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	<title>MemScreen ProjectsMemScreen Projects | MemScreen Projects</title>
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	<description>a summary of projects by the MemScreen Research</description>
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	<itunes:summary>a summary of projects by the MemScreen Research</itunes:summary>
	<itunes:author>MemScreen Projects</itunes:author>
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	<itunes:subtitle>a summary of projects by the MemScreen Research</itunes:subtitle>
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		<title>MemScreen ProjectsMemScreen Projects | MemScreen Projects</title>
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		<title>Doing Memory. Artistic Practices in the Politics of Memory and History</title>
		<link>http://memscreen.info/2013/05/23/doing-memory-artistic-practices-in-the-politics-of-memory-and-history/</link>
		<comments>http://memscreen.info/2013/05/23/doing-memory-artistic-practices-in-the-politics-of-memory-and-history/#comments</comments>
		<pubDate>Thu, 23 May 2013 10:12:06 +0000</pubDate>
		<dc:creator>Friedemann Derschmidt</dc:creator>
				<category><![CDATA[MemScreen Projects]]></category>

		<guid isPermaLink="false">http://memscreen.info/?p=193</guid>
		<description><![CDATA[Date: 13 – 15 of June 2013; 9:00 – 18:00 Venue: Academy of Fine Arts Vienna (Akademie der bildenden Künste Wien), Schillerplatz 3, 1010 Vienna The art-research conference “Doing Memory”, taking place from 13th until 15th of June 2013 at the Academy of Fine Arts in Vienna, examines proposals of artistic practices in the context of politics of memory and visual research, primarily in Israel and Austria. Artists and researchers will present case studies in order to observe together the way local politics of memory and history are represented, constructed, neglected and also interlinked with each other. The conference will bring together researchers (historians, sociologists, visual anthropologists, museologists), theoreticians, artists as well as art based researchers and curators, who will present or comment on their work in “Art-Research-Dialogues” in order to develop an understanding of what art-based methods in history are, of how artists use and develop new research methods and what kind of knowledge is produced in this process of entanglement. &#160; List of the speakers: Tal Adler (artist, AUT / Israel), Yochai Avrahami (artist, Israel), Vida Bakondy (historian, AUT), Haim Ben Shitrit (artist, Israel), Friedemann Derschmidt (artist, AUT), Udi Edelman (curator, Israel), Tomer Gardi (writer and artist, Israel), [...]]]></description>
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		<title>Leveled Landscapes</title>
		<link>http://memscreen.info/2011/09/12/leveled-landscapes/</link>
		<comments>http://memscreen.info/2011/09/12/leveled-landscapes/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 12:00:40 +0000</pubDate>
		<dc:creator>Tal Adler</dc:creator>
				<category><![CDATA[Slideshow]]></category>

		<guid isPermaLink="false">http://memscreen.info/?p=121</guid>
		<description><![CDATA[The project researches the way Austria was (and still is) dealing with its history by looking at policies and practices regarding landscape and memory. The project is based on a series of landscape photographs from all over Austria, shot through a spirit level (bubble level). The selection of the landscapes in this series is based on a research on their histories and the memory related to them. Analysis of these landscapes and their stories reveals policies of memory and history in Austria, mainly but not only in respect to its National Socialist past. The spirit level is a precision measurement tool; it is the precondition for leveling grounds and constructing new realities and evidence. It provides a visual assurance and a sense of reliability, and is commonly used as a tool in photography to assure a “natural” perception of the landscape. It is usually embedded in the photography equipment itself, and remains always “backstage” and invisible in the final image. Landscape, one of the first subjects of photography, and one of the most captured, is neither neutral nor innocent. The project raises questions regarding how we perceive and want landscape to be rendered; what is an acceptable and desired form [...]]]></description>
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		<title>The Phantom of the Poet</title>
		<link>http://memscreen.info/2011/09/12/das-phantom-der-erzahlerin/</link>
		<comments>http://memscreen.info/2011/09/12/das-phantom-der-erzahlerin/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 11:00:19 +0000</pubDate>
		<dc:creator>Friedemann Derschmidt</dc:creator>
				<category><![CDATA[Slideshow]]></category>

		<guid isPermaLink="false">http://memscreen.info/?p=11</guid>
		<description><![CDATA[&#160; Israeli poet Ilana Shmueli is researching memory.  She is investigating her own memory of a story that happened, as she puts it, “at the margins of the Holocaust”; and she has some astonishing findings. Liane Schindler (Ilana Shmueli) was born in 1924 in Czernowitz (then in Romania).  In October 1941 all Jews were required to gather their things and move to the Ghetto. While carrying the family’s luggage to the Ghetto,  17 year old Ilana was accosted by a Romanian Army officer who offers his help.  His help, apart from carrying the heavy suitcases, includes an offer to escape Czernowitz with him.  Ilana refused. Ilana and her family survived the Holocaust and immigrated to Palestine in 1944. Although it had no bearing on her survival or on her later life, time and again Ilana keeps telling the story of the officer, making it the centerpiece of her “Holocaust Story.”  In each retelling the story takes unexpected new directions. She can visualize many details but not the officer’s face.  A police artist is brought in to create a facial composite of the man, and objects from her past are used as evidence in her attempt to catch the phantom of [...]]]></description>
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		<title>Dispersed Fragments</title>
		<link>http://memscreen.info/2011/09/12/bezirksmuseums-projekt/</link>
		<comments>http://memscreen.info/2011/09/12/bezirksmuseums-projekt/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 10:00:05 +0000</pubDate>
		<dc:creator>Tal Adler</dc:creator>
				<category><![CDATA[Slideshow]]></category>

