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Zu Beginn meiner Videoarbeit DER MULTISPEZIES KUSS - WHEN SPECIES KISS habe ich Geschichten gesammelt. Jeder weiss eine Geschichte über Haustiere ob lustig, traurig oder rührend zu erzählen. Geschichten geben einen persönlichen Einblick in ein gesellschaftliches Thema, ein Spiegel wie wir Menschen mit Tieren, oder generell mit signifikant Andersartigem umgehen. Deswegen sind sie so wertvoll. Sie sind weder moralisch noch didaktisch. Sie sind menschlich, voll mit Liebe, Humor, Verlustangst, Trauer, Wut und Misshandlungen. Geschichten sind laut Donna Haraway grösser als Ideologien.
Die Textebene habe ich mit eigenem Filmmaterial und Footage aus dem Internet untermalt. Geschichten aus dem Internet, könnte man sie nennen, zu tausenden am Computer anzuschauen, auch dies ein gesellschaftliches Abbild.
In diesem Moment, vereint in einem Kuss, diesem einen ausserordentlichen multispezies Kuss, begegnen wir Tieren oder anders Artigem auf gleicher Höhe. Vereinen uns zu einem Natur-Kultur Universum und sind dennoch in dieser domestizierten, vom Menschen kreierten Welt gefangen.

At the beginning of my video work DER MULTISPEZIES KUSS - WHEN SPECIES KISS I collected stories. Everybody knows a story about pets, whether funny, sad or touching. Stories give a personal insight into a social topic, a picture of how we humans deal with animals, or generally with significant otherness. That is why they are so valuable. They are neither moral nor didactic. They are human, full of love, humor, fear of loss, grief, anger and abuse. According to Donna Haraway, stories are bigger than ideologies.
To the text level I have added my own film footage and footage from the Internet. Stories from the Internet, one could call them, to look at thousands on the computer. Also this a social image.
At that moment, united in this kiss, in this extraordinary multi-species kiss, we meet animals or other kinds on the same level. We unite to a natural-cultural universe and yet we are trapped in this domesticated, man-made world.


Film stills and film excerpt from DER MULTISPEZIES KUSS - WHEN SPECIES KISS, 2020
Full HD video, 1920 × 1080, stereo, full length 10min 45sec
if you wanna watch more, contact nadinecueni@gmx.ch

The club is dimly cloaked in blue light, interrupted by bursts of short white sequences. Pulsating bodies surface, moving to the bassline rhythm of clear techno and house beats, and disappear once more into the room’s darkness. Flickering, human-like figures continually appear on a vast LED screen behind the dancers, deformed into constantly shifting and regenerating pixel clumps and melting into the bodies on the dance floor. Disorientation is established. The stage, the stepped space arranged as a circle of sound system, the screen and DJ booth become an echo chamber of contemporaneity.

ON is the name of the event, and it can be understood as an omni-sensory trip through the post-digital now. Michigan-born musician and producer Laurel Halo is playing a set in a club built for a night event in the new wing of the Kunstmuseum Basel. On this balmy June night last year, the event’s organisers – curator Daniel Kurjakovic, art director David Rudnick and agency Planisphere – understood ON as ‘a live stage that, in a sensitive manner, links the museum as a repository of cultural energy with its exhibition programme and world-famous collection’.

ON was also, however, an elaborately produced, perfect simulation of contemporary club culture inside an internationally renowned museum of visual art that included key figures from global club and pop music. Californian producer Flying Lotus was flown in for an appearance, as were Berlin-based Laurel Halo and Aïsha Devi. Today, a year later – in the midst of a global pandemic – ON could also be read as a simulacrum (see too Jean Beaudrillard’s Simulation et Simulacres): a club night that is no longer imaginable in this manner and which no longer exists. The Kunstmuseum Basel was a fitting temporary home for euphoria, subfrequencies, collective dancing, sweating, embracing and kissing, in short, nocturnal excesses. The video sequences mixed together here – filmed by invitation from the organisers – are evidence and relics of the night.





