Page 65 - Studio International - November December 1975

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Along with Vienna, Schmidt is writing the script for a
commercial production called The Total Family, after
Heimito von Doderer's novel Die Merowinger oder Die
totale Familie.
Valie Export: Semi-narrative and local subjects are
also among the features of Valie Export's work in
progress called Invisible Adversaries (approximately 1
hour long). The film will be a collection of narrative
fiction and documentary, as well as conceptual and
formal parts along the lines of her last films.
Remote . . . Remote . . . 1973 (16mm, 12 min) is
concerned with paratime — the memory that is the key
to present behaviour. Human behaviour (not alone) is
influenced by events of the past. No matter how remote
these experiences are, they form a psychological
paratime running parallel to objective time.
Man & Woman & Animal 1973 (16mm, colour,

Peter Weibel World Cinema 1968-75

recorded how she did it. The projection system was : the
two 8mm films each above the other, the 16mm film
beside—so you see her bending in the 16mm film, and on
the 8mm films the ground and sky. Through the contrary
position of the cameras the film makes the total spatial
environment possible and visible. The film shows the
method and the result, the operator and the operations
Val ie Export Man & Woman & Animal 1973 simultaneously : the exploration of the environment, the
exploration of the body and the exploration of the
environmental body.
10 min) is an investigation of body communication Export organised a big European exhibition with
seen from the vantage-point of feminist art : 'what joins paintings, films, video, photographs and a symposium on
man and woman is natural history.'
'Feminism : Art and Creativity', in the gallery nächst
St. Stefan, Vienna, in the Spring of 1975. An excellent
catalogue was published on that occasion. Much
feminist art seems also to be in the projected movie on
how a woman's character changes, unremarked by the
forces of the political system : in the film the individual
loses his autonomy. With Weibel she is at present
shooting a script of 1968 World Cinema (this is not an
error, it's a wordplay with 'word' and 'world'), a language
film where verbal communication arises from eating
words and other plastic implementations of verbal
phrases.
PeterWeibel's work in progress is Kernkodifikate
(kernel calculi). Since 1967 he has defined cinema as a
conjunction of calculi, and his efforts have been
directed towards the extension of these calculi.
Kernkodifikate will be an investigation of the calculus of
cinematography. He uses the word cinematography in a
broader sense than film. It encompasses video, laser,
slide projector, photography, polaroid etc, all devices of
pre-cinema, para-cinema, post-cinema. Film for him is
cinematography reduced to filmstrip, the production of an
object. Narrative cinema and commercial cinema offer
messages that can also be presented in other media and
are therefore seldom autonomous, but frequently filmic
adaptations. Narrative cinema works with codes which
already exist outside the cinema and have developed over
the last thousand years. These are codes with fixed
meanings like body language, clothes, music, etc.
90% of cinema operates with these codes and only
10% with pure filmic codes. Hence it is possible to
Valie Export Adjoined Dislocations 1973 condense so much into a frame, retaining a picture still
coded after non-filmic codes. Because the problem of
Adjoined Dislocations, 1973 (16mm, bw, and 8mm, pattern recognition and picture semantics is not
bw, 10 min) employs two 8mm cameras bound to her referred to, it is possible to articulate this great amount
body. With them she made different body positions and in two hours or less. He wants to reverse the ratio : 90%
movements in different places. The 16mm camera filmic codes and 10% other codes. Naturally these films
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