Presenters at Raum D / quartier 21 (MuseumsQuartier)


tess_martinTess Martin – Animation Artist (US)

Tess Martin is an animator who is inspired by materials, and has made films in sand, cut-outs, paint, ink and markers. She enjoys letting the audience in on how the films were made, and therefore the process of creation is often evident in her work. Themes of her films have included memory, relationships, human-animal communication, the environment, and politics. In this presentation she will show some films that have appeared in festivals worldwide, a few early films, and some brand new work, while demonstrating the techniques used on a backlit animation stand.

 Topic of the presentation/wokshop: "Process, Process, Process!"

Tess will show clips from and and discuss the techniques behind her films Plain Face (back-lit cut-outs), The Whale Story (mural animation and pixillation), Hula Hoop (sand), They Look Right Through You, One Night in Florida (marker on glass), and Mario (paint on glass). She will demonstrate the basic procedures used on a back-lit animation stand. In this practice-based presentation you can participate with questions and discussion. 

Elizabeth HobbsElizabeth Hobbs – Animation Artist, Lecturer (UK)

Elizabeth Hobbs is an award-winning animator based in East London. She trained as an illustrator at Edinburgh College of Art, and on graduating in 1991, began publishing small editions of her own artist’s books and prints.  She began making films in 1998 at Duncan of Jordanstone College of Art, Dundee. In 2000, Elizabeth was awarded an Arts Council of England/Channel 4 Animate! commission to make her film The Emperor (4’20”), an animation about the Napoleon Bonaparte's last moments on the island of St. Helena rendered in watercolour. In 2001, Elizabeth made The Witches (6’30”), this film was written by Morag McKinnon and commissioned by Cineworks in Glasgow.  In 2002, Elizabeth moved to London and in 2004 wrote and developed The True Story of Sawney Beane (10’39”), a film based on the life of the infamous Scottish cannibal from his aged mother’s perspective.  This film was made in co-production with the National Film Board of Canada and Red Kite Productions in Edinburgh. The Old, Old, Very Old Man, (6’38”) was the recipient of many awards including the Tricky Women Film Festival artist’s residency award. In 2013, Elizabeth finished her film Imperial Provisor Frombald, which was created with hand carved rubber stamps printed directly onto 35mm film.  Elizabeth also runs animation workshops in museums and galleries and lectures at Anglia Ruskin University in Cambridge. 

Topic of the presentation: "Bringing print and paint to life with animation"

I will talk about my practice as an animator, and the films that I have been creating since 2001.  In the production of my films I use many different materials and methods but their creation always springs from the tools and materials of drawing, painting, printmaking and my background in the production of artist’s books.  This position also informs my teaching, workshops and collaborations. The film narratives are found in libraries and archives, and represent small, sometimes imagined, incidents in familiar history.

Simone GristwoodSimone Gristwood – Researcher, Lecturer (UK)

Dr. Simone Gristwood is currently Research Curator of the Lansdown Archive at Middlesex Universtiy working with the archive of computer arts pioneer John Lansdown and funded by the Paul Mellon Centre for Studies in British Art.  She received her Ph.D. in Cultural Research from Lancaster University in 2010. Her thesis investigated links between the beginnings of photography in the 19th century and artificial intelligence (AI) in the 20th, through art historical and philosophical debates. She has worked on numerous archives including that of Japanese pioneer Hiroshi Kawano (1925-2012) at ZKM|Zentrum für Kunst und Medientechnologie in Germany, and has met and interviewed both Kawano and Masao Komura of the Computer Technique Group (CTG) when visiting Japan in 2009. More recently she has worked with the Royal College of Art to rediscover the work of L. Bruce Archer through his personal archive and the archive of the Department of Design Research (Royal College of Art) that is held at the Victoria and Albert Museum, London. 

Topic of the presentation:  Computer Arts – the Digital to the Analog

The history of computer arts is a story of pioneers experimenting with the expanding technology of digital computing as early as the 1960s.  These pioneers included members of the Computer Arts Society in the UK, not least one of its founder members, John Lansdown (1929-1999).  Lansdown was interested in all areas of the computing in the arts, but had a particular interest in choreography, which he pursued throughout his career.   This paper will focus on approaches to computer arts, and discuss the example of Lansdown’s choreographic work as an interesting example of utilizing digital technology to investigate human movement through computer-generated performances.

Monika SchwaerzlerMonika Schwärzler – Researcher, Lecturer  (A)

Senior research faculty at Webster University Vienna, Department of Media Communications; Ph.D. in Philosophy from the University of Vienna; graduate training at the Museum of Modern Art in Vienna; taught at Webster University  in St. Louis, MO and in the study abroad program of the University of Oregon; lectured at the International Summer School of the University of Vienna and in postgraduate museology programs at the University of Basle (CH); founder and Chair of the T.K. Lang Gallery at Webster University
Current fields of research: art and media theory, photography, visual culture

Topic of the presentation: “An Ear for a Film” - On the Sonification of Digital Worlds

The presentation will try a close-reading of two animation films by the Swedish artist Magnus Wallin. Both films, “Exit” and “Skyline”, feature digitally created, fictitious protagonists who owe their existence to specific computer programs. They perform in a world of unknown physical conditions which seems to defy any mapping or cognitive model of its location. Wallin´s composite beings act as representatives of settings we have not experienced and cannot access. They are of a different kind. Yet, when we hear their panting and groaning and their heartbeat, we can relate to them. The familiar sound of a bodily sensation instigates our identification with a digital offspring running for his/her life.

