Norman Klein is een cultuurtheoreticus en -criticus uit Los Angeles en auteur van The History of Forgetting: Los Angeles and the Erasure of Memory 1997 en The Vatican to Vegas: The History of Special Effects 2004. Het eerste boek neemt de afbraak van de wijk Bunker Hill in Los Angeles in de periode van 1960 tot 1980 als uitgangspunt. Met een breed arsenaal aan bronnen, variërend van de filmgeschiedenis van Hollywood tot aan romans en ‘docufabels’, beschrijft hij hoe het kan dat een ooit levendige wijk met 250.000 bewoners, die langzaam maar zeker ten prooi viel aan infrastructuur en vastgoedontwikkeling, vrijwel uit het collectieve geheugen is verdwenen. Het tweede boek gaat over special effects en scripted spaces, ruimtes die de kijker in het centrum plaatsen, hem vermaken, richting geven en zo als het ware deel maken van een vertelling scripted space betekent zoveel als ‘versleutelde ruimte’ of ‘draaiboekruimte’.
Built on Promises, the first collaborative project between architect Matthias Ballestrem and artist Anton Burdakov, seeks to question the intimate relationship between experience and image. How does the world of the sensible transmute into the second dimension? Spatial perception and the imagination this gives rise to are questioned in a series of photographic installations developed in and for PROGRAM’s exhibition space. As visitors move about in the exhibition, so too will their frames of perception shift. What exists, what had existed and what might exist become blurred and challenged.
Thanks to new wireless technologies (WIFI, GPS, RFID) and mobile media, public space is subject to drastic changes. It is being traversed by electronic infrastructures and networks, and alternative cultural and social domains are evolving, though often invisible from a conventional viewpoint. The traditional physical and social conditions of the public domain are being supplanted by zones, places and subcultures that transcend the local and interlink with translocal and global processes. The question is whether there are also new opportunities for the individual and for groups to act, participate and intervene publicly in this hybrid, seemingly flexible space. How do people appropriate the new public spaces? Where does the ‘public’ take place in this day and age? Who shapes and moulds it by devising spatial, cultural and political strategies?
The Holy Theatre
By Peter BrookI am calling it the Holy Theatre for short, but it could be called The Theatre of the Invisible-Made-Visible: the notion that the stage is a place where the invisible can appear has a deep hold on our thoughts. We are all aware that most of life escapes our senses: a most powerful explanation of the various arts is that they talk of patterns which we can only begin to recognize when they manifest themselves as rhythms or shapes. We observe that the behaviour of people, of crowds, of history, obeys such recurrent patterns. We hear that trumpets destroyed the walls of Jericho , we recognize that a magical thing called music can come from men in white ties and tails, blowing, waving, thumping and scraping away. Despite the absurd means that produce it, through the concrete in music we recognize the abstract, we understand that ordinary men and their clumsy instruments are transformed by an art of possession. We may make a personality cult of the conductor, but we are aware that he is not really making the music, it is making him—if he is relaxed, open and attuned, then the invisible will take possession of him; through him, it will reach us.