and 6 minutes, they are in color and silent. I am flexible with the way of presentation, but I initially thought of them as installations. They are using the same technique than my first film [https://international.eyefilm.nl/abiding.html Abiding (2019)] but with an improved animation method and resolution (4k). As photographs, the films are site specifics, two have been made in the train near Utrecht, one focussing on the urban landscape and the other on the setting of the sun. The two others were made walking through Het Park, one tends to focus on vegetation and the other on the waters and their reflections. I am only showing work that has been produced in relation to my studies at the Piet Zwart Institute (2018-2020). During that period I developed a strong interest in the interrelationships between techniques, gestures and metaphors which I explored through the development of a particular photo-filmic method. Intrigued by the poetic and aesthetic impact of light leaks on films I began to question the capacity of light spills to bridge frames and to bond images. The interstitial space between frames became the centre of my attention and I wondered what would happen if this separation was abolished. <br />
<br />
[[File:Ugo Petronin 2021.png|300px|frameless]] <br />
[[File:Ugo Petronin 2021 3.png|300px|frameless|right]]<br />
[[File:Ugo Petronin 2021-2.png|300px|frameless|center]]<br />
<br />
Between 2018 and 2020, I focussed my artistic practice on answering this question through the deconstruction of the fragmentary regime of image production. My inquiry was informed by ideas such as the open-machine (Gilbert Simondon, 1958), the poetics of water (Gaston Bachelard, 1942), dialogical photography (Vilém Flusser, 1983, 1985) and the gestural dynamic between material and conceptual in the art practices of Aïm Deüelle Lüski (1993, 2010) and Chris McCaw (2006, 2014). Departing from the assumption that a dominant form of photography was established on a solid and discontinuous logic, my aim was to examine the possible implementation of a logic based on fluidity and continuity. This was approached by highlighting and modifying the elements which enact the fragmentation in the camera mechanism. As a result, the interstitial space between frames was erased by dismantling the shutter and the intermittent mechanism of the camera. The flowing of light in the camera afforded by the removal of the shutter, dissolved the space between frames which resulted in the grouping of images on the film surface. The flowing of light and the movement of the film contributed in the creation of a type of syntax based on the continual linking up of frames. <br />
<br />
Enacted through a circular gesture, exposure became dynamic and relational, participating in the conceptual shift from a logic of fragmentation to a logic of assimilation. On a technical level, this assimilation of frames is pertinent to describe the illusion of continuity produced by the strip-photography technique. On a metaphorical level, assimilation sends us back into imaginaries ruled by the dynamics of waters and fluids. Sometimes I think of my films as gestures of opening to embrace the living character of confusion.<br />
<br />
<br />
'''bio'''<br />
<br />
Ugo Petronin (1985, Aix-en Provence, FR), is an artist and filmmaker based in Rotterdam. Most of his works are driven by his fascination with waters and fluidity and his obsessive curiosity for their potential to question our material, epistemic and ontological presuppositions. Recurrent in his practice are the disruption and construction of interrelationships between techniques, gestures and metaphors. Until now the works were predominantly photographic and cinematographic but his ongoing river-specific research approaches fluidity from an acoustic perspective. He holds a Master in lens-based media design form the Piet Zwart Institute and a Bachelor in sociology and cinema from Aix-Marseille University. His last film Abiding (2019) has been selected and awarded in international film festivals and is being distributed by the Eye Film Museum and Doc Alliance Films.<br />
<br />
===Jue Yang: there is no death in gravity (2020)===<br />
<br />
<br />
''there is no death in gravity (HD video with stereo sound, 7m37s)''<br />
<br />
''What is the sound of a heartbreak? When does an apple die?''<br />
<br />
''I listen to a mundane cosmo through the footsteps of my neighbor. ''<br />
<br />
Made in 2020 — a year of limitation and, oddly, new openings — I used footage from my personal archive (shot in 2019) with sounds from on the internet. Recorded and edited in a living room, this was my way of speaking to the stars.<br />
<br />
Animation credit: "Two Black Holes Merge Into one" by Simulating eXtreme Spacetimes (CC BY-NC 2.5 license), used here with slicing and changed speed.<br />
<br />
{{vimeo|493692080}}<br />
<br />
'''bio'''<br />
<br />
Jue Yang is a writer and filmmaker based in Rotterdam, NL. From Jue: "my current writings, often auto-ethnographic, concern institutional oppression, generational trauma, grief and the act of archiving. My practice involves annotation and the gathering of fragments. I have an envelope full of post-it notes that once marked different pages of different books — that is how I converse with their authors. My images come from looking and listening with full intent. Through the making of images I find moments of rest and belonging. Others have described them as "silent" and "transcendent" — descriptions that I embrace."</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/www&diff=186950
Sonia/www
2020-12-15T17:05:05Z
<p>Sonia: </p>
<hr />
<div>* https://sites.evergreen.edu/expphoto/<br />
* [http://web2.uwindsor.ca/hrg/amckay/Claudemirror.com/Claudemirror.com/Claude_Mirror_Introduction.html The Claude Mirror - This might be the thing I need. ]<br />
* http://theophantasmagoria.blogspot.com/2011/04/looking-dimly-through-dark-glass.html<br />
* https://www.europeana.eu/en<br />
<br />
[[Sample librariesLink|Library Links]]<br /><br />
<br />
*https://www.pdfdrive.com/<br />
* <nowiki>#icanhazpdf</nowiki> [https://twitter.com/hashtag/icanhazpdf?src=hash https://twitter.com/hashtag/icanhazpdf?src=hash]<br />
* aaaaarg [http://aaaaarg.fail/ http://aaaaarg.fail]<br />
* Bibliotheca [http://bibliotecha.info/ http://bibliotecha.info/]<br />
* Clockwise libraries [https://clockwise3rldkgu.onion.to/ https://clockwise3rldkgu.onion]<br />
* Library Genesis [http://gen.lib.rus.ec http://gen.lib.rus.ec]<br />
* Memory of the world [http://library.memoryoftheworld.org/ http://library.memoryoftheworld.org]<br />
* Monoskop [http://monoskop.org/ http://monoskop.org]<br />
* On Our Backs [http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&cl=CL1&sp=BEBJBJCA&ai=1&e=-------en-20--1--txt-txIN---------------1 http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&cl=CL1&sp=BEBJBJCA&ai=1&e=-------en-20--1--txt-txIN---------------1]<br />
* Project Gutenberg [http://gutenberg.org/ http://gutenberg.org]<br />
* Radical Militant Library (Jotunbane’s Reading Club) [https://c3jemx2ube5v5zpg.onion.to/ https://c3jemx2ube5v5zpg.onion]<br />
* Sci-hub [http://sci-hub.tw/ http://sci-hub.tw/]<br />
* Textz.com [http://www.textz.com/ http://www.textz.com]<br />
* [https://bibliotik.me/ https://bibliotik.me]<br />
* volafile.io<br />
* <nowiki>#bookz on IRCHighway/undernet</nowiki><br />
* The Piratebay @ Worm [http://thepiratebay.worm.org/ http://thepiratebay.worm.org]<br />
* UBU-web [http://ubu.com/ http://ubu.com]<br />
* National Library of the Netherlands [https://www.kb.nl/en https://www.kb.nl/en]<br />
* JSTOR [https://www.jstor.org/ https://www.jstor.org/]<br />
* Google Scholar [https://scholar.google.nl/ https://scholar.google.nl/]<br />
* Research Gate [https://www.researchgate.net/login https://www.researchgate.net/login]<br />
*Independent Voices [https://voices.revealdigital.com/cgi-bin/independentvoices?a=p&p=home&e=-------en-20--1--txt-txIN---------------1 https://voices.revealdigital.com] (Very interesting archive of alternative publications)<br />
* [http://www.constantvzw.org/verlag/spip.php?page=list&mot_filtre=9&lang_id=0&go=select Constant Verlag]<br />
* [http://thepiratebay.worm.org/ Worm Pirate Bay Media Archive]<br />
*[http://www.openhumanitiespress.org/ Open Humanities Press]<br />
<br />
Pedestrianism<br /><br />
*[https://www.a-n.co.uk/news/walking-art-and-women-its-infuriating-to-be-invisible/ Women & Walking]<br />
* [http://www.walkingartistsnetwork.org/publications/ Walking Artists Network - publications]<br />
