Catherine Yass talks about the dizzying aspects of her film Lighthouse.
– See also Catherine Yass, HASENHERZ.– See also Lighthouse.
These are the recordings of our one-day symposium, that brought together artistic and cross-disciplinary research on dizziness, with speakers from the fields of philosophy, visual arts, creativity research, psychbiology, medicine, architecture and cultural studies in the form of screenings, artists’ talks, lectures and discussions.
If we look at the history of analogue cinema, of cinema projected from film, perhaps we can take the question of vertigo as a red thread.
‘Dizziness’ is an English translation of the German word ‘Taumel’, which implies a broader semantic field including notions of physical and emotional disequilibrium, staggering, confusion, uncertainty, and turmoil.
The workshop will shed new light on disorientation and on how film artists throughout history use (optical) disorientation and confusion as a paradigm in their work. What can be gained by losing one’s grip, by simply letting go? What pictures arise with dizziness?
Confronting the cinematic image is always associated with a certain loss of control. The avantgarde could not have made this relation more explicit. What makes our heads spin and what state of mind is vertigo?
States of dizziness break up the given – be it habits, beliefs, preconceptions, or patterns – creating space and dynamics between established categories, habits, and perceived oppositions.
