The opposition moving/non-moving is not one of many opposites, but the basic conflict that constitutes our perception, language and intellectual conception.
In 1896 Henri Bergson had, parallel to the beginning of film history, ‘faultlessly discovered’ (Gilles Deleuze) in his book Matière et mémoire the existence of movement images. In 1907 he noted in L’Evolution créatrice, that human perception tends to view ‘reality’ in self-contained, frozen states as some kind of ‘snapshots’ ‘Perception, language, intellectual understanding all proceed in this general way.’ Our perception apparatus can only intuitively infer real movement, the true duration, but we are unable to seize movement itself and comprehend it. Thus in the cinema, the sensing consciousness continually jumps back and forth between the comprehensible and the inconceivable.
With the kind support of Neustart Kultur and Stiftung Kunstfonds.
"When one evening in June 2005 Astrid Kühl, the then director of the Short Film Day Agency, introduced us to each other during the International Short Film Festival Hamburg, we had no idea of the adventure we were about to embark on: the exploration of a ‘film corpus‘ that had not yet been sufficiently perceived and defined in film history: that of Photofilm. We received active support from Robin Mallick, then director of the Filmfest Dresden.“
Gusztáv Hámos, Katja Pratschke, Thomas Tode
Gusztáv Hámos and Katja Pratschke
As media artists and artistic researchers, Gusztáv Hámos and Katja Pratschke have been working together on the theory and practice of intermedial arts for 20 years. Thus, their artistic practice includes video, film, photography, interactive and site-specific installations, walk-in 360° cinema spaces, as well as the curation of exhibitions, symposia, film series, workshops, and publications. With their installations and photofilms, they investigate how human cognition is changed by cinematography and which consequences the recording of image phases has for our perception of time, space, and movement. They are founding members of the Concrete Narrative Society e.V. and since 2021 artistic experts of SPUR.lab (Site Specific Augmented Storytell-ing lab).
Thomas Tode is a free lance filmmaker, curator and author based in Hamburg. Since 1994 he has lectured at various universities and curated projects for the Kinemathek Hamburg and the film festival Cinepolis. He has published books on Johan van der Keuken, Chris Marker, Dziga Vertov (2x), photofilm, essay-film, bauhaus & film and Battleship Potemkin.