<br />
Resources<br /><br />
* [https://www.thingiverse.com/ Thingiverse - 3D-printable open source objects]<br />
* [http://www.digitalbookindex.org/subject_search/search010artphotographya/2 Digital Book Index (resource)]<br />
* [http://photomediationsopenbook.net/ Photo Mediations Open Book]<br />
* [https://arts.princeton.edu/courses/the-photographic-apparatus/ The Photographic Apparatus course - Fia Backström @ Princeton]<br />
* [http://www.philiplaven.com/links2.html Scientific publications on "Light & Color in Nature"]<br />
* [http://flong.com/texts/lists/slit_scan/ An Informal Catalogue of Slit-Scan Video Artworks and Research]<br />
* [https://www.gyst-ink.com/artist-statement-guidelines GYSK - Artist statement guidelines]<br />
* [http://www.zotero.org Zotero - open source bibliography/citation maker]<br />
* [https://www.fidakbv.nl/ SHOP: Kodak Endura rolls ]<br />
<br />
Other library links<br/><br />
*PZI Bootleg library<br />
* https://epdf.pub/<br />
* https://raddle.me/f/books/6033/list-of-free-online-libraries<br />
* https://www.librarything.com/<br />
<br />
Bibliography Resources<br/><br />
*RefWorks<br />
*Zotero<br />
*Mendeley<br />
<br />
Style guides <br><br />
* [https://www.ox.ac.uk/sites/files/oxford/media_wysiwyg/University%20of%20Oxford%20Style%20Guide.pdf/ Uni. Oxford Style Guide]<br />
<br />
Jounals / Publications<br /><br />
* [https://www.inthein-between.com/ In the In-Between: Journal of New and New Media Photography]<br /><br />
<br />
<br />
Historical<br /><br />
* [http://camera-wiki.org/wiki/Main_Page Camera Wiki]<br />
* [http://dc.g-vo.org/lswscans/res/positions/wpshow/form Bruce Telescope Images (Heidelberg, DE)]<br />
<br />
Optics/Science<br /><br />
* [http://www.atoptics.co.uk/ Atmospheric Optics]<br />
* [https://phys.org/news/2008-09-liquid-camera-lens-simple-vibration.html Liquid Lens (Controlling light with sound)]<br />
* [https://boxy-svg.com/ Illustrator open source alternative BoxySVG]<br />
* [https://fstop138.berrange.com/2016/09/building-a-uv-led-light-box-for-cyanotype-and-lumen-printing/ DIY UV LED Light box]<br />
* [https://arachnoid.com/OpticalRayTracer/ Optical Ray Tracer - Design a Lens]<br />
* https://formlabs.com/blog/creating-camera-lenses-with-stereolithography/<br />
* [https://www.instructables.com/id/Making-Custom-Lenses/ Making-Custom-Lenses]<br />
* [https://www.spacetelescope.org/projects/fits_liberator/improc/ A short introduction to astronomical image processing]<br />
* [https://www.optotune.com/products/focus-tunable-lenses/manual-lens-ml-20-37?task=view&id=55 Focus Tunable Liquid Lens C Mount]<br />
* [http://www.phablabs.eu/photonics-workshops Phab Labs 4.0 Photonics Workshops]<br />
<br />
Minerals<br /><br />
* https://deutsches-mineralienmuseum.de/<br />
* Naturalis<br />
<br />
Photo Technical<br /><br />
* [https://www.lomography.nl/magazine/258606-printing-ra4-colour-photos-in-a-darkroom Printing RA4 - Lomography]<br />
* [http://www.reframingphotography.com/content/color-corrections-darkroom Color Corrections Darkroom]<br />
* [https://www.youtube.com/watch?v=58g_VpDh40I&fbclid=IwAR1FZsKOfEAxPabvKfXafqG1rovQdtgCNtnY-e8Rb1orNK2AmkMCOZ7Rww4 C41 Home development]<br />
* [https://www.alternativephotography.com/papers-for-traditional-classic-cyanotype-process-1613-research-for-free/ Papers for Cyanotypes]<br />
* [https://www.youtube.com/channel/UCUcaft-3hNIuB1L1IgARPoQ The Naked Photographer - RA4 Contrast - YouTube]<br />
<br />
Electronics/Arduino<br /><br />
* [http://fritzing.org/home/ Fritzing.org - Electronics Made Easy]<br />
* [https://amnonp5.wordpress.com/2011/01/16/eternalism-the-art-of-slitscanning/ Slit-scanning w/ Processing]<br />
* [https://math.hws.edu/vaughn/cpsc/226/docs/askmanual.pdf Arduino Starter Kit Manual PDF]<br />
<br />
Exhibitions/Performances/etc/<br /><br />
* [http://in-c-ode.com/ IN CODE (Performance)]<br />
* [http://todaysart.org/project/exhibition-ncca/ To See The Sound Exhibition - Moscow]<br />
* [http://www.lighthouse.org.uk/programme/invisible-fields Invisible Fields Exhibition 2012]<br />
<br />
<br />
Misc<br /><br />
* [https://www.format.com/magazine/resources/photography/photography-art-residency-programs Photography related residencies]<br />
* [http://www.radicalsoftware.org/e/index.html Radical Software]<br />
* [https://www.beekwilder.com/ Beekwilder - Display systems (near Amsterdam CS)]<br />
* https://emulsive.org/<br />
* https://www.easy-grow.co.uk/product-category/reflective-sheeting/<br />
<br />
Digital printing houses (for photo book) <br><br />
* [https://www.jubels.nl/en/ Jubels, Amsterdam] <br><br />
* [http://www.silsdrukwerk.nl/ Sils Drukwerk, Amsterdam] <br><br />
* [http://www.tripiti.nl/ Drukerij Tripiti, Rotterdam] <br><br />
* [https://www.drukgoedamsterdam.nl/ Drukgoed Amsterdam]<br />
* https://raddraaier.nl/en/<br />
* http://www.agia-lith.nl/ Bindery<br />
<br />
<br />
Hanging solution <br><br />
* https://www.kjmagnetics.com/blog.asp?p=hanging-art-on-a-wall<br />
<br />
Colour darkrooms in Europe<br /><br />
* Aap Lab - Amsterdam, NL<br />
* Stefanie Schneider's studio - Berlin, DE http://instantdreams.net/contact<br />
* Kalamari Klub - Heidelberg, DE<br />
* John Bjarni - Copenhagen, https://www.jonbjarni.com/blog-1?fbclid=IwAR36Bfbw6e3f0MpFu_p9T4A5sqegzyj524Gv8AI_t0lg5VW8P9xg7DVNHOo<br />
* University of Applied Arts Vienna - http://colabs.akbild.ac.at/de/2011/10/05/infrastruktur-laborfoto/<br />
<br />
Autotheory <br><br />
* https://sites.lsa.umich.edu/mqr/2019/07/autotheory-as-rebellion-on-research-embodiment-and-imagination-in-creative-nonfiction/<br />
<br />
Theory <br><br />
*http://davidbate.net/ <br><br />
*David Campany<br><br />
*https://www.philosophyofphotography.net/<br />
*Charlotte Cotton<br />
*Joanna Zylinska<br />
<br />
Articles <br><br />
* [https://decordova.org/art/exhibition/second-nature-abstract-photography-then-and-now Second Nature: Abstract Photography, Then and Now] <br><br />
* [https://frieze.com/article/non-places Non-Places - Kunstverein, Frankfurt am Main, Germany]<br />
* [https://www.meero.com/en/photography/inspire/443/Yoshinori-Mizutani-Technology-Painting-And-Sensibility Yoshinori Mizutani: Technology, Painting And Sensibility]<br />
* [https://motherboard.vice.com/en_us/article/bmmadd/everything-sounds-beautiful-slower Everything Sounds Beautiful Slower]<br />
* [https://thephotographersgallery.org.uk/whats-on/talks-and-events/imaging-time-understanding-photography-time-based-media Imaging Time: Understanding Photography as Time-Based Media]<br />
* https://elephant.art/post-photography-unknown-image/<br />
* https://daily.jstor.org/the-art-of-walking/<br />
* https://www.ukessays.com/essays/sociology/tourism-as-a-liminal-state-sociology-essay.php<br />
* [http://hafny.org/blog/2017/4/reading-rebecca-solnit?fbclid=IwAR3hGqPibMwoN-9vWk0lVa58Ria1k6MqGAuFE7pVskA7t8dhZkjJ2lCueXU Artists & Curators on being inspired by Rebecca Solnit's writings]<br />
* [https://www.independent.co.uk/arts-entertainment/art/features/camera-less-photography-arresting-developments-2097557.html Cameraless photograph V&A]<br />
* [https://sites.lsa.umich.edu/mqr/2019/07/autotheory-as-rebellion-on-research-embodiment-and-imagination-in-creative-nonfiction/ Autotheory article]<br />
* [https://www.pressreader.com/uk/the-scotsman/20191019/282784948245784 Garry Fabian Miller article]<br />
* [http://www.othercinema.com/otherzine/archives/otherzine6/pmovingobjects.html The Projected Image in the Gallery Space]<br />
* [http://www.membrana.si/en/cfp-membrana-magic-2020/?fbclid=IwAR3g4cVKX6wVeYZ301GFt1sTZdYVb0H6o_i-LhxyoQtWlpJkWdMAYSf7BH4 Magic in Photography - Open Calls & Info]<br />
<br><br />
<br />
Suppliers <br><br />
* [https://www.hekserij.nl/?s=cyanotypie&post_type=product Hekserij - Cyanotype chemicals, etc. ]<br />
* [http://www.tdreefhuys.com/ Cyanotype & Solarfast supplier]<br />
* http://alternativephotographicsupplies.com/category/zestawy<br />
<br />
Kodak Endura Paper: Stockists or Labs <br><br />
* https://grieger.com/kontakt/ (Dusseldorf)<br />
* https://hsl-fachlabor.de/ (Dusseldorf)<br />
* Aap Lab<br />
* Calumet Germany<br />
* Tetenal UK<br />
* Tetenal France (Lucia Pinto)<br />
* https://www.whitewall.com/nl (Germany) Elizabeth contact.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/08-12-2020_-Event_2&diff=186910
Calendars:Networked Media Calendar/Networked Media Calendar/08-12-2020 -Event 2
2020-12-07T17:00:36Z
<p>Sonia: </p>
<hr />
<div>LB: ONLINE Barend's tutorials, he'll post a ZOOM meeting as the date comes closer<br />
