- SHORT CONTENT DESCRIPTION

 What is an observer? What does it mean to stay outside an ongoing process or to get involved? When does observation shift to intrusion, what are the overall intentions and the consequences for those involved? This workshop aims to experiment and explore new angles on how we perceive - and record -  the world around us.

- DETAILED CONTENT DESCRIPTION

I like to offer in a workshop setting an approach to recording devices such as photo cameras and video recorder. Inspired by the writings of Roland Barthes and his investigation into the nature of photography the class takes a closer look into the role of the observer, the one recording, documenting an ongoing process.

What is the role of the observer? Is it to strictly document a process without manifesting any (additional) presence and thus manipulating the space? In this case can we talk about a recording from far away, or from a hidden location, without informing the dancers? What is the interest of the observer?

Can a recording be objective? If the intention of the observer is purely documentary, it implies a neutral, unemotional angle, a strictly technical and one-sided involvement in a process.

Is the role of the observer to impose its presence on the process? If it is, what are the requirements to do so? The observer can enter the space or spacial setting with the recording device and approach the dancer, crossing individual perceptive barriers, in accordance or not with the subject of interest. Crossing any of such barriers results in a manipulation of the subject, thus becoming an object, and a lack of objectivity in the recording (selection of frame, composition, layers etc.). A possible question is weather the observer adjusts his/her behavior to the given situation. Manipulation is established in any way and it can either go with or against the flow, irritate or stimulate the process. Being "inside" as an observer allows to respond to and not just perceive information. The recording device becomes an extended part of the body and illustrates the personal approach to the situation.

The process of taking photos is also determined by technical possibilities / limitations of the gear. Plus, what is the required media outcome of the session - private, internal document, installation, press, archive?

Roland Barthes distinguishes four different angles. "In front of the lens I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am and the one he makes use of to exhibit his art. (Camera Lucida p. 13, 1981). Visual layers as well as layers of perception and intention emerge on the recording surface."

We will use our own technical equipment and work in individual, small groups, exploring spacial settings and processes. Recording sessions will be summarized in group discussions, focusing on the experienced situation.

- SHORT BIOGRAPHY

Laurent Ziegler was born in Vienna in 1968 and studied contemporary dance at Spiral[e] in Vienna. Since 2003 he has been teaching youngsters and working as a free-lance photographer with a strong focus on dance and performing arts. Laurent seeks exchanges with dancers and media artists at the interface between performance and documentation. Working with kids, he is interested in a playful, authentic approach to movement, and looks for stories to be revealed and told, on and off stage.

- AIMED AT WHO (AND HOW MANY PEOPLE MIN /MAX?)

The curious mind (max. 30 people)