contents   inside europa   + italy essay international   + journalism   + war on terror specials   + transmission   + iberamericana cultur languages

transmission    preface working out the transmission    introduction trasmesso 27 agosto...    angela vettese art knows what it was which place takes cinema not for sale interferences 1 in girum imus nocte interferences 2 interferences 3    joseph kosuth constructing conflict owning empathy posttrauma syndrome i volti del terrore a well for palestine una risata orribile libertà di culto, libertà di critica the walls below    rirkrit tiravanija la paura mangia l’anima olvido maybe tomorrow interferences 4 burn a book interferences 5 tu non hai potere o.T. la distribución del tiempo interferences 6 come ottenere successo in arte we have moved...    epilogue

CONSTRUCTING CONFLICT PROJECT LABORATORIO JOSEPH KOSUTH 2004 Question:    When viewing a film do you find that your experience leads you to a point of view in relation to the conflict the film adresses? And while doing so, does the architectural scene psycologically lead you to this view? Task:    Make a short film between 5 and 15 minutes long and construct a critical narrative of a country that is currently in conflict anywhere in the world. You are free to comment on events or situations in any way you wish as long as it is clear that you are discussing a particular country’s current conflict. Think about issues that are close to you or that you feel you would like to criticize or elucidate. The actual construction of the film — the utilization of any film element — must generate some type of fictive space. The practical necessity of your viewer experiencing such a leap of faith‚ (or suspension of disbelief) is the following. To begin with the filming must take place in Venice proper and not its suburb, making use of a specific architectural location or consistent detail of Venice. Yet, it is important that you do this in such a way that Venice is not identifiable. That is, your viewer must not recognize that it is Venice because the narrative space you have constructed utilizes Venetian architecture as a filmic unit whose meaning is established by the fiction (concerning a conflict elsewhere in the world) which your narrative constructs. Take a step back and begin to look at Venetian architecture with different eyes; decontextualize it by stripping off the inherited meaning of Venice, peal off the movie set, touristy‚ perspective of the world-famous city. Drain it of your every day associations. Instead appropriate the physical part of the buildings and locals of Venice and focus on the psychological and social aspects but without Venice’s baggage of meaning. Do not be afraid to be experimental, as long as you show you are dealing with the problem of being able to speak about another country by using Venice as your device. The aim of this project is an exercise in the psychology of perception, the use of appropriation and the construction of meaning, political and otherwise, as part of a cultural production whose issue is seeing architecture. The task is to look beyond the surface of the given meaning of the everyday perception of Venice and its architecture, and utilize the elements you find interesting and extrapolate them to make new associations and thereby make a new meaning of your own. (Joseph Kosuth & Fiona Biggiero)