		<guid isPermaLink="false">http://memscreen.info/?p=89</guid>
		<description><![CDATA[&#160; A visual-textual tour through Vienna’s “places of memory” by Tal Adler and Karin Schneider We investigate Vienna’s “places of memory”, where history is displayed and taught: Small district museums (Bezirksmuseen), that are not prestigious, hardly included in official guides but rather in elementary schools’ field trips; memorials like “The Exhibition in Vienna’s Otto Wagner Hospital: On the History of Nazi Medicine in Vienna”; or non-official Memorials like the Flakturms (military towers from WWII). On the other hand we examine details of the displays in the big, representative institutions like the military museum (Heeresgeschichtliche Museum), or the museum of Vienna (Wien Museum). All of these representations of memory invite multiple interpretations and support different aims and agendas, which pertain to different viewpoints of the past as well as of the present. Our project provides a series of photographs of these places with sometimes surprising displays, room installations, specific objects and tableaus combined with texts about the findings. The texts are also based on interviews with experts in this field and the workers of the institutions. Our aim is to understand how the production of history and its blind-spots functions in Vienna, a place so permeated with history. &#160;]]></description>
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		<title>8 x Roubiček</title>
		<link>http://memscreen.info/2011/09/12/8-x-roubicek/</link>
		<comments>http://memscreen.info/2011/09/12/8-x-roubicek/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 09:00:24 +0000</pubDate>
		<dc:creator>Friedemann Derschmidt</dc:creator>
				<category><![CDATA[Slideshow]]></category>

		<guid isPermaLink="false">http://memprojects.ritesinstitute.org/?p=1</guid>
		<description><![CDATA[&#160; &#160; &#160; Marcel Roubicek is a blind old man living in an old-age home in Prague. In 8 x Roubicek he tells his life’s story in eight interviews.  The interviews are conducted by alternating male and female interviewers in Czech, German, Hebrew and Arabic: the languages though which he lived his unlikely tale.  The final result is a multi-channel video installation concerned with identity, language, memory and storytelling. &#160; credits: Yakov Stiassny, Tal Adler, Abbe Libansky, Barbara Zeidler, Osama Zatar, Jasmin Avissar, Ghalia Jaber, Jana Hradilkova, Thanks to Hubert Mühlbacher, Yoav Weiss, and Břetislav Tureček &#160; See video bigger: http://ritesinstitute.org/Roubiskizze.mp4 &#160; Foto: Tal Adler; Project by Friedemann Derschmidt Foto: Barbara Zeidler A Poject by Friedemann Derschmidt]]></description>
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		<title>The Skull Collection at the Natural History Museum, Vienna</title>
		<link>http://memscreen.info/2011/09/12/die-osteologische-sammlung/</link>
		<comments>http://memscreen.info/2011/09/12/die-osteologische-sammlung/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 08:00:48 +0000</pubDate>
		<dc:creator>Tal Adler</dc:creator>
				<category><![CDATA[Slideshow]]></category>

		<guid isPermaLink="false">http://memscreen.info/2011/09/19/die-osteologische-sammlung/</guid>
		<description><![CDATA[The Anthropological department at the Natural History Museum in Vienna stores a collection of approximately 40,000 human skulls behind glass vitrines. Since the founding of the Department in 1876, various specimens were collected to provide research material for the developing field. A current research on the origins and purpose of the skull collection, lead by head of the department, Dr. Maria Teschler-Nicola, is underway. A part of the collection with around 10,000 of the skulls is stored in a 30 meters long and 4 meters high display, located in a long hall at the anthropological department at the museum. Tal Adler photographed it, traveling parallel to the display, with over a hundred high-resolution captures. The files will be “stitched” together to create a super high-resolution, life size print of the skull display. The hall-size print will be exhibited in representative and national institutions at the various origin countries of the skulls. The exhibitions will offer symbolic restitution. They will offer a platform to continue national and international discussions regarding the fate of artifacts and human remains exhibited and stored in museums and archives. Communities and peoples’ representatives will be asked to participate in events around the exhibition, telling about the [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>The Skull Collection at the Natural History Museum, Vienna</title>
		<link>http://memscreen.info/2011/09/12/osteologische-sammlung-2/</link>
		<comments>http://memscreen.info/2011/09/12/osteologische-sammlung-2/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 07:00:04 +0000</pubDate>
		<dc:creator>Tal Adler</dc:creator>
				<category><![CDATA[Conserved Memories]]></category>