My thesis will be that it is mainly the sound-track which enables the viewer to maintain perceptual ties with these computer generated worlds. On the one hand, the sound of these films pulls the audience into a different universe and system, on the other hand, it is the acoustic design of the film actions that works as a powerful confirmation of the sonic coordinates we are familiar with. (Monika Schwärzler)

rackoeviWerner Raczkövi – Mechanical Wizard  (A)

Born in Ingolstadt Bavaria. Apprenticeship as a mechanic in the mechanical workshop of the "Wien Film", Studio Rosenhügel. Radar observer and evaluator for the mobile radar flight reporting.  1966 Research-mechanic in the experimental workshop of the AKG development lab (acoustic and cinema equipment). 1967 Service technician at ORF. 1968 -1969 House technicians of "Austrian Telefilm". 1969 Technician at "H. W. Piety", the Austrian representation of ARRI Munich, Steenbeck Hamburg, Berlin Crass, Angenieux Paris , Puck Munich, Hamburg KEM, Neilson Hordell London, Perfectone Biel, Killi Munich and many others. 1979 Started his own company "RACINE Cinetechnik ". 2004 closing of his company due to retirement .

Topic of the discussion/presentation: "Ghost in the machine - the mechanics behind film"

Werner Raczkövi will talk with Franziska Bruckner and Nikolaus Jantsch about his experience with mechanical devices and their influence on style, content and direction of analog motion-media production.


Nikolaus KoenigNikolaus König – Researcher, Lecturer  (A)

Nikolaus König is a media scholar and play theorist with a background in the humanities. His work focusses on the relation of human experience, mediated meaning generation and the construction of fantasies through media narratives. He has conducted research at the University of Vienna and the Massachusetts Institute of Technology and is currently teaching at the Danube University's Center for Applied Game Studies.

Topic of presentation: "Trust Me - It's Magic"

Throughout history, artists have used all kinds of media to make fictions and fantasies appear real and to enable immersive experiences for their audiences. While in the age of digital animation, interactive simulation and videogaming, the possibilities to create such fictional worlds have grown immensely, so has our awareness of the artificiality of mediated experiences: challenged by the question "Is this even real?", media producers have to thread carefully when attempting to lure an increasingly suspicious audience into their fantasies. 

Based on a re-evaluation of Johan Huizinga's concept of the "Magic Circle" and Bateson's considerations on "play and fantasy", the talk will assess the problem of media experiences and artificiality, and try to balance the opposition between doubt and make-believe: what do audiences expect when they immerse into media fantasies, and what can media producers expect from their audiences? Are media producers just pulling tricks on us, or might there be actual magic invoved? And if so, who is "working the magic" in the first place?

Jürgen HaglerJuergen Hagler – Researcher, Lecturer, Curator (A)

Jürgen Hagler is an associate professor in the Digital Media department at the Upper Austria University of Applied Sciences (Hagenberg, Austria) and is in charge of computer animation and animation studies. He became the programme coordinator for the Digital Arts master’s degree programme in 2009. Since 2008 he is actively involved at Prix Ars Electronic. 

Topic of the presentation: "Prix Ars Electronica: Redefining the Boundaries of Computer Animation"

Since the mid 1980s, the Prix Ars Electronica has continually documented the genealogy of digital animation with its category “Computer Animation”. This category has featured tech demos, short films produced with tools developed by their creators, artistic avant-garde animations, commercial films, visual effects works, and narrative character animations. Examining the most recent winners reveals a wide range of media forms: hybrid stop-motion animations, found-footage films, generative and interactive works, installations in an exhibition context and building façade projections. Since the boundaries between the various forms and genres of digital animation have become more and more blurred, this category is facing a serious question: does computer animation even fit into a category anymore? Through examples of recent Ars Electronica award-winning works, Juergen Hagler will discuss transgressions, fringe areas, trends and future developments in the field of computer animation.




Franziska Bruckner

Franziska works as film scholar at the faculty of Theater-, Film- and Mediastudies in Vienna and is Co-Coordinator of the AG Animation, a workgroup within the German-speaking Animation Studies. She is also a board member of ASIFA-Austria. Her main research focuses on animation, experimental film and various relations between fine arts and film.

For a more detailed CV and a list of publications please visit: link: >>

langHolger Lang

Holger works as assitant professor at the media-communications department of Webster University Vienna. His research is focusing on the effects and functions of images in time-based media and the application of these in practical artistic work. Besides his career as artist he is organizing media related events like this symposium.

For detailes about his accademic work please visit: link: >>