<br />
Reserve for a slot: <br />
1. Thy <br />
2. Sonia (pls SMS tutorial time 0687253205)</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/08-12-2020_-Event_2&diff=186907
Calendars:Networked Media Calendar/Networked Media Calendar/08-12-2020 -Event 2
2020-12-07T16:08:54Z
<p>Sonia: </p>
<hr />
<div>LB: ONLINE Barend's tutorials, he'll post a ZOOM meeting as the date comes closer<br />
<br />
Reserve for a slot: <br />
1. Thy <br />
2. Sonia</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/08-12-2020_-Event_2&diff=186906
Calendars:Networked Media Calendar/Networked Media Calendar/08-12-2020 -Event 2
2020-12-07T16:08:17Z
<p>Sonia: </p>
<hr />
<div>LB: ONLINE Barend's tutorials, he'll post a ZOOM meeting as the date comes closer<br />
<br />
Reserve for a slot: <br />
Thy<br />
Sonia</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/23-11-2020_-Event_4&diff=184434
Calendars:Networked Media Calendar/Networked Media Calendar/23-11-2020 -Event 4
2020-11-19T22:30:31Z
<p>Sonia: </p>
<hr />
<div>LB2 & 3: ONSITE/ONLINE: Ine's tutorials 11:00 - 18:30, 45 min each - <br />
morning reserved for LB3 <br />
<br />
Materials can be sent till Sunday afternoon 1 pm.<br />
<br />
@LB3 If the morning doesn't work for you, take an afternoon slot and open up one in the morning for LB2.<br />
If the morning slots are not filled by Sunday LB2 will start placing their names.<br />
<br />
* Add behind your name either ONSITE or ONLINE<br />
<br />
*LB3<br />
*11.00 - 11.45 Jelle (ONLINE)<br />
*11.45 - 12.30 Jue. Online<br />
————————>15 min break<br />
*12.45 - 13.30 Sonia (on-site)<br />
*13.30 - 14.15<br />
————————>30 min break<br />
*LB2 should the list not fill by Sunday and you'd like a slot, please add your names above and if that's full here below<br />
*LB2 <br />
*14.45 - 15.15<br />
*15.15 - 16.00 Kamali (on site)<br />
————————>15 min break<br />
*16.15 - 17.00<br />
*17.00 - 17.45<br />
*17.45 - 18.30 Marieke - Online</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/materials&diff=175919
Sonia/materials
2020-07-27T19:20:17Z
<p>Sonia: </p>
<hr />
<div>*glassine/pergamijnpapier (vlieger sells 70x100cm sheets @ 70 cents each, or Igepa (Tiel), Antalis, (Almere 0365394444), Papyrus (Nijmegen) )<br />
*Tussenvellen - https://www.gerstaecker.nl/GERSTAECKER-tussenvellen-zijdepapier-19g.html?fbclid=IwAR3WYiuwUs61wkYgesANoc5DBom10Vnuig4YW_GjTFny4u_fGlsKaZbL0oE ‰<br />
*Tussenvellen for rich people - https://www.jwb.nl/nl/producten/papier-zuurvrij/zijdevloeipapier?fbclid=IwAR3Nh2fyWDqjmH1OHTOx2kLHgimik7wkaZ1ImI2dEjifStSxCe8jiVgXIMk<br />
*motor and speed controller to make rotating base<br />
*gels for tricolor exposure (according to Kodak Endura manual)<br />
*artist website<br />
*film guard bag (x-ray)<br />
*photo paper ‰<br />
*film<br />
*paper safe<br />
*canned air<br />
* http://www.godox.com/EN/Products_Continuous_Focusing_LED_Light_S30.html<br />
* https://optcorp.com/products/ioptron-skytracker-pro?rfsn=3263575.8c059d&utm_source=refersion&utm_medium=affiliate&utm_campaign=3263575.8c059d</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/materials&diff=175918
Sonia/materials
2020-07-27T15:32:22Z
<p>Sonia: </p>
<hr />
<div>*glassine/pergamijnpapier (vlieger sells 70x100cm sheets @ 70 cents each, or Igepa (Tiel), Antalis, (Almere 0365394444), Papyrus (Nijmegen) )<br />
*Tussenvellen - https://www.gerstaecker.nl/GERSTAECKER-tussenvellen-zijdepapier-19g.html?fbclid=IwAR3WYiuwUs61wkYgesANoc5DBom10Vnuig4YW_GjTFny4u_fGlsKaZbL0oE ‰<br />
*Tussenvellen for rich people - https://www.jwb.nl/nl/producten/papier-zuurvrij/zijdevloeipapier?fbclid=IwAR3Nh2fyWDqjmH1OHTOx2kLHgimik7wkaZ1ImI2dEjifStSxCe8jiVgXIMk<br />
*motor and speed controller to make rotating base<br />
*gels for tricolor exposure (according to Kodak Endura manual)<br />
*artist website<br />
*film guard bag (x-ray)<br />
*photo paper ‰<br />
*film<br />
*paper safe<br />
*canned air<br />
* http://www.godox.com/EN/Products_Continuous_Focusing_LED_Light_S30.html</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/16-07-2020_-Event_2&diff=175529
Calendars:Networked Media Calendar/Networked Media Calendar/16-07-2020 -Event 2
2020-07-01T16:30:18Z
<p>Sonia: </p>
<hr />
<div>LB diploma choices, please fill in how you would like to receive your diploma<br />
<br />
*Option 1: sign your diploma at the WdKA on either the 16 - 17 of July, a reservation system will be built for those 2-days only. <br />
<br />
*1. Jue<br />
*2. Mia<br />
*3. Marieke<br />
*4. Andreas<br />
*5. Sonia (only available on 16th)<br />
*6. Ana<br />
<br />
*Option 2: have your diploma's sent to you via the post - this process most likely to start in August. since the building is closed in the summer. [in this process you are sent a copy of the diploma for you to sign, you then need to send it back to the WDKA and they will make the official diploma, transcript, and supplement and send it back to you.]<br />
<br />
*1.<br />
*2.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/07-07-2020_-Event_1&diff=175528
Calendars:Networked Media Calendar/Networked Media Calendar/07-07-2020 -Event 1
2020-07-01T15:55:39Z
<p>Sonia: </p>
<hr />
<div>LB2: 14:00 - 16:00 online "graduation celebration” 2020<br />
Time: Jul 7, 2020 02:00 PM Amsterdam<br />
Where: Join Zoom Meeting: https://us02web.zoom.us/j/85671055621<br />
*Meeting ID: 856 7105 5621<br />
<br />
*14:00 - 14:05 introduction - Simon Pummell<br />
*14:05 - 14:13 Andreas<br />
*14:13 - 14:21 Jue<br />
*14:21 - 14:29 Susanna<br />
*14:29 - 14:37 Cem<br />
*14:37 - 14:45 Mia<br />
*14:45 - 14:53 Ugo<br />
*14:53 - 14:61 Marieke<br />
*14:61 - 15:00 Sonia<br />
*15:00 - 15:08 Felix <br />
*15:08 - 15:16 Ana<br />
<br />
*We normally invite students up to the stage one by one - but this year we will ask everyone to switch off cameras except the graduating student and the tutor speaking about them. And we can still applaud in our online world!</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/07-07-2020_-Event_1&diff=175462
Calendars:Networked Media Calendar/Networked Media Calendar/07-07-2020 -Event 1
2020-07-01T12:48:51Z
<p>Sonia: </p>
<hr />
<div>LB2: 14:00 - 16:00 online "graduation celebration” 2020<br />
Time: Jul 7, 2020 02:00 PM Amsterdam<br />
Where: Join Zoom Meeting: https://us02web.zoom.us/j/85671055621<br />
*Meeting ID: 856 7105 5621<br />
<br />
*14:00 - 14:05 introduction - Simon Pummell<br />
*14:05 - 14:13 Andreas<br />
*14:13 - 14:21 Jue<br />
*14:21 - 14:29 Susanna<br />
*14:29 - 14:37 Cem<br />
*14:37 - 14:45 Mia<br />
*14:45 - 14:53 Ugo<br />
*14:53 - 14:61 Marieke<br />
*14:61 - 15:00 Sonia (14:61?)<br />
*15:00 - 15:08 Felix <br />
*15:08 - 15:16 Ana<br />
<br />
*We normally invite students up to the stage one by one - but this year we will ask everyone to switch off cameras except the graduating student and the tutor speaking about them. And we can still applaud in our online world!</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/16-07-2020_-Event_2&diff=175459
Calendars:Networked Media Calendar/Networked Media Calendar/16-07-2020 -Event 2
2020-07-01T10:41:11Z
<p>Sonia: </p>
<hr />
<div>LB diploma choices, please fill in how you would like to receive your diploma<br />
<br />
*Option 1: sign your diploma at the WdKA on either the 16 - 17 of July, a reservation system will be built for those 2-days only. <br />
<br />
*1. Jue<br />
*2. Mia<br />
*3. Marieke<br />
*4. Andreas<br />
*5. Sonia<br />
<br />
*Option 2: have your diploma's sent to you via the post - this process most likely to start in August. since the building is closed in the summer. [in this process you are sent a copy of the diploma for you to sign, you then need to send it back to the WDKA and they will make the official diploma, transcript, and supplement and send it back to you.]<br />
<br />
*1.<br />
*2.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/hardcopy&diff=175433
Sonia/hardcopy
2020-06-28T17:20:18Z
<p>Sonia: </p>
<hr />
<div>'''JOURNEY / PLACE''' <br><br />
*A Field Guide to Getting Lost - Rebecca Solnit ✓<br />
*Wanderlust - A History of Walking - Rebecca Solnit ✓<br />
*PrairyErth (A Deep Map) - William Least Heat Moon<br />
*[https://www.iainbiggs.co.uk/text-deep-mapping-as-an-essaying-of-place/ Deep Mapping as an Essaying of Place - Ian Biggs]<br />
*Non-places: An Introduction to Supermodernity - Marc Augé ✓<br />
*Artworks: Place - Tacita Dean & Jeremy Millar ✓<br />
<br />
'''TIME''' <BR><br />
*The Acceleration of Just About Everything - James Gleick<br />
