Kapitel Drei: Visuelles Erzählen unter Echtzeitbedingungen als künstlerische Darbietung

From Live Cinema Research

"Do not try to interpret or explain the word rave to someone who has not experienced the pure extasy of being in total harmony with his or her surroundings, i.e. the feeling of safety dancing within a crowd of smiling faces, of the rush of a DJ taking you on a mind trip down into the dark caverns of trance and then up to the highest peeks of spiritual utopia. Do not try to explain. Just tell them to open their minds" DJ Culture s.286 (Flyer Text 1992 Club Nasa)

Neben sozialer Relevanz, und strukturierter Syntax ist ein wesentlicher Aspekt des Live Cinemas die Aufführung selbst. Echtzeit oder Live sind Worte die in diesem Zusammenhang genannt werden müssen, aber auch Ambiente und Publikum spielen eine wichtige Rolle. Im Gegensatz zum Kino ist die Aufführung hier von einseitiger Interaktion geprägt die durch den Energiefluß und daraus resultierender Kommunikation mit dem Publikum gesteuert wird. Aufführungen in verschiedenen Umgebungen machen das Live Cinema besonders interessant - erreicht man dadurch verschiedenste Menschen mit unterschiedlichsten Ambitionen. Performances haben eine lange Tradition in der Geschichte der Menschheit. Sie verbinden das vermitteln von Informationen mit einem Unterhaltung. Als Magnet für größere Gruppen von Menschen fungieren sie auch als Orte für sozialen Kontakte.

Echtzeit - Interaktion und Kommunikation

expanded cinema 82: Actually the most descriptive term for the new cinema is "personal" because it's only an extension of the filmmaker's central nervous system.

Warum live? - Energiefluss Publikum/Aufführung

- - Shamanen und andere Energieformen

- Wie funktioniert hier die Kommunikation?

- Performer als Vermittler (engl. Mediator). - - The goals of Immediatism lie somewhere along the trajectory described roughly by these three points (Pygmies, Plains Indians, Balinese), which have all been linked to the anthropological concept of "democratic shamanism." Creative acts, themselves the outer results of the Inwardness of imagination, are not mediated & alienated (in the sense we've been using those terms) when they are carried out BY everyone FOR everyone--when they are produced but not reproduced--when they are shared but not fetishized. Of course these acts are achieved thru mediation of some sort & to some extent as are all acts--but they have not yet become forces of extreme alienation between some Expert/Priest/Producer on the one hand & some hapless "layperson" or consumer on the other. [1]

Moderne Orte der Energie

- Konzerte

- Happenings/Fluxus

- Clubkultur

- Theater

Strukturelle Aspekte der Aufführung

- jazz improvisation

http://www.pbs.org/jazz/lounge/101_improvisation.htm

[2]Even so, Theater occupies a much higher place on the imaginal Scale than other & later media such as film. At least in theater actors & audience are physically present in the same space together, allowing for the creation of what Peter Brook calls the "invisible golden chain" of attention & fellow-feeling between actors & audience--the well-known "magic" of theater. With film, however, this chain is broken. Now the audience sits alone in the dark with nothing to do, while the absent actors are represented by gigantic icons. Always the same no matter how many times it is "shown," made to be reproduced mechanically, devoid of all "aura, " film actually forbids its audience to "participate"--film has no need of the audience's imagination. Of course, film does need the audience's money, & money is a kind of concretized imaginal residue, after all.