This trailer was produced with a sony dv cam in 2000 as a preview for an interactive video and soundinstallation, shown at the trans art festival Labin | Croatia 2000.

The reason why i was uploading this sequence is because i was filming parts of it with an experimental buto dancer group that was practicing on a regular basis in a graveyard. I never have seen them again but i would like to make a new project with them in tokio so hopefully i could open some contacts.

The following is a theoretical text written by Elke Krasny about the project.

Following thoughts are based on Gottfried Semper's idea of the three covers (skin/clothing/house). the media to materialize these thoughts is an installation using the metaphors of skin, clothing, house and the temporalization of images and acoustic material within their specific conditions.

the thesis is based on prevailing cinematic codes and strategies that do have an affirmative relation to conventionalized narrative structures and to affirmative terms of interactivity and virtuality. This thesis claims a further development and staging of cinematic codes within the production of art videos

Principals of creation that have been established by the cinema and especially avantgardefilms will be realized as elements of installations thus surpassing the conventional possibilities of cinematic experience as not only images and sound will be related with each other but also the real space.

through this installing of elements the film itself is deconstructed temporized and spatialized. Time and space, that are determined through the fixed sequence moving from one cadre to the next claim their own totality guiding the looks through this their specific narrative power, will interact in a new and qualitatively changed way.

For the composition we create single acoustic miniatures that can be described as tone, sound or noise and can vary from semantic entities of sound to metric entities. Plenty of these elements with open valences can be combined, accelerated, stopped or repeated through the intentional strategy of the composition, through the order of the mediainstallations or through external impulses. In the same way images, sequences of images, words or sequences of texts will be used.

The homogeneous text of the narrative of life turns out to be fragmented, but only for the spectator, not for the narrator that through the text becomes fictionalized. Just as the spectator in the movies knows about the things to come through various cinematic means. So the spectator might know the threatening enemy of might see a bright woman as victim whereas she is still revelling in happy memoirs. (Suspense)

We want to make readings like this possible with hybridtopia and at the same moment offer immediate experiences. The image constituting moments such as skin/clothing/architecture are narrative movements in the space, that is constructed through the dimensions of form and content and analytic as well as media-immanent dimensions.

Trailer: Paul Weihs 2000 | Tokio 5'28
Camera: Paul Weihs, Kurt Kladler
Postproduction: Paul Weihs
Sounddesign: Vlado Divljan, Paul Weihs