SCORES
Living, conceive, perceive: a meeting with Ogi: no Knauss
Lucrezia Lucrezia Cippitelli
Cippitelli : These last few months were crucial for Ogi: no Knauss: the publication of your project and the birth of the label Triplicity ^ Vrec. I would then start talking about these two projects.
First Triplicity, which is inter alia one of the first publications of the novel label. It 's a beautiful job and that seems a kind of summary of your experiences of urban explorers (among other scholars of the matrix representation of urban space is devoted to the clear view of Henri Le Febvre). I saw somewhere that the project was born as a live performance. I want to know something more about its genesis and subsequent passage that led you to make an interactive DVD rom?
Ogino Knauss : We are best known VJs and live as a group of average performers, but the path Ogino Knauss blends the experience of filmmakers restless and training as architects of some of us. Over the years, these two research fields have overlapped and influenced more and more, and at the same time it was established by our awareness that the processes of production space and production of image are increasingly overlapping and interrelated in the evolution of 'the urban environment. For this reason, the practice of "playing the city" that has always been natural to tap the reservoir of moving images that gave us the urban environment has become increasingly the subject of a careful analysis. Thus, while both the personal experiences of research and action because the path of Ogi: no Knauss as a collective of performers took us around to explore new configurations of global public space, we have begun to organize a sort of travelogue, a travelogue "images and sounds that tell the inspirations, ideas, concerns, surprises our journey into the evolving urban landscape holds. And 'what we call a collection of looks, a series of postcards audiovisual media technologies that the primary current give us the ability to organize and recombine. We have always been attracted to the creative process rather than the production of books, and then both the DVD.rom, as the live set are based on the ability to reassemble, compare, contrast and visual overlay landscapes and different sound. What
LC refer in particular reference to three parallel tracks (triplicity) in the narrative of urban space?
OK working on a thematic field so vast and potentially inclusive as the overall urban landscape and the relationship with the production of image, we needed a key, a procedure, a method that still our practice to some kind of solid prop . The inspiration has it offered Henri Lefebvre with its monumental, fascinating (and sometimes cryptic) analysis of production space.
In particular, where he identifies the process of spatial production as a result of the plot and of the indissoluble interdependence of three different space, the experience, the conceived and perceived.
Concept otherwise expressed as a distinction between physical space, social space and mental space.
to our nature, we have developed a sincere dislike for the strictly dichotomous categories, and suddenly the "game of the three" became the principle on which all the work set ... from then on everything started to come together with an amazing numerological consistency in the creative process. We are three people with different and complementary skills to the things we do, in Triplicity treated with equal importance, and with similar techniques, image, sound and text , the live set has three parallel screens, the description of phenomena Urban relies on three ways of reading the city as a system of surfaces, as a system of streams and as a system of signs ... I could go on like this, have done nothing to discover, invent and articulate "triplets" of every kind ...
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LC I see from your website that the two main series on which it develops a concern Avrech own documentation and recording of performances and VJ-set (it should be said here that the second job inaugurated the label is just a recording of your VJ sets, electronic balancing)
The other strand of the production you have instead called "toolkit" as if it were an artist's toolbox working in the live media. Was this your intention?
OK .. but not only the artist, a concept that on the other hand, there is still more ineffable and alien. Taking the example of their
Triplicity, which is the prototype of the Toolkit is an object that could be used to make urban planning or a university lecture in anthropology to show how the media production is changing the way we perceive and live the 'human environment and interpersonal relationships ... and could also be heard as a collection of field recordings without looking at the pictures ...
's upcoming projects, if we could continue the project of publishing - and we must say that right now the economic prospects for such an undertaking seem harsh - would include areas very different from the context of a purely artistic production: the creation of forms of self-narration public spaces and community from the bottom, for example, or visual records of family memories recorded on super 8 ... all projects in which the active participation in giving meaning the material appears to us very important. On the other hand we feel that at this time also the art world is paying great attention to the redefinition of the role of the artist as a catalyst for action for public awareness and active involvement in the creation of shared processes.
LC Avrech last question I wish to emphasize your choice to talk about licensing and it reiterates its decision to adopt the Creative Commons license. I want to talk?
OK For years, we go around the sidewalks all over the world "Stealing" images. Signs, stories, conflicts and emotions that come from those who lived in those places beat them, sanded, altered, demolished, hated or loved. We would be presumptuous to want to sell this stuff as if it were our own. We claim the right to recognition of the process we carry out in underground streams and elements to sound spontaneous, not the possession or ownership of our works, which are the product of a constant listening and comparison of stimuli, ideas, voices, sounds, emotions , conflicts that we go through and we change. At a time in which everyone on this planet seem to scramble to claim the privatization of something to sell to others, we are firmly convinced of the need to re and defend the concept of "common good". We common ...