		<guid isPermaLink="false">http://memscreen.info/2011/09/14/osteologische-sammlung-2/</guid>
		<description><![CDATA[The Anthropological department at the Natural History Museum in Vienna stores a collection of approximately 40,000 human skulls behind glass vitrines. Since the founding of the Department in 1876, various specimens were collected to provide research material for the developing field. A current research on the origins and purpose of the skull collection, lead by head of the department, Dr. Maria Teschler-Nicola, is underway. A part of the collection with around 10,000 of the skulls is stored in a 30 meters long and 4 meters high display, located in a long hall at the anthropological department at the museum. Tal Adler photographed it, traveling parallel to the display, with over a hundred high-resolution captures. The files will be “stitched” together to create a super high-resolution, life size print of the skull display. The hall-size print will be exhibited in representative and national institutions at the various origin countries of the skulls. The exhibitions will offer symbolic restitution. They will offer a platform to continue national and international discussions regarding the fate of artifacts and human remains exhibited and stored in museums and archives. Communities and peoples’ representatives will be asked to participate in events around the exhibition, telling about the [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Reichel komplex</title>
		<link>http://memscreen.info/2011/09/12/der-reichel-komplex/</link>
		<comments>http://memscreen.info/2011/09/12/der-reichel-komplex/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 07:00:05 +0000</pubDate>
		<dc:creator>Friedemann Derschmidt</dc:creator>
				<category><![CDATA[Slideshow]]></category>

		<guid isPermaLink="false">http://memscreen.info/?p=25</guid>
		<description><![CDATA[“Reichel komplex ” is a Comunity Web 2.0 Plattform created by Friedemann Derschmidt as a closed weblog for the members of his greater family. On the one hand the purpose of the project is to collect family myths and narratives while on the other  it aims to support the collective as itconfronts itself with the sensitive questions of guilt and involvement of its ancestors in the Nazi movement. © friedemann derschmidt]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Voluntary Participation</title>
		<link>http://memscreen.info/2011/09/12/freiwillige-teilnahme/</link>
		<comments>http://memscreen.info/2011/09/12/freiwillige-teilnahme/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 03:00:38 +0000</pubDate>
		<dc:creator>Tal Adler</dc:creator>
				<category><![CDATA[Slideshow]]></category>

		<guid isPermaLink="false">http://memscreen.info/?p=119</guid>
		<description><![CDATA[A project about civil society in Austria by Tal Adler The project “Voluntary Participation” creates a conceptual bridge between groups of Austrian Civil Society in the past, and the same groups of contemporary Austria, 2012. Within our understanding of Civil Society are: clubs; cooperatives; religious organizations; academia; professional associations; labor unions; NGOs; social movements; youth organizations; support groups and so on. The groups are invited to be photographed in a group-portrait. The invitations are based on events the groups were involved in (mostly but not always during National Socialism). The participation in this project allows the groups to be challenged with the concepts of heritage, complicity, responsibility, guilt, commemoration, and group politics. The correspondence and negotiations with the groups is regarded as part of the project, not only as technical strategies to obtain the photographs, but also as a platform for researching the premises of memory and heritage in contemporary Austrian civil society. The project operates within the genre of group photography – a genre with a legacy of its own, a history and a “memory”. Being aware of the genre’s “language”, the project builds another conceptual bridge between the heritage and conventions of the genre and the possibility to [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>MemeArchive</title>
		<link>http://memscreen.info/2011/09/12/memearchive_meta-modelling/</link>
		<comments>http://memscreen.info/2011/09/12/memearchive_meta-modelling/#comments</comments>
		<pubDate>Mon, 12 Sep 2011 02:00:19 +0000</pubDate>
		<dc:creator>Attila Kosa</dc:creator>
				<category><![CDATA[Slideshow]]></category>

		<guid isPermaLink="false">http://memscreen.info/?p=63</guid>
		<description><![CDATA[Pilot study of the media archaeology of cultural transference techniques (Attila Kosa, Mode2Research &#8211; NPO/Austria) &#160; To support the whole MemScreen project in all archive dimensions like process documentation, content archiving and content representation, we will apply and evaluate an innovative e-learning environment which was developed at the Institute for Communication Engineering, Johannes Kepler University Linz/Austria.[1] The purpose of this subproject is a pilot study about modelling enriched multimedia content for this learning management system gained out of the memorization constructs of MemScreen-participants, online accessible for the public. The greater research interests behind is, whether virtual archives are suitable instruments for the prevention of amnesia. Main problem in memorizing projects focused on virtual archives yet was the receptor compliant conversion of individual memories, mental models, etc. into textual, semantically enriched representations. In our opinion especially new approaches of knowledge engineering are applicable to combine theoretical models of user-centred knowledge technologies e.g. learning management systems with futuristic memetic theories[2] which actually constitute our archive comprehension in context of this memorization project. Because conventional virtual archives most are realized as database repositories they addresses primarily experts we force in our conception advanced learning theories which bridge the gap between expert and novice. [...]]]></description>
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