Full video, images, and information here: http://www.anti-utopias.com/bjorn-erik-haugen-interface/
Media interfaces are not simply a question of usability but, as Bjørn Erik Haugen’s simply entitled Interface shows, also an embodiment of politics and power. The work’s imagery offers a vision of war as seen through the augmented reality lens of a soldier operating a machine gun from an Apache helicopter as he communicates with military headquarters. From the soldier’s perspective human life is abstracted to a series of on-screen moving targets, which have more in common with virtual polygon characters in a computer game than with their flesh and blood counterparts in reality. A touch of the red button is all that is required of him; with deadly precision the missile meets and destroys its target. The interface dematerializes the violence of war and turns the act of killing into just another click of a button.
Staring at the World through a Hole is a video-loop consisting of found material/documentation of «PistolCam,» which is a video camera to mount on the gun, so that it starts recording when one draws the gun. This is a device now used by the American police in some states in USA. To problematize this one can just think what the Youtube-generation can use this for.
The Camera and the Gun
I think of myself as a part of a generation that was brought up during the first Gulf ware. Two important things happened: We got to know of technological precision weapons, with the use of cameras mounted on the rockets and we watched CNN`s coverage of the war 24 hours a day.
When I started my research on the connections between the camera and the gun, I found out that when constructing the first cameras they used several things from the gun. For example the camera-brand «Canon» and one says «to shoot» with a camera.
Six Apartments is a poetic document of decline and deterioration -both physical and conceptual. Six isolated residents of six different apartments live their lives unaware of each other. They eat their food, wander between rooms, bathe, watch television, and sleep. For them, this is life.
Yet while it may appear that nothing is happening here, the apartment building and its inhabitants’ bodies are aging, giving way to bacteria, larva, and finally transformation. Televisions and radios tell them about the destruction of the planet but it does not seem to affect their lives. Everything is in a state of resolute conversion. Immense drama does exist: chaos overcomes order and rot supersedes life. The residents’ lives are moving slowly towards death following the deliberate and methodical rhythms of their uniform days. This continuous erosion of bodies, buildings, and the planet, reveals the ever-active potential of death and its material processes.
In their passivity and isolation, the inhabitants emerge as the true form of death, while the rooms they inhabit maintain the ongoing transformation of life. The potential of life, then, exists only in the process of death.
Eventually all forms of life are consumed by new life.
Clean Woman- Cornelia Brelowski
Biker- Wolfram Von Staufenberg
Sick Girl- Johanna Kunig
Woman- Edith Hermann
TV Man- Norbert Decker
Messy- Michael Arndt Gastaud
Produced by Pierre Düsing, Lina Schuller, Marcela H. Polgar
Cinematography- Kenzo Guzman
Camera and Electrical- Carlos A. Lopez
Production Design- Daniele Fermani
Set Dresser- Andreas Böttger
Set Construction- Mark Preuss, Yves Boczek
Art Department for Clean Woman and Biker
Visual Effects Supervisor -Carlos Vasquez
Digital Artist- Cristóbal León
3D Digital Artist- Joulia Strauss
Photo Artist- Matilda Mester
Management- Susen Hermann
THE ZONE tells one story of two journeys to the promised land, the world where dreams can be made real and reality is like a dream. The relationship between narratives holds surprising coincidences and surreal tangents and departures as they both dance their (not so) merry dance to their shangri-la.
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Both work and leisure are today a strong form of public/private activity. Besides the fact that they can be seen as collective and individual forms of social behavior, these activities are found in almost all levels of urban life and communication. City centres, peripheries, streets, metro stations, free shop, airports, factories, museums, cinema, TV, galleries, Internet, are shaped by the spatial and communicational logic that are merging both the notions of leisure and work, in a already acknowledge economical immaterial sphere.
The force by which these new dynamics linked to immaterial economy are imprinting its 'qualities' in other process of productions, moulds nowadays our notions of public space and of personal relations. In this way, this new interconnected and immaterial environment characterizes itself as one of the main ways by which we experience the urban spheres and connect with people, always from a position of observed/observer that allows some degree of 'programed interaction'.
The two channels video projection intends to compare different times and ideas of public spaces (from perspectives of both industrial and cultural production), tensioning in an evocatively and poetically way the questions related to our actual means of production, place, relations and subjectivity projections. The video uses found footage and shootings of shopping malls with written information appearing over images.