LC Let's talk a bit 'of you.
I want to know more about how the project was born Ogi: no Knauss, what are your main areas of research and possible common points of reference to all three.
OK We were resident students in Florence, we wanted to make a movie together, we found ourselves in a large area to create the Self-Paced Laboratory Mutant Cinema, little by little we realized that in that context did not make sense to think of just putting up our backyard ... we were in an area that testified and claimed its own autonomy, meant to stay inside and make choices in life policies also influence the way we make films and artistic production ... vj-ing, hence the practice of surfing as emotional openness and exchange with other languages \u200b\u200band other collective attention to spatial context and conflict for the autonomy of areas, participation in network independent communication ... and then the tehcno cultures, and the phenomenon of the apparently frivolous rave, which in our opinion still not enough credit has been restored as the average sub-culture.
LC What was the passage that brought you to investigate the idea of \u200b\u200bHyperfilm and urban landscapes?
OK Just what we were talking about now: once done our short film, having traced a traditional film production in all its steps and its set rigidly hierarchical roles, from writing a script to build a studio in which to shoot (and even the physical construction of a cinema in which to project), there was spontaneous dismantle all break up the process and refuse to complete work, open a process that would follow the hyperfiction possible drifts in a collective sense, the case and situation of our work ... was followed by ten years of experimentation, sometimes completely failed, too, but never useless unproductive, sometimes fertile, able, however training ... we must say that after this story, now there returned a great desire to make a movie, just one of those that you sit back and you look at it with gusto.
LC As it develops, how it works and you have the idea that collective work ?
OK fatigue, frustration, depressing to dispel the impression much of their energy trying to explain what you can do simply, doubts, anger, fatigue. Then all of a sudden realize that it is worth and that there are things that miraculously well and give meaning and satisfaction at all ...
LC What are your relations with the machines? That is: how do you relate to technological devices you use to build your projects?
OK Pretty hard, we do not have a very fluid relationship with machines, we are not techies, we are respectful and fascinated by the technological possibilities, but we are slow and generally dwell on it to develop our use of technology that everyone is leaving to jump on more again ...
LC What relationship built (if you want to build one) with room to work and viewers / users / observers of your performance?
OK difficult question, however is a different matter. Absolutely we are interested in space as an integral part of our work. We do not think our performance as a stand-alone, disconnected from the context in which they occur, but as a specific attempt to build a situation in which location and time are a key component and unrepeatable.
We always prefer places exciting and special, allowing us to interact, to build a relationship, a dialogue, perhaps a long-term collaboration. We feel less involved in the gallery, museum or institutional situation in which somehow tries to put a frame around your work and maintain its separate neutrality.
LC Music: How to look at the more experimental electronic searches? Who cares?
OK There has always been interested in experimental music, the ability to develop innovative practices and our work has often drawn on the video to the range of techniques of electronic music, and not only to verify the domain of the production of image: loops, sampling, scratching, use of multiple tracks, the concept of live sets. The sull'autorialità speech and intellectual property was first put in crisis, and expanded the domain of electronic music and research the practice of plagiarism from the remix ... not to mention the rave culture, with all its implications ... and this has greatly influenced our work.
The list of those who are interested may be infinite, we're pretty omnivorous, not to mention that the three Semascus Miki has also trained as a DJ. But beyond the purely musical outcomes, beauty is, those that really interest us are musicians, which lend a particular attitude to their work at the level of political awareness or philosophical ... we think of as a collective Ultra-red, to twenty years and volcanic work a sampler of Bob Ostertag and the extreme synthesis of Rioja Ikeda, the most radical hip hop, Italian and foreign ...
LC Finally I would like one of your eyes on the panorama of Italian and foreign live media: Who you looking at? What do you like and what you do not like what happens in these years?
OK Answer delicate ... greatest respect for some collective producing things that are very distant from our show that we share that attitude towards the production ... Upside Down Dog historically, Opificio Cyclops, and then Otolab, Saints & Saule, among the youngest Reddit! Wong seem very good. But we are leaving out so many people that we value ... In general with regard to the international stage it seems that there are many things very interesting, but also pretty silly. A dynamically expanding the domain of graphic design extremely elegant but sometimes can not overcome the effect of videotappezzeria, to which we are quite unrelated, preferring to maintain a direct lineage that research with the practices of radical cinema.
