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Datenverarbeiter - The Extended Eye - Fine-Art-Photo-Book (English/Deutsch)

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Datenverarbeiter The Extended Eye - Fine-Art-Photo-Book (English/Deutsch)
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The Extended Eye - Fine-Art-Photo-Book (English/Deutsch): summary, description and annotation

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ENGLISH: The photographic art project documented in this photo book was shot by the artist Werner Kiera with an iPhone in the space of more than two years. Working from his home town of Bonn/Germany, he photographed all over the world via webcams using Live Cam apps.
The 150 photos contained in this album were all shot in black and white and mostly at night. They are not the razor sharp and somehow polished images we have become accustomed to but rather deliberately faded and slightly out-of-focus photos which almost come across as photographic painting, the charm of which is reminiscent of old-fashioned negative photos shot with high and ultra sensitive grainy film, such as Tri-X or TMax, where the grain is a stylistic device.
In doing so, Kiera revived in his work a process dating back to the days of analog photography known as the sandwich technique, where two different negatives are placed on top of each other and exposed.
Transferred over to his project, Kiera takes a photo that he shot via a webcam in Tokyo, for instance, and uses the sandwich technique to combine it digitally with a photo he took in Rio de Janeiro. In a way, it could be said that universal images are created using this technique. All of the further processing is then done on the iPhone. This unique art project is the first of its kind anywhere in the world.
---------------------------
DEUTSCH: Das in diesem Fotobuch dokumentierte Fotokunstprojekt, an dem der Knstler Werner Kiera ber zwei Jahre gearbeitet hat, ist mit dem iPhone entstanden. Hierbei wurde von seiner Heimatstadt Bonn via LiveCamApps in der ganzen Welt ber WebCams fotografiert.
Die in dem vorliegenden Fotobuch abgebildeten 150 Bilder sind alle Schwarzwei-Fotos, zumeist bei Nacht fotografiert und nicht wie heutzutage blich knackig scharf und digital poliert, sondern bewusst verwaschen und eher unscharf und wirken fast schon wie Fotografische Malerei, deren Anmutung an tradierte Negativ-Aufnahmen von hoch- und hchstempfindlichen, krnigen Filmen wie Tri-X oder TMax erinnert und bei denen das Filmkorn ein prgendes Stilmittel ist.
Dabei hat Kiera in seiner Arbeit ein Verfahren aus analogen Zeiten wiederbelebt, welches unter dem Begriff Sandwichtechnik bekannt ist. Hierbei wurden zwei unterschiedliche Negative bereinander gelegt und belichtet.
Auf sein Projekt bertragen nimmt Kiera beispielsweise ein Foto, welches er in Tokyo ber eine dortige WebCam fotografiert hat, und kombiniert es in besagter Sandwich-Technik digital mit einem Foto, welches er z.B. in Rio de Janeiro aufgenommen hat. So entstehen in gewisser Weise universelle Bilder. Die weitere Nachbearbeitung erfolgt komplett im iPhone. Dieses weltweit einzigartige Kunstprojekt ist zudem das Erste seiner Art.

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F I N E - A R T - E D I T I O N Datenverarbeiter The Extended Eye FUEGO the - photo 1

