The field trip is part of the pro¬≠ject Overflowing Environments
This is an invi¬≠ta¬≠ti¬≠on to walk, to wan¬≠der off, to mean¬≠der, to unlearn the fixa¬≠ti¬≠on on a wag¬≠ging fin¬≠ger, and to learn how to rela¬≠te to ‚Äúnatu¬≠re out the¬≠re‚ÄĚ without hier¬≠ar¬≠chies and without lear¬≠ning objec¬≠ti¬≠ves. Field trips allow us to expe¬≠ri¬≠ence and under¬≠stand on mul¬≠ti¬≠ple levels; we will use this approach for asking ques¬≠ti¬≠ons in our envi¬≠ron¬≠ment and of our envi¬≠ron¬≠ment. In two dif¬≠fe¬≠rent are¬≠as, we will make con¬≠nec¬≠tions bet¬≠ween peop¬≠le, films, the¬≠ses and approa¬≠ches that we hope hold the poten¬≠ti¬≠al for expe¬≠ri¬≠en¬≠cing and reflec¬≠ting on the rela¬≠ti¬≠ons¬≠hips bet¬≠ween humans and natu¬≠re, bet¬≠ween natu¬≠re and cul¬≠tu¬≠re, and bet¬≠ween non-humans and humans.
In doing so, we will also con¬≠si¬≠der our move¬≠ments, our appro¬≠pria¬≠ti¬≠ons, and our gaze and ter¬≠mi¬≠no¬≠lo¬≠gi¬≠cal regimes. Artists, theo¬≠re¬≠ti¬≠ci¬≠ans, envi¬≠ron¬≠men¬≠tal and natu¬≠ral his¬≠to¬≠ri¬≠ans will bear us com¬≠pa¬≠ny, help to shape the field trips and set the pace. Our paths will lead us from the phy¬≠si¬≠cal to the cine¬≠ma¬≠tic world and vice versa.
Our capa¬≠ci¬≠ty for per¬≠cep¬≠ti¬≠on deter¬≠mi¬≠nes how the world con¬≠sti¬≠tu¬≠tes its¬≠elf for us. In order to rai¬≠se our awa¬≠reness of this rela¬≠ti¬≠ons¬≠hip, we will turn to what is nor¬≠mal¬≠ly blan¬≠ked out. Bats and aqua¬≠tic insects seem far away, silent, and invi¬≠si¬≠ble; pre¬≠cise¬≠ly for this rea¬≠son they will be our com¬≠pa¬≠n¬≠ions for this field trip. They will help us to expe¬≠ri¬≠ence the ori¬≠gi¬≠nal mea¬≠ning of ‚Äúenvironment‚ÄĚ‚ÄĒ‚ÄúUmwelt‚ÄĚ, as coi¬≠ned by Jakob von Uexk√ľll in the ear¬≠ly 20th cen¬≠tu¬≠ry: the world that sur¬≠rounds us. Bats‚Äô and insects‚Äô envi¬≠ron¬≠ments are very dif¬≠fe¬≠rent from the human envi¬≠ron¬≠ment, even though we share the same sur¬≠roun¬≠dings. We will visit bats on the site of the for¬≠mer Plagwitz goods sta¬≠ti¬≠on and the under¬≠wa¬≠ter envi¬≠ron¬≠ments of Karl Heine Canal. For being able to obser¬≠ve in the¬≠se envi¬≠ron¬≠ments, we will need prosthe¬≠ses, or ‚Äúhacks‚ÄĚ, that enhan¬≠ce our sen¬≠ses: ultra¬≠sound detec¬≠tors and hydro¬≠pho¬≠nes that will allow us to lis¬≠ten to the inaudible.
Curupira (2018), 35 min
Deep in the Amazon rain¬≠fo¬≠rest, peop¬≠le from the Tauary com¬≠mu¬≠ni¬≠ty invi¬≠te us to lis¬≠ten to the sounds of the woods, the ani¬≠mal voices, the birds‚Äô cries. But the¬≠re are other, stran¬≠gers sounds, too: some¬≠thing is rum¬≠ma¬≠ging among the trees. Many have heard it, hard¬≠ly anyo¬≠ne has seen it; tho¬≠se who¬≠se paths it cros¬≠sed never retur¬≠ned. It charms, it bewit¬≠ches, it con¬≠fu¬≠ses the mind, it mis¬≠gui¬≠des peop¬≠le or car¬≠ri¬≠es them away. Each one tells a dif¬≠fe¬≠rent sto¬≠ry about it, try¬≠ing to make sen¬≠se of its calls. Curupira. Creature of the Woods is a quest for this crea¬≠tu¬≠re: a reflec¬≠tion on the myth and its place in our pre¬≠sent. A lis¬≠tening pie¬≠ce from the depths of the jungle.
Echo (2020), 12 min, expe¬≠ri¬≠men¬≠tal documentary
A grea¬≠ter hor¬≠seshoe bat‚Äôs call‚ÄĒemitted through its nose‚ÄĒtakes six mil¬≠li¬≠se¬≠conds to return as an echo from an object at a distance of one meter. The bats use the princip¬≠le of ‚Äúvisu¬≠al hea¬≠ring‚ÄĚ to pro¬≠cess infor¬≠ma¬≠ti¬≠on about their sur¬≠roun¬≠dings and pro¬≠du¬≠ce a pic¬≠tu¬≠re or map of them.
Echo tells the sto¬≠ry of my family‚Äôs aban¬≠do¬≠ned house in Hohenburg (Upper Palatinate/Bavaria), whe¬≠re the only colo¬≠ny of grea¬≠ter hor¬≠seshoe bats in Germany has been recor¬≠ded. Echo loo¬≠ks into the fact that this rare bat sur¬≠vi¬≠ves the¬≠re becau¬≠se next to the fami¬≠ly farm¬≠s¬≠tead a mili¬≠ta¬≠ry trai¬≠ning area was estab¬≠lis¬≠hed. Military trai¬≠ning are¬≠as turn out to be ama¬≠zing habi¬≠tats for many, espe¬≠cial¬≠ly rare or old plant and ani¬≠mal spe¬≠ci¬≠es. There is an envi¬≠ron¬≠men¬≠tal depart¬≠ment at the Hohenfels mili¬≠ta¬≠ry trai¬≠ning area that tri¬≠es to har¬≠mo¬≠ni¬≠ze mili¬≠ta¬≠ry training‚ÄĒthe US army prac¬≠ti¬≠cing urban warfare‚ÄĒwith natu¬≠re. My fami¬≠ly had to lea¬≠ve their house in 1939 becau¬≠se of World War II. They lost their land when the Wehrmacht took over the grounds, and short¬≠ly after my grand¬≠f¬≠a¬≠ther, still a teen¬≠ager, was sent to the front lines in Russia. (Katharina Wittmann)
Meeting point: Karl-Heine-Strasse, K√∂nig-Albert-Br√ľcke (King Albert Bridge)
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15:00‚ÄĒ16:30 Karl-Heine-Kanal (acoustic expe¬≠ri¬≠ments in under¬≠wa¬≠ter invironments)
break/time for wal¬≠king to the cinema
17:00‚ÄĒ19:00 LURU cinema
Film scree¬≠ning: F√©lix Blume: Curupira (35 min)
Film scree¬≠ning + talk: Katharina Wittmann: Echo (12 min)
21:00‚ÄĒopen-end: impul¬≠se by IG Fledermausschutz Leipzig (Leipzig Bat Group), was¬≠te¬≠land near the for¬≠mer Plagwitzer goods sta¬≠ti¬≠on (lis¬≠tening in bat environments)