* Slowness - Milan Kundera ✓<br />
* Enduring Time - Lisa Baraitser<br />
* Moments in Time: On Narration and Slowness - Irene Netta 1999<br />
<br />
'''PHOTOGRAPHY THEORY''' <br><br />
* Art Photography Now - Susan Bright<br />
* Camera Lucida - Roland Barthes<br />
* Art and Photography - David Campany ✓<br />
* Photography: A Critical Introduction - Edited by Liz Wells ✓<br />
* The Cinematic - Edited by David Campany (Whitechapel series) ✓<br />
* Pandora's Camera - Essays by Joan Fontcuberta (Ine recommendation)<br />
*[http://rebekahmodrak.com/project/reframing-photography/ Reframing Photography: Theory and Practice - Rebecca Modrak]<br />
*[https://aperture.org/shop/the-edge-of-vision-lyle-rexer-books-3239/ The Edge of Vision: The Rise of Abstraction in Photography - Lyle Rexer]<br />
*Post-Photography: The Artist with a Camera - Robert Shore (Javi's copy) ✓<br />
*Light and Photomedia: A New History and Future of the Photographic Image - Jai McKenzie ✓<br />
*A Voyage on the North Sea: Art in the age of the Post Medium Condition - R. Krauss (Steve's recommendation) ✓<br />
*Understanding a Photograph - John Berger ✓<br />
*The Photograph as Contemporary Art - Charlotte Cotton ✓<br />
*[https://www.nonhuman.photography/ Non-human Photography - Joanna Zylinska] ✓<br />
*Photography is Magic - Charlotte Cotton ✓<br />
<br />
'''MISC.''' <br><br />
*The Work of Art in the Age of Mechanical Reproduction - Walter Benjamin ✓<br />
*[http://www.markfoster.net/struc/autoethnography.pdf/ Autoethnography as Method - Heewon Chang]<br />
*The Interaction of Color - Josef Albers ✓<br />
*The Sublime - Simon Morley ✓<br />
* The History of Beauty - Umberto Eco (chapter on The Sublime) - recommended by Mia<br />
* Theory of Colours - Johann Wolfgang von Goethe (Simon's recommendation) 1810 ✓<br />
* Wittgenstein - Phenomenology & Remarks on Colour (Biyi's recommendation xpub)<br />
* Merleau-Ponty phenomenology of perception (Biyi's recommendation ??)<br />
<br />
'''Suggested reading by Steve:''' <br><br />
*Production of Space - Henri Lefebvre<br />
*Robert Smithson<br />
*Songlines<br />
*Situationist International<br />
*The Situationist City</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/materials&diff=175338
Sonia/materials
2020-06-24T11:54:40Z
<p>Sonia: </p>
<hr />
<div>*glassine/pergamijnpapier (vlieger sells 70x100cm sheets @ 70 cents each, or Igepa (Tiel), Antalis, (Almere 0365394444), Papyrus (Nijmegen) )<br />
*Tussenvellen - https://www.gerstaecker.nl/GERSTAECKER-tussenvellen-zijdepapier-19g.html?fbclid=IwAR3WYiuwUs61wkYgesANoc5DBom10Vnuig4YW_GjTFny4u_fGlsKaZbL0oE ‰<br />
*Tussenvellen for rich people - https://www.jwb.nl/nl/producten/papier-zuurvrij/zijdevloeipapier?fbclid=IwAR3Nh2fyWDqjmH1OHTOx2kLHgimik7wkaZ1ImI2dEjifStSxCe8jiVgXIMk<br />
*motor and speed controller to make rotating base<br />
*gels for tricolor exposure (according to Kodak Endura manual)<br />
*artist website<br />
*film guard bag (x-ray)<br />
*photo paper ‰<br />
*film<br />
*paper safe<br />
*canned air</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/www&diff=175335
Sonia/www
2020-06-23T14:21:37Z
<p>Sonia: </p>
<hr />
<div>* https://sites.evergreen.edu/expphoto/<br />
* [http://web2.uwindsor.ca/hrg/amckay/Claudemirror.com/Claudemirror.com/Claude_Mirror_Introduction.html The Claude Mirror - This might be the thing I need. ]<br />
* http://theophantasmagoria.blogspot.com/2011/04/looking-dimly-through-dark-glass.html<br />
* https://www.europeana.eu/en<br />
<br />
[[Sample librariesLink|Library Links]]<br /><br />
<br />
* <nowiki>#icanhazpdf</nowiki> [https://twitter.com/hashtag/icanhazpdf?src=hash https://twitter.com/hashtag/icanhazpdf?src=hash]<br />
* aaaaarg [http://aaaaarg.fail/ http://aaaaarg.fail]<br />
* Bibliotheca [http://bibliotecha.info/ http://bibliotecha.info/]<br />
* Clockwise libraries [https://clockwise3rldkgu.onion.to/ https://clockwise3rldkgu.onion]<br />
* Library Genesis [http://gen.lib.rus.ec http://gen.lib.rus.ec]<br />
* Memory of the world [http://library.memoryoftheworld.org/ http://library.memoryoftheworld.org]<br />
* Monoskop [http://monoskop.org/ http://monoskop.org]<br />
* On Our Backs [http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&cl=CL1&sp=BEBJBJCA&ai=1&e=-------en-20--1--txt-txIN---------------1 http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&cl=CL1&sp=BEBJBJCA&ai=1&e=-------en-20--1--txt-txIN---------------1]<br />
* Project Gutenberg [http://gutenberg.org/ http://gutenberg.org]<br />
* Radical Militant Library (Jotunbane’s Reading Club) [https://c3jemx2ube5v5zpg.onion.to/ https://c3jemx2ube5v5zpg.onion]<br />
* Sci-hub [http://sci-hub.tw/ http://sci-hub.tw/]<br />
* Textz.com [http://www.textz.com/ http://www.textz.com]<br />
* [https://bibliotik.me/ https://bibliotik.me]<br />
* volafile.io<br />
* <nowiki>#bookz on IRCHighway/undernet</nowiki><br />
* The Piratebay @ Worm [http://thepiratebay.worm.org/ http://thepiratebay.worm.org]<br />
* UBU-web [http://ubu.com/ http://ubu.com]<br />
* National Library of the Netherlands [https://www.kb.nl/en https://www.kb.nl/en]<br />
* JSTOR [https://www.jstor.org/ https://www.jstor.org/]<br />
* Google Scholar [https://scholar.google.nl/ https://scholar.google.nl/]<br />
* Research Gate [https://www.researchgate.net/login https://www.researchgate.net/login]<br />
*Independent Voices [https://voices.revealdigital.com/cgi-bin/independentvoices?a=p&p=home&e=-------en-20--1--txt-txIN---------------1 https://voices.revealdigital.com] (Very interesting archive of alternative publications)<br />
* [http://www.constantvzw.org/verlag/spip.php?page=list&mot_filtre=9&lang_id=0&go=select Constant Verlag]<br />
* [http://thepiratebay.worm.org/ Worm Pirate Bay Media Archive]<br />
*[http://www.openhumanitiespress.org/ Open Humanities Press]<br />
<br />
Pedestrianism<br /><br />
*[https://www.a-n.co.uk/news/walking-art-and-women-its-infuriating-to-be-invisible/ Women & Walking]<br />
* [http://www.walkingartistsnetwork.org/publications/ Walking Artists Network - publications]<br />
<br />
Resources<br /><br />
* [https://www.thingiverse.com/ Thingiverse - 3D-printable open source objects]<br />
* [http://www.digitalbookindex.org/subject_search/search010artphotographya/2 Digital Book Index (resource)]<br />
* [http://photomediationsopenbook.net/ Photo Mediations Open Book]<br />
* [https://arts.princeton.edu/courses/the-photographic-apparatus/ The Photographic Apparatus course - Fia Backström @ Princeton]<br />
* [http://www.philiplaven.com/links2.html Scientific publications on "Light & Color in Nature"]<br />
* [http://flong.com/texts/lists/slit_scan/ An Informal Catalogue of Slit-Scan Video Artworks and Research]<br />
* [https://www.gyst-ink.com/artist-statement-guidelines GYSK - Artist statement guidelines]<br />
* [http://www.zotero.org Zotero - open source bibliography/citation maker]<br />
* [https://www.fidakbv.nl/ SHOP: Kodak Endura rolls ]<br />
<br />
Other library links<br/><br />
*PZI Bootleg library<br />
* https://epdf.pub/<br />
* https://raddle.me/f/books/6033/list-of-free-online-libraries<br />
* https://www.librarything.com/<br />
<br />
Bibliography Resources<br/><br />
*RefWorks<br />
*Zotero<br />
*Mendeley<br />
<br />
Style guides <br><br />
* [https://www.ox.ac.uk/sites/files/oxford/media_wysiwyg/University%20of%20Oxford%20Style%20Guide.pdf/ Uni. Oxford Style Guide]<br />
<br />
Jounals / Publications<br /><br />
* [https://www.inthein-between.com/ In the In-Between: Journal of New and New Media Photography]<br /><br />
<br />
<br />
Historical<br /><br />
* [http://camera-wiki.org/wiki/Main_Page Camera Wiki]<br />
* [http://dc.g-vo.org/lswscans/res/positions/wpshow/form Bruce Telescope Images (Heidelberg, DE)]<br />
<br />
Optics/Science<br /><br />
* [http://www.atoptics.co.uk/ Atmospheric Optics]<br />
* [https://phys.org/news/2008-09-liquid-camera-lens-simple-vibration.html Liquid Lens (Controlling light with sound)]<br />
* [https://boxy-svg.com/ Illustrator open source alternative BoxySVG]<br />
* [https://fstop138.berrange.com/2016/09/building-a-uv-led-light-box-for-cyanotype-and-lumen-printing/ DIY UV LED Light box]<br />
* [https://arachnoid.com/OpticalRayTracer/ Optical Ray Tracer - Design a Lens]<br />
* https://formlabs.com/blog/creating-camera-lenses-with-stereolithography/<br />
* [https://www.instructables.com/id/Making-Custom-Lenses/ Making-Custom-Lenses]<br />
* [https://www.spacetelescope.org/projects/fits_liberator/improc/ A short introduction to astronomical image processing]<br />