F I N E - A R T - E D I T I O N
Datenverarbeiter
The Extended Eye
FUEGO
the white light
obligation and temptation
lost highway
the second act
the like-minded
the horror
The Extended Eye
Images of the reality in my mind
You see my son
here space turns into time.
(from Parsifal by Richard Wagner)
The Extended Eye, this metaphor inherent
in the title nomen est omen runs like a
linking thread throughout this entire E-book,
carefully comprised of around 150 black &
white photos. The book meanders between
dream and reality, crossing the boundaries
twixt space and time, linking painting and
photography, yet only ever knowing the
touch of the paintbrush that is light.
Werner Kiera refers to himself as Datenver-
arbeiter (Data Processor). He has a pas-
sion for the nocturnal and Film Noir. And his
working method is as unusual as it is unique.
He views the world be it Moscow, Tokyo
The Extended Eye
Bilder der Wirklichkeit in meinem Kopf
Du siehst, mein Sohn,
zum Raum wird hier die Zeit.
(aus Parsifal, Richard Wagner)
The Extended Eye (Das verlngerte Auge) ,
diese dem Titel innewohnende Metapho-
rik fhrt als roter Faden, nomen est omen,
durch das ganze sorgsam aus rund 150
Schwarzwei-Fotograen zusammengestell-
te E-Book. Es bewegt sich zwischen Traum
und Wirklichkeit, berschreitet die Grenzen
von Raum und Zeit, verbindet Malerei mit
Fotograe, ohne jemals einen anderen Pinsel
als das Licht zu erfahren.
Werner Kiera bezeichnet sich als Datenverar-
beiter . Seine Leidenschaft gehrt der Nacht
und dem Film Noir. Und seine Arbeitsweise
ist ebenso ungewhnlich wie einzigartig. Die
or New York, from his sofa. It serves him up
the scenarios for his picture compositions.
He has replaced camera and darkroom with
iPhone and Apps. His colourful world of pic-
tures is monochrome yet multifaceted in its
vivid contrasts, variegated greyscales, grainy
denition and his play with the unfocused.
This all means that this E-Book is a pho-
tography book in which the photographs
themselves assume the story-telling and are
able to dispense with any more text than
their own short caption.
In actual fact, the photos need no fore-
word and whoever wants to should under-
take the journey through the mysterious,
shuddering,
thought-provoking,
even
in-
triguing photo-cosmos. You can return to the
written word at any time should you wish to
learn more about this mysterious world of
pictures opening up before your eyes.
Welt, ob Moskau, Tokyo oder New York, be-
trachtet er vom Sofa aus. Sie liefert ihm die
Szenarien fr seine Bildkompositionen. Ka-
mera und Dunkelkammer hat er durch iPhone
und Apps ersetzt. Seine bunte Bilderwelt ist
schwarzwei, dennoch facettenreich in ihren
scharfen Kontrasten, vielfltigen Graustufen,
grobkrnigen Ausungen sowie dem Spiel
mit Unschrfen.
So handelt es sich bei dem vorliegenden
E-Book um ein Fotobuch, in dem die Bilder
das Geschichtenerzhlen bernehmen und
auer ihren kurzen Untertiteln auf weiteren
Text verzichten knnen.
Eigentlich brauchen die Fotograen auch
kein Vorwort, und wer mag, der sollte sich
sofort auf die Reise durch den geheimnisvoll
schaudernd, nachdenklich oder neugierig
machenden Bilderkosmos begeben. Zum
Wort zurckkehren kann man immer noch,
wenn man mehr ber diese sich hier auftu-
ende rtselhafte Bilderwelt erfahren mchte.
Night-time silence hangs over the town. A
dazzling light falls upon the wide pavement.
A man in hat and coat carrying a brief-case,
the only passer-by, steps from the light into
darkness, out of the picture and into uncer-
tainty. Stranger in the night says the title,
evoking associations with Frank Sinatras
world-wide hit of 1966 and we wonder
where is she? Is he on his way to her or
does she even exist? Is he perhaps alone?
Loneliness an even stronger feeling at night
when all the streets are empty, everyone else
at home with someone, all bar one. Loneli-
ness is a theme that runs like a melancholic
thread through a variety of pictures, wan-
derlust, lonesome, november, ghost
town. It seems the man who went out of
the picture was attempting to escape his
fate. But even fate lurks like dangers in the
night. In the last walk, a man stands still
under an umbrella, throwing his shadow on
the rain-soaked asphalt. In the darkness be-
fore him appears the shadowy silhouette of
Nchtliche Stille liegt ber der Stadt. Ein
grelles Licht fllt auf den breiten Brgersteig.
Ein Mann mit Mantel, Hut und Aktentasche,
der einzige Passant, schreitet aus dem Licht
in die Dunkelheit, aus dem Bild ins Unge-
wisse. Stranger in the night sagt der Bild-
titel, weckt Assoziationen an Frank Sinatras
Welthit von 1966, und man fragt sich unwei-
gerlich, wo ist sie? Geht er nun zu ihr oder
gibt es sie berhaupt? Ist er vielleicht allein?
Einsamkeit, man sprt sie mehr noch in der
Nacht, dann wenn alle Straen leer sind, alle
zu Hause bei Jemandem, alle bis auf den
Einen. Einsamkeit zieht sich wie ein melan-
cholischer Faden durch verschiedene Bil-
der, wanderlust, lonesome, november,
ghost town. The man who went out oft the
picture scheint seinem Schicksal entiehen
zu wollen. Aber auch das Schicksal lauert
wie Gefahren in der Nacht. the last walk,
ein Mann steht still unter einem Schirm, wirft
seinen Schatten auf den regennassen As-
phalt. In der Dunkelheit vor ihm taucht sche-
a womans skirt. Will she escape? Can she
save herself? You can almost hear the open-
ing music from a Hitchcock thriller!
Other pictures possess nothing narrative,
they are poetic, often melancholy, reective,
are symbolic of thought and feelings, for ex-
ample, reection, encounter, evening
walk or the fortune sher.
Like a street photographer he often
moves for hours through the streets, cross-
ing squares, tiptoeing around corners al-
ways on the look-out for a suitable motif
only he is not out shooting with the classic
camera, he is using an iPhone via Apps. And
no more does he have to haul himself out of
bed in the middle of the night or even travel
or move at all. Time has become unimpor-
tant to him, it will always be night somewhere
in the world at any given time, and he is able
to control the webcams of the world and fol-
low their video streams from anywhere at all
using iPhone and Internet via Apps. Then he
can observe the scenery with their eyes until
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