Herbstsemester 2022

Die Programme des Forschungskolloquiums aus den vergangenen Semestern finden Sie im Archiv.

Termin             Referent:innen
12. Oktober    

Melody Jue: Pixels May Lose Kelp Canopy: The Photomosaic as Epistemic Figure for the Satellite Mapping and Modeling of Seaweeds

26. Oktober

Steven Jacobs (Ghent University / University of Antwerp)
Surrealism and the Mid-Century Art Documentary: "Le Monde de Paul Delvaux" (1946) and "Magritte, ou la leçon de choses" (1960)

The 1940s and 1950s can be considered the Golden Age of the art documentary. Before the breakthrough of television, in France, Italy, and Belgium, the art film was applauded as an avantgarde film genre, playing an important part in a cinephile culture favoring experimental shorts. This lecture focuses on two art documentaries dealing with leading Surrealist artists.
Made in collaboration with René Micha, Henri Storck’s Le Monde de Paul Delvaux (1946) evokes Delvaux’s Surrealist paintings of nudes and uncanny cityscapes. Widely acclaimed by critics at the time, this landmark art documentary is a lyrical film that eschews any didacticism. Accompanied by the voice of Paul Eluard, Storck’s camera moves from one painting to the other, constructing an oneiric and desolate universe. Storck’s animation of Delvaux’s static images tallies perfectly with the Pygmalion motif cherished by the Surrealists. In Storck’s Pygmalionistic film, paintings are coming to life thanks to the use of montage effects, sounds, light, and camera movements.
Luc de Heusch’s Magritte ou la leçon des choses (1960) is a short film about and with René Magritte. As its title suggests, the film is a reflection on the status of the object and its various representations – a topic that was important in Surrealism from the very beginning. Like in Magritte’s paintings, objects and their representations seem to flow seamlessly into each other in this film. The cinematic medium, however, adds another dimension to this, creating another image of an image. Pictorial images and cinematic footage interact and contradict one another. Like many of Magritte’s paintings, De Heusch’s film reflects on the animation of the static object, the uncanny juxtaposition of everyday things, the mixing of different levels of reality, and the relation between objects, images, and words. In addition, the film situates itself in the tradition of art documentaries showing the artist at work – an element that De Heusch parodies to a certain extent.


23. November

Rebecca Boguska (Johannes Gutenberg​-Universität Mainz)

Watery Assemblages

Zur Untersuchung von Wasserwellen setzen Küstenforscher:innen komplexe mediale Konfigurationen ein, welche Perspektiven auf nicht-menschliche Wissensassemblagen eröffnen, die sowohl den Wellen als auch Medienapparaten eigen sind. Die Betrachtung von Küstenforschungszentren im Sinne von „Watery Assemblages“ soll die unterschiedlichen epistemischen und ästhetischen Be-ziehungen zwischen menschlichen und nicht-menschlichen Akteur:innen ins Zentrum rücken. Dieses Projekt konzentriert sich auf drei Küstenforschungszentren (in Deutschland, Niederlande, USA) und deren Forschungspraktiken im Zusammenhang mit der wissenschaftlichen Untersuchung von Wasserbewegungen, ins-besondere von Wasserwellen. Ein Blick auf diese Praktiken und die große Vielfalt eingesetzter Medien zeigt, dass Wissen nicht lediglich von menschlichen Akteur:innen produziert wird, sondern dass auch nicht-menschliche Wasserkörper (Wasserwellen, Strömungen etc.) Wissen herstellen, das mithilfe von Medien-apparaten vermittelt wird. Im Rahmen des Projekts steht daher die folgende Frage im Zentrum: Mit welchen epistemischen Medien operieren Küstenforscher:innen, um die nicht-menschlichen Wissensassemblagen der Bewegungen des Wasser zu erforschen?

30. November

Melody Jue (University of California, Santa Barbara) online

Seaweed Selfies: Photomedia, Interdigitation, and Hawaiian Networked Images

Abstract: This talk explores the ways that seaweeds participate in processes of their own photographic capture, both digitally and in cyanotype print-making. Focusing on the work of Maui artist Gwen Arkin, I examine histories of photomedia that involve seaweeds as ingredients in developing photography and as having direct contact on photosensitive paper, a kind of non-human photography (Johanna Zylinska) that centers the botanical. In addition, I examine a recurring aesthetic in conservation and community-focused photography by the Hawaii-based organization KUA that frames images of seaweeds in human hands. Building on scholar-ship of the "selfie" as a networked image (Negar Mottahedeh) and oceanic interconnection (Epeli Hau'ofa), I aim to expand an understanding of the selfie as a political image to include sea-weeds, in terms of both materiality and representation. In this way, I theorize seaweeds as a medium of interdigitation, in which finger digits, seaweed (limu) blades, and digital media form networks of relating.

7. Dezember

Tobias Schönrock (Universität Zürich)
Marginalisierte Formate im Zuge der Standardisierung und Konsolidierung des Lichttonfilms im deutschsprachigen Kino der 1930er Jahre

14. Dezember Congle Fu  (Universität Zürich)
Beyond Technique: Intersectional Politics of Moving Image Projection