The Corona virus crisis brought the operation of global club and pop culture to an abrupt end. In July 2020 nobody knows yet how long it will continue. While in other fields work has recommenced as previously, local and global music and club scenes face an endurance test the like of which they have never seen before. Musicians, producers, tour bookers, festivals, club and concert operators, technicians, sound engineers and (online) cultural magazines are on the brink of financial ruin in a market that was already oversupplied prior to the Corona pandemic. Given a music archive that can be accessed anywhere and at any time, live appearances in front of an audience are the main source of income upon which many depend. As I write this text, first reports of closures of important international performance locations are coming through, such as today, 28 July 2020, the Amsterdam club institution De School.





The dance floor or concert stage have always been – particularly for certain (micro) scenes – a field for experiment where societal norms could be questioned. This is a space where people of different social stripes find each other dancing to new sounds in a protected free space, deep in the night when most of society is already sleeping. Dance floor and concert stage are meeting places for secret networks of people following the same goal: furtively working on a better world for oneself and others. These are theatres of political power. Or has the pandemic revealed these theatres of political power as illusions? As microcosms that operate according to the same capitalistic rules and features as the mainstream (with the branding of one’s own work, aesthetic elitism and self-exploitation as working practice, for example)? Does music still have any meaning in the countries of Central Europe and North America, or is all that remains an empty shell?





Currently concert and club operators, like producers and musicians, are preparing for the worst, come autumn. Thanks to a warm summer, in at least some countries across Europe small daytime, open-air dance events can take place. Furthermore, most event locations have been on a summer break during this period, concealing the crisis in the music industry. But by the end of September, at the latest, this will be over. And it already looks as if entire branches of the cultural field will succumb to debt or unemployment. The probability of a vaccine against Corona virus having been developed by autumn/winter 2020-21 is slim.

This begs questions about the economics and the logic – or absurdity – of the music business that were urgent even prior to this crisis. How can we make, experience and think music radically differently? In the digital present, Western pop culture has largely lost its relevance as an engine of social change. What is more, our music consumption has long since become a product of Spotify, Discogs and Apple Music’s algorithms. Streaming and collation services harness the fact that the boundaries between reality and virtuality are ever more porous – and thus the music business was hacked. Free concerts and talks via live-streaming services such as Instagram, Facebook or Zoom during the 2020 lockdown sharpened this trend. Already prior listeners had been faced with a vast array of music at their disposal, the choice between various streaming platforms was almost overwhelming: Spotify, Tidal or Apple Music? YouTube, Soundcloud or Bandcamp? And then there is the mass of podcasts, online magazines and other, continually updating instant-access sources.

For the very reason that change in society is now only ever a few clicks away, we have to make, perform and organise music in a completely different manner. And bear in mind environmental discussions too. Developing platforms for communities, for example, that also function without digital data streams, yet which extend beyond city and country borders and which avoid the current decline into nationalism. Strong networks must be developed through which individualism doesn’t lead to isolation, competition, over-extension and ultimately burn-out, but networks which, in an ideal scenario, incentivise collaboration due to common interests and approaches. Platforms that make sense ecologically and economically. Could, perhaps, the length of live performances be stretched? Might the stage setting and the division of spectators be arranged entirely differently? Could light and sound be implemented another way – perhaps employing smartphones? Tours and appearances organised differently? The safety precautions to prevent Corona transmission in venues right now offer a possibility of implementing new forms of performance (including new forms of spectatorship) and creating new blueprints for the field. Because the old forms of rave and concert performance belonged, well conserved, in a museum, even before the pandemic.