* [https://www.optotune.com/products/focus-tunable-lenses/manual-lens-ml-20-37?task=view&id=55 Focus Tunable Liquid Lens C Mount]<br />
* [http://www.phablabs.eu/photonics-workshops Phab Labs 4.0 Photonics Workshops]<br />
<br />
Minerals<br /><br />
* https://deutsches-mineralienmuseum.de/<br />
* Naturalis<br />
<br />
Photo Technical<br /><br />
* [https://www.lomography.nl/magazine/258606-printing-ra4-colour-photos-in-a-darkroom Printing RA4 - Lomography]<br />
* [http://www.reframingphotography.com/content/color-corrections-darkroom Color Corrections Darkroom]<br />
* [https://www.youtube.com/watch?v=58g_VpDh40I&fbclid=IwAR1FZsKOfEAxPabvKfXafqG1rovQdtgCNtnY-e8Rb1orNK2AmkMCOZ7Rww4 C41 Home development]<br />
* [https://www.alternativephotography.com/papers-for-traditional-classic-cyanotype-process-1613-research-for-free/ Papers for Cyanotypes]<br />
* [https://www.youtube.com/channel/UCUcaft-3hNIuB1L1IgARPoQ The Naked Photographer - RA4 Contrast - YouTube]<br />
<br />
Electronics/Arduino<br /><br />
* [http://fritzing.org/home/ Fritzing.org - Electronics Made Easy]<br />
* [https://amnonp5.wordpress.com/2011/01/16/eternalism-the-art-of-slitscanning/ Slit-scanning w/ Processing]<br />
* [https://math.hws.edu/vaughn/cpsc/226/docs/askmanual.pdf Arduino Starter Kit Manual PDF]<br />
<br />
Exhibitions/Performances/etc/<br /><br />
* [http://in-c-ode.com/ IN CODE (Performance)]<br />
* [http://todaysart.org/project/exhibition-ncca/ To See The Sound Exhibition - Moscow]<br />
* [http://www.lighthouse.org.uk/programme/invisible-fields Invisible Fields Exhibition 2012]<br />
<br />
<br />
Misc<br /><br />
* [https://www.format.com/magazine/resources/photography/photography-art-residency-programs Photography related residencies]<br />
* [http://www.radicalsoftware.org/e/index.html Radical Software]<br />
* [https://www.beekwilder.com/ Beekwilder - Display systems (near Amsterdam CS)]<br />
* https://emulsive.org/<br />
* https://www.easy-grow.co.uk/product-category/reflective-sheeting/<br />
<br />
Digital printing houses (for photo book) <br><br />
* [https://www.jubels.nl/en/ Jubels, Amsterdam] <br><br />
* [http://www.silsdrukwerk.nl/ Sils Drukwerk, Amsterdam] <br><br />
* [http://www.tripiti.nl/ Drukerij Tripiti, Rotterdam] <br><br />
* [https://www.drukgoedamsterdam.nl/ Drukgoed Amsterdam]<br />
* https://raddraaier.nl/en/<br />
* http://www.agia-lith.nl/ Bindery<br />
<br />
<br />
Hanging solution <br><br />
* https://www.kjmagnetics.com/blog.asp?p=hanging-art-on-a-wall<br />
<br />
Colour darkrooms in Europe<br /><br />
* Aap Lab - Amsterdam, NL<br />
* Stefanie Schneider's studio - Berlin, DE http://instantdreams.net/contact<br />
* Kalamari Klub - Heidelberg, DE<br />
* John Bjarni - Copenhagen, https://www.jonbjarni.com/blog-1?fbclid=IwAR36Bfbw6e3f0MpFu_p9T4A5sqegzyj524Gv8AI_t0lg5VW8P9xg7DVNHOo<br />
* University of Applied Arts Vienna - http://colabs.akbild.ac.at/de/2011/10/05/infrastruktur-laborfoto/<br />
<br />
Autotheory <br><br />
* https://sites.lsa.umich.edu/mqr/2019/07/autotheory-as-rebellion-on-research-embodiment-and-imagination-in-creative-nonfiction/<br />
<br />
Theory <br><br />
*http://davidbate.net/ <br><br />
*David Campany<br><br />
*https://www.philosophyofphotography.net/<br />
*Charlotte Cotton<br />
*Joanna Zylinska<br />
<br />
Articles <br><br />
* [https://decordova.org/art/exhibition/second-nature-abstract-photography-then-and-now Second Nature: Abstract Photography, Then and Now] <br><br />
* [https://frieze.com/article/non-places Non-Places - Kunstverein, Frankfurt am Main, Germany]<br />
* [https://www.meero.com/en/photography/inspire/443/Yoshinori-Mizutani-Technology-Painting-And-Sensibility Yoshinori Mizutani: Technology, Painting And Sensibility]<br />
* [https://motherboard.vice.com/en_us/article/bmmadd/everything-sounds-beautiful-slower Everything Sounds Beautiful Slower]<br />
* [https://thephotographersgallery.org.uk/whats-on/talks-and-events/imaging-time-understanding-photography-time-based-media Imaging Time: Understanding Photography as Time-Based Media]<br />
* https://elephant.art/post-photography-unknown-image/<br />
* https://daily.jstor.org/the-art-of-walking/<br />
* https://www.ukessays.com/essays/sociology/tourism-as-a-liminal-state-sociology-essay.php<br />
* [http://hafny.org/blog/2017/4/reading-rebecca-solnit?fbclid=IwAR3hGqPibMwoN-9vWk0lVa58Ria1k6MqGAuFE7pVskA7t8dhZkjJ2lCueXU Artists & Curators on being inspired by Rebecca Solnit's writings]<br />
* [https://www.independent.co.uk/arts-entertainment/art/features/camera-less-photography-arresting-developments-2097557.html Cameraless photograph V&A]<br />
* [https://sites.lsa.umich.edu/mqr/2019/07/autotheory-as-rebellion-on-research-embodiment-and-imagination-in-creative-nonfiction/ Autotheory article]<br />
* [https://www.pressreader.com/uk/the-scotsman/20191019/282784948245784 Garry Fabian Miller article]<br />
* [http://www.othercinema.com/otherzine/archives/otherzine6/pmovingobjects.html The Projected Image in the Gallery Space]<br />
* [http://www.membrana.si/en/cfp-membrana-magic-2020/?fbclid=IwAR3g4cVKX6wVeYZ301GFt1sTZdYVb0H6o_i-LhxyoQtWlpJkWdMAYSf7BH4 Magic in Photography - Open Calls & Info]<br />
<br><br />
<br />
Suppliers <br><br />
* [https://www.hekserij.nl/?s=cyanotypie&post_type=product Hekserij - Cyanotype chemicals, etc. ]<br />
* [http://www.tdreefhuys.com/ Cyanotype & Solarfast supplier]<br />
* http://alternativephotographicsupplies.com/category/zestawy<br />
<br />
Kodak Endura Paper: Stockists or Labs <br><br />
* https://grieger.com/kontakt/ (Dusseldorf)<br />
* https://hsl-fachlabor.de/ (Dusseldorf)<br />
* Aap Lab<br />
* Calumet Germany<br />
* Tetenal UK<br />
* Tetenal France (Lucia Pinto)<br />
* https://www.whitewall.com/nl (Germany) Elizabeth contact.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/29-06-2020_-Event_1&diff=175000
Calendars:Networked Media Calendar/Networked Media Calendar/29-06-2020 -Event 1
2020-06-19T15:05:49Z
<p>Sonia: </p>
<hr />
<div>LB2: Trim 6 Final Assessment [confirmed, Una Henry, Simon Pummell, Ine Lamers, Barend Onneweer and Natasha Soobramanien] <br />
*please write your choice of assessment 1-2-3 beside your name<br />
<br />
*08:30 - 09:00 - staff meets <br />
*09:00 - 09:40 <br />
*09:40 - 10:20 <br />
*10:20 - 10:30 10 minute break <br />
*10:30 - 11:10<br />
*11:10 - 11:50<br />
*11:50 - 12:10 20 minute break<br />
*12:10 - 12:50 Sonia 3. <br />
*12:50 - 13:30 Marieke 2.<br />
*13:30 - 14:20 50 minute lunch<br />
*14:20 - 15:00<br />
*15:00 - 15:40<br />
*15:40 - 16:20 <br />
*16:20 - 16:40 20 minute break<br />
*16:40 - 17:20<br />
*17:20 - 18:00<br />
*18:00 - 18:30 - staff discussing grades <br />
<br />
Assessment Presentation format:<br />
*20 minutes: initial student presentation. ZOOM allows you to share your desktop. So any format that works on your desktop can be shared with the panel.<br />
*5 minutes: the panel can ask questions regarding the material presented both orally and in advance.<br />
*5 Minutes: we ask the student to leave, so the panel can discuss their research and presentation<br />
*10 minutes: the panel will discuss with the student their research and give feedback.<br />
*The External Examiner will be present throughout the panel hearings and discussions via video chat.<br />
<br />
*please upload your graduation project documentation and thesis if having had to re-submit here by 10:00 Thursday 25: https://hrnl.sharepoint.com/sites/WdKA-XPub/Shared%20Documents/Forms/AllItems.aspx?csf=1&e=y5gqRO&cid=c12ee761%2Da3e9%2D43c0%2D93ed%2Dcabf54422490&FolderCTID=0x012000AC5464400751B44F88C88D1B1D3AE042&viewid=e14ca528%2D7cdc%2D46e3%2Dbabb%2Dc8a8797f2268&id=%2Fsites%2FWdKA%2DXPub%2FShared%20Documents%2FLB%2DXPUB%2DArchive%2FMFAD%5Ftrim1%2D6%5FStudent%5FWork%5FArchive%5F2018%2D2020%2FLB%2FWDK12M%2DMAM%2DV4%5F49114%5F99%2DMMDV%5FLB%5Ftrim6%5F2018%2D2020<br />
*See http://pzwiki.wdka.nl/mediadesign/Archive_Protocol for archiving instructions. <br />
<br />
Assessment adaptations in relation to COVID- 19; the formal description of how the range of work presented has been modified for this year’s online exam.<br />
<br />
As usual, it is expected students will have an overall presentation of the work and research throughout the two years in the programme, namely: <br />
*1. Individually researched and created lens-based works across the 2 years program <br />
*2. the development of the students reading/writing practice, <br />
*3. the development of the students prototyping practice, <br />
