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2017

Vergehen (Passing) – opera that you walk

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Multiple locations
20 minutes
3 EUR
German
Sound walk

Imagine that you take a walk at the river Isar in Munich. Your smartphone starts a conversation, involving you in a discourse about memories and the past. How would that sound?

It’s almost a pact: the smartphone lets us participate in the seemingly endless treasures of information and knowledge, all from a small personal companion. In return, we reveal our innermost and core, and – through touch – we practice some peculiar form of intimacy with it.

The audio walk VERGEHEN (Passing) engages with this topic from the futuristic perspective of a utopian technical promise: our experiences can be saved and replayed forever with a brain wave recorder, the memory will be indistinguishable from the original experience. So far, we had to painstakingly translate our experiences and emotions into language, art or music to be able to communicate them. With such a machine that wouldn’t be necessary anymore. Is that really something to desire? That’s one of the questions asked in VERGEHEN.

Excerpt

CC-BY-NC: Babak Fakhamzadeh

APA style reference

Nitschke, M. (2017). Vergehen (Passing) – opera that you walk. walk · listen · create. https://walklistencreate.org/walkingpiece/vergehen-passing-opera-that-you-walk/

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pedinamento

A highly influential ideologue of neorealism, scriptwriter and director Cesare Zavattini suggested “pedinare,” the Italian word for stalking or shadowing, as a technique for filmmaking. Pedinare in cinema entailed “tailing someone like a detective, not determining what the character does but seeking to find out what is about to ensue.” The etymology of the word in Italian suggests “legwork” as it is derived from the Italian word for foot, “piede.” It is possible to suggest that the proliferation of images of walking in Italian Neorealism is closely linked to the technique of pedinamento, not because all neorealist filmmakers were followers of Zavattini, but because going out onto the street to encounter the everyday life of post-war Italian cities and creating cinematic tools to articulate these encounters were major concerns for the filmmakers of that era.

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