→’ Download hut hut (.PDF)

As technical starting point, I was interested in filming as much close and accurate as I could in relation to the precision that our eyes can have in low light or night environments. Then I remembered that I am kind of color blind (Deuteranopia, is a type of red-green colour blindness in which the green cones in the eye detect too much red light and not enough green light). Somehow is not such a factor in my everyday life, until I cannot recognize the colour of a towel or what kind of colour has an old and rusty metal painted with enamel, or something similar to that. But probably the limits of this condition are extended to areas that for me are completely normal, whatever normal means.
But then it is also true that when we are seeing something we are not only taking in consideration what we see as if it is coming from the abyss, a lot of information surrounding the situation is with us, if we can remember from where we came from some hours ago, things can have etiquettes that can support our understanding.
At the moment some cameras can be quite impressive in their filming performance at night -photography aside-. And it is also true that after filming the only memory you have about the moment that you filmed, last around two months.
Its remoteness, size, and virtually pristine condition mean that large-scale ecological and evolutionary processes continue essentially as they have done since times immemorial.
photons can bounce on many things before they are even seen, photons can bounce on many things before they are even seen and then an interpretation can realize that it is an image.

Definition or misconception of the term pristine.
Then you want to move into lighting.

Light simulate the real world.
Quite often better than the real world

Lighting is a process of adding lamination {?} into the scene.
, so you can better see what you are looking at:

Also is a good way to include emotion and style into your projects?

Then when they are down, you want to think about materials__?

It looks like a soccer ball
but that does not mean that is fun for everyone.

photons can bounce on many things before they are even seen
photons can bounce on many things before they are even seen
and then an interpretation can realize that it is an image.

Meanwhile I was running thoughts on some that were transparent
*slants
all the rules of construction and agendas were inscribed on them
and, at least, on 7 or 3 slants, the narrators,
standing in a pretty precarious way, singing,
AT LEAST ONE space WAS PRETTY CLEAR AGAINST UNPAID INTERNSHIP
STATING THAT SHOULD BE ILLEGAL TO PROMOTE THEM.
Then you want to move into lighting:
Light simulate the real world.

Lighting is a process of adding laminas into the scene.

So, you can better see what you are looking at.

Also is a good way to include idleness and style into your projects/
I am quite sure that there are no birds so loud at night.

I kinda believe it now.

Like when subtitles jump from one line to another one, similar as a step
not on the same regular/legal size and your leg
Removed from the coercion of time

The construction of this detail, a concentrated spot of action,
is creating, one dark ear in each side of the image****.

como te quedo el ojito?
chiquitito,
bien lindo

the subtitle is shifting from grey to green and to grey and
then to green again and then Ich sah die detaillierte Tabelle (singing)...

Ihre Beziehung zum Kreis ist unbekannt.
Sie wussten nur, dass unbezahlte Praktikum illegal sein sollten.

The last two segments of the public sphere, remnants,
the streets to burn tires
and the places where all it is sold and bought
and the places where it is all sell and buy.

Meanwhile the factory just does not stop melting coffee
(2450 meters away from this point).

Follow me halfway, it is not that solong.

Our short field vision was increasing OUR MOTOR COORDINATION
TO SEE LESS WAAS ACTUALLY A CONDITION FOR OUR BODY TO NOT BE SCARED
OF WHAT WAS AHEAD.
PRACTICALLU ALL THE FULL SPECTRUM OF WHITE LIGHT
HEATING OUR RETINAS WAS CREATING AN EXPERIENCE
THAT WAS NOT EVEN OF WHAT IT MEANS TO SEE WHILE
RECEIVING SHADOWS EMANATED FROM OUR NOSE.

Historically, the relation between written and spoken language is a complex one.
Writing was not invented to reproduce spoken messages.
The earliest written texts represent transactions rather than sentences.
A beer account, for instance, lists of the amounts of raw materials (primarily grains)
delivered, the amount of beer expected and the name of the person responsible.
The layout of the clay tablet in different columns (and with totals on the back)
represents the syntax of the transaction.
We assume that the words for beer and grain were those in use at the time
in whatever language these ancient people spoke,
but the words do not add up to a grammatically sound sentence.
The structure of the earliest writing system may be compared
to a modern software package
that uses words from the colloquial language (in menus or field names)
but does not mirror in any way the common use of such words in proper sentences.
xCuneiform writing, the first writing system to be developed,
$was simple from a technological point of view.
All one needed was some refined clay of the right consistency and a reed pen.
Clay and reeds were both abundantly available in the southern area of what is now Iraq.
The longevity of cuneiform, which was used for more
than three millennia (from about 3,200 BCE to 100 AD),
may in part be ascribed to its unassuming medium and its low costs.
The other side of the coin is that clay is bulky
and heavy
and may be inscribed only for a certain period of time.
Once the clay has dried out it becomes difficult to add more text
—in practice a clay tablet cannot contain more than what one can write in a single day.
Cuneiform was used primarily for administrative purposes
Butbutbutbutbut
the idea of a ledger, where one adds new items every day,
was simply not within the realm of the possible.
Instead, daily transactions were written on small tablets
that were collected in a tablet basket.
At the end of the accounting period the entire basket was summarized
on a beautifully written multi-column tablet,
which incorporated the information of each daily tablet
and provided the totals at the end.