*4. Students thesis (for the thesis we only expect a brief overview for context, as this is assessed separately in more depth), and <br />
*5. Final work and research across the second year. <br />
<br />
However, due to the current situation that has significantly impaired the material means to produce a definitive final work and possibly affected its associated research, we offer three options to present and discuss point 5. <br />
<br />
These options will significantly determine the final form and content of each students second-year graduation work:<br />
<br />
*Option 1: FULL EXECUTION. The work and research were unaffected, or barely affected by the situation, it is therefore presented and made available in the same conditions as originally planned. <br />
*Option 2: PARTIALLY COMPLETE EXECUTION: The work and research were partly affected by the situation; it was therefore necessary to adapt it into a more suitable format and possibly change plans to replace some components with more suitable ones. For instance: a part of the work involved access making images in specific locations that are now closed, or for which the “1.5m rules” makes it impossible to follow the original plan. However other aspects of the work have been less affected. <br />
*Option 3: EXECUTION DELAYED BY COVID 19 The work and research were fully affected by the situation; simply put it’s not possible to finalize the work and research in any way. As a result, what is presented are: the original concept, the process so far, the thorough documentation of sketches and prototypes, and possible future developments.<br />
During the Assessment students will be asked to explain which strategy of combination of strategies they have chosen. The range of work they show must meet the standard assessment criteria as described in the handbook.<br />
<br />
*(as taken from the Handbook 2019-2020, pages 24 - 25)<br />
*5.2.3 Integrated Summative Assessment: Graduate Project/Thesis (Trimester 6)<br />
The fourth and final integrated assessment is held at the end of trimester 6. At this juncture students are expected to prepare and deliver a formal presentation of their finished Graduation Project and related graduation thesis. Passing this integrated formative assessment allows the ECTS for fifth and sixth terms to be awarded.<br />
The Graduation Project should demonstrate the insights and experiences gained throughout the program and to translate their implications into individual work and working methods. In this process, students are expected to be able to not only produce new work, but also to develop a strong sense of the criteria that are crucial for the evaluation and development of their own creative work.<br />
<br />
Assessment Criteria for a Graduation Project<br />
The graduation project should result in a presentation of new work, that combined with the thesis demonstrates the student’s attainment of the agreed learning outcomes (as laid out in the Course hand book Section 3.2 ). In this way the programmes’ agreed Final Competencies from the basis of the Assessment Criteria for a Graduation Project at a Master level.<br />
<br />
*Creative ability: They have developed the independent learning ability required to create innovative, challenging, significant, and coherent projects that are based on clearly articulated approaches and intention.<br />
*Capacity to conduct self-directed research: They can identify relevant subject matter, questions, and formulate distinct areas of research.<br />
*Research methodologies: They can harness skills of research, analysis and synthesis to the development of creative projects.<br />
*Technical fluency: They can demonstrate an analytical grasp of the underlying technical and conceptual principles of practices relevant to their field and work.<br />
*Organisational skills: They have the capacity to design, manage and execute effectively, complex and creative projects on their own or in collaboration with others, which bring together original combinations of media forms. Capacity for innovation: They have developed flexible work practices that can be employed in a wide variety of production contexts and have the technical conceptual skills for dealing with new forms and unforeseen challenges.<br />
*Critical reflection and awareness of context: They can critically reflect on relevant issues related to a larger social context and make informed decisions about the positioning of their work and methods of production. This critical reflection should be expressed through both practice, and verbal analysis of intention: reflections on process and creative output.<br />
*Communication skills: They can communicate their intention, context, process and perceived results– with clear written and oral descriptions to both experts and general audiences.<br />
<br />
Assessment Procedure Integrated Assessments:<br />
*As described above, all the integrated assessments, both formative and summative, involve a formal presentation to a<br />
panel of tutors across both the specialisations of the course and chaired by the Course Director. This allows a check that there is a consensus across the department as to the level of achievement of each student and acts as a check on the individual tutors marking the module summative assessments.<br />
Prior to the assessment process you must archive documentation and elements of the work and research you wish to submit for examination. We will not pass people who have not delivered appropriate documentation of their work on time. See http://pzwiki.wdka.nl/mediadesign/Archive_Protocol for archiving instructions.<br />
<br />
<br />
6.2 Internal and external checks on the assessment procedure that ensure that the quality of the system of is effectively monitored:<br />
The level, clarity and fairness of assessments are gauged through a matrix of checks and balances that occur on multiple levels from students, to staff, externals and the Exam Board. These mechanisms can be seen as an ecology of monitoring devices where if one system fails, another should catch the problem and plans made for rectification. The department utilises the following types of internal and external checks on the assessment procedure.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/www&diff=174752
Sonia/www
2020-06-17T18:48:25Z
<p>Sonia: </p>
<hr />
<div>* https://sites.evergreen.edu/expphoto/<br />
* [http://web2.uwindsor.ca/hrg/amckay/Claudemirror.com/Claudemirror.com/Claude_Mirror_Introduction.html The Claude Mirror - This might be the thing I need. ]<br />
* http://theophantasmagoria.blogspot.com/2011/04/looking-dimly-through-dark-glass.html<br />
* https://www.europeana.eu/en<br />
<br />
[[Sample librariesLink|Library Links]]<br /><br />
<br />
* <nowiki>#icanhazpdf</nowiki> [https://twitter.com/hashtag/icanhazpdf?src=hash https://twitter.com/hashtag/icanhazpdf?src=hash]<br />
* aaaaarg [http://aaaaarg.fail/ http://aaaaarg.fail]<br />
* Bibliotheca [http://bibliotecha.info/ http://bibliotecha.info/]<br />
* Clockwise libraries [https://clockwise3rldkgu.onion.to/ https://clockwise3rldkgu.onion]<br />
* Library Genesis [http://gen.lib.rus.ec http://gen.lib.rus.ec]<br />
* Memory of the world [http://library.memoryoftheworld.org/ http://library.memoryoftheworld.org]<br />
* Monoskop [http://monoskop.org/ http://monoskop.org]<br />
* On Our Backs [http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&cl=CL1&sp=BEBJBJCA&ai=1&e=-------en-20--1--txt-txIN---------------1 http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&cl=CL1&sp=BEBJBJCA&ai=1&e=-------en-20--1--txt-txIN---------------1]<br />
* Project Gutenberg [http://gutenberg.org/ http://gutenberg.org]<br />
* Radical Militant Library (Jotunbane’s Reading Club) [https://c3jemx2ube5v5zpg.onion.to/ https://c3jemx2ube5v5zpg.onion]<br />
* Sci-hub [http://sci-hub.tw/ http://sci-hub.tw/]<br />
* Textz.com [http://www.textz.com/ http://www.textz.com]<br />
* [https://bibliotik.me/ https://bibliotik.me]<br />
* volafile.io<br />
* <nowiki>#bookz on IRCHighway/undernet</nowiki><br />
* The Piratebay @ Worm [http://thepiratebay.worm.org/ http://thepiratebay.worm.org]<br />
* UBU-web [http://ubu.com/ http://ubu.com]<br />
* National Library of the Netherlands [https://www.kb.nl/en https://www.kb.nl/en]<br />
* JSTOR [https://www.jstor.org/ https://www.jstor.org/]<br />
* Google Scholar [https://scholar.google.nl/ https://scholar.google.nl/]<br />
* Research Gate [https://www.researchgate.net/login https://www.researchgate.net/login]<br />