That restaurant, 150 mts away, in the kitchen
-only there- an audio is playing a sound
Like a radio
that is transmitting the sound of another kitchen from another restaurant.

La oca avanza poco a poco hacia las altas nubes.
Emerge hacia arriba rápidamente como las plantas de pantano.
Esa sombra tiene verde cómo la radioactividad de este verano.
And nobody bets on whistling.
Downward spiral section of the text.
Low clearence.
I wanna know: habilitation.
Statues about leisure.

A filter that can change the light of the national tv broadcast rusty chain of programs.
A foot that grips the ground.

Do I still know how to work?
Late intermediate scenario.

The Black Spider is a novella by the Swiss writer Jeremias Gotthelf written in 1842.
Set in an idyllic frame story, old legends are worked into a Christian-humanist allegory
about ideas of good and evil.
Though the novel is initially divided,
what is originally the internal story,
later spills over into the frame story as well.
The story is characterized by its complex narrative structure,
its conservative Christian motifs and symbolism,
and its precise descriptions of the social dynamics of the village.[

Caveat means Warnung

This image could have got a ship
wearing a bamboo mess.

”A collector can do what he wants with his money,” Medina said.
.....“But at the moment he takes the step from being
a private collector
to having a foundation and museum,
at that moment he has public responsibilities,
as much for legal reasons as symbolic reasons.”

The right foundation on our end wasn't in place to move the conversation forward.

This image could have got a tanned ghost.
The last picture could have got a main cone as the point of rotation.
Or an intense depiction of very bad weather.
A list of books with ambiguous endings and steam cleaning videos.

I know this because I googled it, but someone did tell me when I was quite young
from front to back it means
that the energy of the household will be drained out like blood.

Lesson or example
Certificate
Security
Non-binding cortesy section of the text.

Even though we are returning to a feudal order
where a new economic elite will inherit great wealth and privilege from their parents,
networks can be said to have largely replaced the biological family
throughout the Western world as the entity that gives
individuals social and economic security.

Observing communities of which you are not really part
can become a little wearisome after a while.

Don't make any deal that you cannot deliver on.
Sage comme una Port.

The “dark” cinematography of several high-end productions over the last several years
has been a widely discussed topic amongst filmmakers and fans alike.
One thing I know for sure is that the creators are striving
for an immersive and cinematic experience
that helps them tell the best story possible.
No one is trying to make any shot hard to see or disorientating?
The final imagery is a creative choice approved by the DP, colorist,
director and producers before it goes out into the world.
The issue of how the final visuals are viewed
is further complicated by several factors
viewing device, streaming bit rates, compression,
ambient room light and TV calibrations.
If any single variable is not optimal,
low light level scenes
can be affected to the point of becoming
murky,
macro-blocked mayhem,
pure mud and joy.
When composing, lighting and color grading “dark” shots,
one can use COLOR, CONTRAST and/or DEPTH STAGING
to amplify the imagery and help show more definition even with low light levels.
When these 3 approaches are used at once, the shots
have a much better chance of helping
the viewers understand the geography and context of the shot.

Exactitud y precision buenas.
Exactitud deficiente y buena precision.
Exactitud y precision deficientes.
Wie kann ein zweiter pharmazeutischer Turm so lächerlich bedrohlich sein?
Makes me want to clean my house well before I die.