*Independent Voices [https://voices.revealdigital.com/cgi-bin/independentvoices?a=p&p=home&e=-------en-20--1--txt-txIN---------------1 https://voices.revealdigital.com] (Very interesting archive of alternative publications)<br />
* [http://www.constantvzw.org/verlag/spip.php?page=list&mot_filtre=9&lang_id=0&go=select Constant Verlag]<br />
* [http://thepiratebay.worm.org/ Worm Pirate Bay Media Archive]<br />
*[http://www.openhumanitiespress.org/ Open Humanities Press]<br />
<br />
Pedestrianism<br /><br />
*[https://www.a-n.co.uk/news/walking-art-and-women-its-infuriating-to-be-invisible/ Women & Walking]<br />
* [http://www.walkingartistsnetwork.org/publications/ Walking Artists Network - publications]<br />
<br />
Resources<br /><br />
* [https://www.thingiverse.com/ Thingiverse - 3D-printable open source objects]<br />
* [http://www.digitalbookindex.org/subject_search/search010artphotographya/2 Digital Book Index (resource)]<br />
* [http://photomediationsopenbook.net/ Photo Mediations Open Book]<br />
* [https://arts.princeton.edu/courses/the-photographic-apparatus/ The Photographic Apparatus course - Fia Backström @ Princeton]<br />
* [http://www.philiplaven.com/links2.html Scientific publications on "Light & Color in Nature"]<br />
* [http://flong.com/texts/lists/slit_scan/ An Informal Catalogue of Slit-Scan Video Artworks and Research]<br />
* [https://www.gyst-ink.com/artist-statement-guidelines GYSK - Artist statement guidelines]<br />
* [http://www.zotero.org Zotero - open source bibliography/citation maker]<br />
* [https://www.fidakbv.nl/ SHOP: Kodak Endura rolls ]<br />
<br />
Other library links<br/><br />
*PZI Bootleg library<br />
* https://epdf.pub/<br />
* https://raddle.me/f/books/6033/list-of-free-online-libraries<br />
* https://www.librarything.com/<br />
<br />
Bibliography Resources<br/><br />
*RefWorks<br />
*Zotero<br />
*Mendeley<br />
<br />
Style guides <br><br />
* [https://www.ox.ac.uk/sites/files/oxford/media_wysiwyg/University%20of%20Oxford%20Style%20Guide.pdf/ Uni. Oxford Style Guide]<br />
<br />
Jounals / Publications<br /><br />
* [https://www.inthein-between.com/ In the In-Between: Journal of New and New Media Photography]<br /><br />
<br />
<br />
Historical<br /><br />
* [http://camera-wiki.org/wiki/Main_Page Camera Wiki]<br />
* [http://dc.g-vo.org/lswscans/res/positions/wpshow/form Bruce Telescope Images (Heidelberg, DE)]<br />
<br />
Optics/Science<br /><br />
* [http://www.atoptics.co.uk/ Atmospheric Optics]<br />
* [https://phys.org/news/2008-09-liquid-camera-lens-simple-vibration.html Liquid Lens (Controlling light with sound)]<br />
* [https://boxy-svg.com/ Illustrator open source alternative BoxySVG]<br />
* [https://fstop138.berrange.com/2016/09/building-a-uv-led-light-box-for-cyanotype-and-lumen-printing/ DIY UV LED Light box]<br />
* [https://arachnoid.com/OpticalRayTracer/ Optical Ray Tracer - Design a Lens]<br />
* https://formlabs.com/blog/creating-camera-lenses-with-stereolithography/<br />
* [https://www.instructables.com/id/Making-Custom-Lenses/ Making-Custom-Lenses]<br />
* [https://www.spacetelescope.org/projects/fits_liberator/improc/ A short introduction to astronomical image processing]<br />
* [https://www.optotune.com/products/focus-tunable-lenses/manual-lens-ml-20-37?task=view&id=55 Focus Tunable Liquid Lens C Mount]<br />
* [http://www.phablabs.eu/photonics-workshops Phab Labs 4.0 Photonics Workshops]<br />
<br />
Minerals<br /><br />
* https://deutsches-mineralienmuseum.de/<br />
* Naturalis<br />
<br />
Photo Technical<br /><br />
* [https://www.lomography.nl/magazine/258606-printing-ra4-colour-photos-in-a-darkroom Printing RA4 - Lomography]<br />
* [http://www.reframingphotography.com/content/color-corrections-darkroom Color Corrections Darkroom]<br />
* [https://www.youtube.com/watch?v=58g_VpDh40I&fbclid=IwAR1FZsKOfEAxPabvKfXafqG1rovQdtgCNtnY-e8Rb1orNK2AmkMCOZ7Rww4 C41 Home development]<br />
* [https://www.alternativephotography.com/papers-for-traditional-classic-cyanotype-process-1613-research-for-free/ Papers for Cyanotypes]<br />
* [https://www.youtube.com/channel/UCUcaft-3hNIuB1L1IgARPoQ The Naked Photographer - RA4 Contrast - YouTube]<br />
<br />
Electronics/Arduino<br /><br />
* [http://fritzing.org/home/ Fritzing.org - Electronics Made Easy]<br />
* [https://amnonp5.wordpress.com/2011/01/16/eternalism-the-art-of-slitscanning/ Slit-scanning w/ Processing]<br />
* [https://math.hws.edu/vaughn/cpsc/226/docs/askmanual.pdf Arduino Starter Kit Manual PDF]<br />
<br />
Exhibitions/Performances/etc/<br /><br />
* [http://in-c-ode.com/ IN CODE (Performance)]<br />
* [http://todaysart.org/project/exhibition-ncca/ To See The Sound Exhibition - Moscow]<br />
* [http://www.lighthouse.org.uk/programme/invisible-fields Invisible Fields Exhibition 2012]<br />
<br />
<br />
Misc<br /><br />
* [https://www.format.com/magazine/resources/photography/photography-art-residency-programs Photography related residencies]<br />
* [http://www.radicalsoftware.org/e/index.html Radical Software]<br />
* [https://www.beekwilder.com/ Beekwilder - Display systems (near Amsterdam CS)]<br />
* https://emulsive.org/<br />
* https://www.easy-grow.co.uk/product-category/reflective-sheeting/<br />
<br />
Digital printing houses (for photo book) <br><br />
* [https://www.jubels.nl/en/ Jubels, Amsterdam] <br><br />
* [http://www.silsdrukwerk.nl/ Sils Drukwerk, Amsterdam] <br><br />
* [http://www.tripiti.nl/ Drukerij Tripiti, Rotterdam] <br><br />
* [https://www.drukgoedamsterdam.nl/ Drukgoed Amsterdam]<br />
* https://raddraaier.nl/en/<br />
* http://www.agia-lith.nl/ Bindery<br />
<br />
<br />
Hanging solution <br><br />
* https://www.kjmagnetics.com/blog.asp?p=hanging-art-on-a-wall<br />
<br />
Colour darkrooms in Europe<br /><br />
* Aap Lab - Amsterdam, NL<br />
* Stefanie Schneider's studio - Berlin, DE http://instantdreams.net/contact<br />
* Kalamari Klub - Heidelberg, DE<br />
* John Bjarni - Copenhagen, https://www.jonbjarni.com/blog-1?fbclid=IwAR36Bfbw6e3f0MpFu_p9T4A5sqegzyj524Gv8AI_t0lg5VW8P9xg7DVNHOo<br />
* University of Applied Arts Vienna - http://colabs.akbild.ac.at/de/2011/10/05/infrastruktur-laborfoto/<br />
<br />
Autotheory <br><br />
* https://sites.lsa.umich.edu/mqr/2019/07/autotheory-as-rebellion-on-research-embodiment-and-imagination-in-creative-nonfiction/<br />
<br />
Theory <br><br />
*http://davidbate.net/ <br><br />
*David Campany<br><br />
*https://www.philosophyofphotography.net/<br />
*Charlotte Cotton<br />
*Joanna Zylinska<br />
<br />
Articles <br><br />
* [https://decordova.org/art/exhibition/second-nature-abstract-photography-then-and-now Second Nature: Abstract Photography, Then and Now] <br><br />
* [https://frieze.com/article/non-places Non-Places - Kunstverein, Frankfurt am Main, Germany]<br />
* [https://www.meero.com/en/photography/inspire/443/Yoshinori-Mizutani-Technology-Painting-And-Sensibility Yoshinori Mizutani: Technology, Painting And Sensibility]<br />
* [https://motherboard.vice.com/en_us/article/bmmadd/everything-sounds-beautiful-slower Everything Sounds Beautiful Slower]<br />
* [https://thephotographersgallery.org.uk/whats-on/talks-and-events/imaging-time-understanding-photography-time-based-media Imaging Time: Understanding Photography as Time-Based Media]<br />
* https://elephant.art/post-photography-unknown-image/<br />
* https://daily.jstor.org/the-art-of-walking/<br />
* https://www.ukessays.com/essays/sociology/tourism-as-a-liminal-state-sociology-essay.php<br />
* [http://hafny.org/blog/2017/4/reading-rebecca-solnit?fbclid=IwAR3hGqPibMwoN-9vWk0lVa58Ria1k6MqGAuFE7pVskA7t8dhZkjJ2lCueXU Artists & Curators on being inspired by Rebecca Solnit's writings]<br />
* [https://www.independent.co.uk/arts-entertainment/art/features/camera-less-photography-arresting-developments-2097557.html Cameraless photograph V&A]<br />
* [https://sites.lsa.umich.edu/mqr/2019/07/autotheory-as-rebellion-on-research-embodiment-and-imagination-in-creative-nonfiction/ Autotheory article]<br />
* [https://www.pressreader.com/uk/the-scotsman/20191019/282784948245784 Garry Fabian Miller article]<br />
* [http://www.othercinema.com/otherzine/archives/otherzine6/pmovingobjects.html The Projected Image in the Gallery Space]<br />
* [http://www.membrana.si/en/cfp-membrana-magic-2020/?fbclid=IwAR3g4cVKX6wVeYZ301GFt1sTZdYVb0H6o_i-LhxyoQtWlpJkWdMAYSf7BH4 Magic in Photography - Open Calls & Info]<br />
<br><br />
<br />
Suppliers <br><br />
* [https://www.hekserij.nl/?s=cyanotypie&post_type=product Hekserij - Cyanotype chemicals, etc. ]<br />
* [http://www.tdreefhuys.com/ Cyanotype & Solarfast supplier]<br />
* http://alternativephotographicsupplies.com/category/zestawy<br />
<br />
Kodak Endura Paper: Stockists or Labs <br><br />
* https://grieger.com/kontakt/ (Dusseldorf)<br />
* Aap Lab<br />
* Calumet Germany<br />
* Tetenal UK/France<br />
* https://www.whitewall.com/nl (Germany) Elizabeth contact.</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/20-07-2020_-Event_2&diff=174594
Calendars:Networked Media Calendar/Networked Media Calendar/20-07-2020 -Event 2
2020-06-16T15:34:31Z
<p>Sonia: </p>
<hr />
<div><big>Artist Talks 2020: Lena Dobrowolksa And Teo Ormond Skeaping Schedule </big><br />
<br />
[https://www.lenadobrowolska.com/ Lena Dobrowolska]<br />
[http://teoormondskeaping.com/home Teo Ormond Skeaping]<br />
<br />
A link to full-length Future Scenarios film available 48 hours before the session. <br />
<br />
'''10:00-11:30''' '''PART I: Introduction''' | In this session, artists will present the Future Scenarios work, the origins of this project, practice and research in general and what are they are working on now. Will close this session with Q&A's.<br />
<br />
'''11:30-12:00 LUNCH BREAK'''<br />
<br />
'''12:00- 13:00 PART II: Future Scenarios workshop''' | The workshop will include a brief 15 min introduction to scenarios thinking methodology. Artists will then run two rounds of scenarios building exercises in which you would build and then present your own future scenarios. We could close this session with Q&A's.<br />
<br />
'''13:00-14:00 BREAK'''<br />
<br />
'''14:00- 18:00 PART III: Tutorials with Artist''' | 1:1 or small group tutorials dedicated to the presentation of your ongoing projects and practice. <br />
<br />
'''Sign up for tutorials below.'''<br />
<br />
*1400-1430: Thy<br />
*1430-1500: Yu_Ching<br />
*1500-1530<br />
*1530-1600 Anh <br />
*1600-1630 <br />
*1630-1700<br />
*1700-1730 sonia (are LB2's allowed?)<br />
*1730-1800 Fileona<br />
<br />
'''18:00 CLOSE WHEN FINISHED'''</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/20-07-2020_-Event_2&diff=174593
Calendars:Networked Media Calendar/Networked Media Calendar/20-07-2020 -Event 2
2020-06-16T15:07:00Z
<p>Sonia: </p>
<hr />
<div><big>Artist Talks 2020: Lena Dobrowolksa And Teo Ormond Skeaping Schedule </big><br />
<br />
[https://www.lenadobrowolska.com/ Lena Dobrowolska]<br />
[http://teoormondskeaping.com/home Teo Ormond Skeaping]<br />
<br />
A link to full-length Future Scenarios film available 48 hours before the session. <br />
<br />
'''10:00-11:30''' '''PART I: Introduction''' | In this session, artists will present the Future Scenarios work, the origins of this project, practice and research in general and what are they are working on now. Will close this session with Q&A's.<br />
<br />
'''11:30-12:00 LUNCH BREAK'''<br />
<br />
'''12:00- 13:00 PART II: Future Scenarios workshop''' | The workshop will include a brief 15 min introduction to scenarios thinking methodology. Artists will then run two rounds of scenarios building exercises in which you would build and then present your own future scenarios. We could close this session with Q&A's.<br />
<br />
'''13:00-14:00 BREAK'''<br />
<br />
'''14:00- 18:00 PART III: Tutorials with Artist''' | 1:1 or small group tutorials dedicated to the presentation of your ongoing projects and practice. <br />
<br />
'''Sign up for tutorials below.'''<br />
<br />
*1400-1430: Thy<br />
*1430-1500: Yu_Ching<br />
*1500-1530<br />
*1530-1600 Anh <br />
*1600-1630 <br />
*1630-1700<br />
*1700-1730 sonia<br />
*1730-1800 Fileona<br />
<br />
'''18:00 CLOSE WHEN FINISHED'''</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/materials&diff=174512
Sonia/materials
2020-06-15T19:22:48Z
<p>Sonia: </p>
<hr />
<div>*glassine/pergamijnpapier (vlieger sells 70x100cm sheets @ 70 cents each, or Igepa (Tiel), Antalis, (Almere 0365394444), Papyrus (Nijmegen) )<br />
*Tussenvellen - https://www.gerstaecker.nl/GERSTAECKER-tussenvellen-zijdepapier-19g.html?fbclid=IwAR3WYiuwUs61wkYgesANoc5DBom10Vnuig4YW_GjTFny4u_fGlsKaZbL0oE<br />
*Tussenvellen for rich people - https://www.jwb.nl/nl/producten/papier-zuurvrij/zijdevloeipapier?fbclid=IwAR3Nh2fyWDqjmH1OHTOx2kLHgimik7wkaZ1ImI2dEjifStSxCe8jiVgXIMk<br />
*motor and speed controller to make rotating base<br />
*gels for tricolor exposure (according to Kodak Endura manual)<br />
*artist website<br />
*film guard bag (x-ray)<br />
*photo paper<br />
*film<br />
*paper safe<br />
*canned air</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/materials&diff=174511
Sonia/materials
2020-06-15T19:16:03Z
<p>Sonia: </p>
<hr />
<div>*glassine/pergamijnpapier (vlieger sells 70x100cm sheets @ 70 cents each, or Igepa (Tiel), Antalis, (Almere 0365394444), Papyrus (Nijmegen) )<br />
*Tussenvellen - https://www.gerstaecker.nl/GERSTAECKER-tussenvellen-zijdepapier-19g.html?fbclid=IwAR3WYiuwUs61wkYgesANoc5DBom10Vnuig4YW_GjTFny4u_fGlsKaZbL0oE<br />
*Tussenvellen for rich people - https://www.jwb.nl/nl/producten/papier-zuurvrij/zijdevloeipapier?fbclid=IwAR3Nh2fyWDqjmH1OHTOx2kLHgimik7wkaZ1ImI2dEjifStSxCe8jiVgXIMk<br />
*motor and speed controller to make rotating base<br />
*gels for tricolor exposure (according to Kodak Endura manual)<br />
*artist website<br />
*film guard bag (x-ray)<br />
*photo paper<br />
*film<br />
*paper safe</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/materials&diff=174510
Sonia/materials
2020-06-15T19:11:31Z
<p>Sonia: </p>
<hr />
<div>*glassine/pergamijnpapier (vlieger sells 70x100cm sheets @ 70 cents each, or Igepa (Tiel), Antalis, (Almere 0365394444), Papyrus (Nijmegen) )<br />
*Tussenvellen - https://www.gerstaecker.nl/GERSTAECKER-tussenvellen-zijdepapier-19g.html?fbclid=IwAR3WYiuwUs61wkYgesANoc5DBom10Vnuig4YW_GjTFny4u_fGlsKaZbL0oE<br />
*Tussenvellen for rich people - https://www.jwb.nl/nl/producten/papier-zuurvrij/zijdevloeipapier?fbclid=IwAR3Nh2fyWDqjmH1OHTOx2kLHgimik7wkaZ1ImI2dEjifStSxCe8jiVgXIMk<br />
*motor and speed controller to make rotating base<br />
*gels for tricolor exposure (according to Kodak Endura manual)<br />
*artist website<br />
*film guard bag (x-ray)<br />
*photo paper<br />
*film<br />
*</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/16-06-2020_-Event_5&diff=174464
Calendars:Networked Media Calendar/Networked Media Calendar/16-06-2020 -Event 5
2020-06-15T11:16:22Z
<p>Sonia: </p>
<hr />
<div>LB1 and LB2: Barend tutorials<br />
<br />
*14:00 - 14:45 <br />
*14:45 - 15:30 <br />
*15:30 - 16:15 <br />
*16:15 - 17:00 sonia (might be running a bit late)</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Sonia/materials&diff=174372
Sonia/materials
2020-06-14T13:25:38Z
<p>Sonia: </p>
<hr />
<div>*glassine/pergamijnpapier (vlieger sells 70x100cm sheets @ 70 cents each, or Igepa (Tiel), Antalis, (Almere 0365394444), Papyrus (Nijmegen) )<br />
*Tussenvellen - https://www.gerstaecker.nl/GERSTAECKER-tussenvellen-zijdepapier-19g.html?fbclid=IwAR3WYiuwUs61wkYgesANoc5DBom10Vnuig4YW_GjTFny4u_fGlsKaZbL0oE<br />
*Tussenvellen for rich people - https://www.jwb.nl/nl/producten/papier-zuurvrij/zijdevloeipapier?fbclid=IwAR3Nh2fyWDqjmH1OHTOx2kLHgimik7wkaZ1ImI2dEjifStSxCe8jiVgXIMk<br />
*motor and speed controller to make rotating base<br />
*gels for tricolor exposure (according to Kodak Endura manual)<br />
*artist website</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/22-06-2020_-Event_1&diff=174368
Calendars:Networked Media Calendar/Networked Media Calendar/22-06-2020 -Event 1
2020-06-14T12:49:47Z
<p>Sonia: </p>
<hr />
<div>LB: Simon's tutorials: 9:30 - 13:00 1/2 hour slots to be posted the Thursday before this session<br />
<br />
–sonia (pls)</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/22-06-2020_-Event_1&diff=174367
Calendars:Networked Media Calendar/Networked Media Calendar/22-06-2020 -Event 1
2020-06-14T12:49:34Z
<p>Sonia: </p>
<hr />
<div>LB: Simon's tutorials: 9:30 - 13:00 1/2 hour slots to be posted the Thursday before this session<br />
<br />
sonia (pls)</div>
Sonia
https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=Calendars:Networked_Media_Calendar/Networked_Media_Calendar/08-06-2020_-Event_3&diff=173385
Calendars:Networked Media Calendar/Networked Media Calendar/08-06-2020 -Event 3
2020-06-04T17:31:32Z
<p>Sonia: </p>
<hr />
<div>LB: Ine’s tutorials 11:00 - 19:00 @ 45 minutes to be posted the Thursday before this session<br />
<br />
*11.00 - 11.45 mia<br />
*11.45 - 12.30 Thy<br />
*break 15 min<br />
*12.45 - 13.30 Cem<br />
*13.30 - 14.15 Susanna<br />
*break 45 min<br />
*15.00 - 16.00 Marieke<br />
*16.00 -17.00 Kamali<br />
*break 15 min<br />
*17.15- 18.15 Sonia <br />
*18.15- 19.00 Andreas</div>
Sonia