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Fleisch und Fick

und Fick Fleisch
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DESCRIPTION: A subset of 15 patients also had cardiac output determined by using the Fick method. In the 15 patients in whom all 3 methods were used, mean cardiac output was 6.

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The Berlin-based artist Thorsten Fleisch began making films in high school. Fleisch und Fick work has Fleisch und Fick well received almost from that very start, garnering prestigious awards such as the Ann Arbor Film Coop Award.

I was also intrigued by his use of, and interest in, mathematics. Your work seems influenced by Austrian experimental film sensibilities—from the use of the human body and fluids to the employment of systemic and mathematical structures.

Is this a result of studying with Peter Kubelka? What were some of your other influences? He was a major influence on my film Bloodlust I remember seeing one of his blood paintings in a museum; the effect it had on me was very intense. While studying with Kubelka I got exposed to a lot more Austrian and American avant-garde films, which was great. I was in his class for two years in the lates. It was a great experience. He had a very strong presence and was always telling interesting anecdotes from his time in the U.

He had so many stories about experimental film celebrities. In addition to being an exceptional filmmaker, he is also a renowned storyteller and performer.

It really was a decent time. Although, I have to admit that I didn't really connect with the other students, except for Goh Harada, who Fleisch und Fick still a dear friend. I felt like I was on a strange isolated island. It was about ten days filled with awesome programs of experimental films screened in a wonderful cinema from pristine prints.

I first encountered a structural approach in music. AroundI finished my first CD releasewhich nobody seemed interested in at the time. I was working with sequencers to produce my Fleisch und Fick. I assume that shaped my perception of structure and contributed to my use of it in film. In Bloodlust you apply your own blood onto 16mm clear leader. How much blood did it take to make the Fleisch und Fick, and do you ever screen the original 16mm version?

Has the film changed over time? For the first few meters of film, I used blood collected from nosebleeds. I really liked the results.

When that blood was gone I obtained three vials taken with a syringe from a nurse. I never intended to screen the original. I projected it at home to see what it would look like; after that, it was viewed only on a flatbed editor. Blood always ended up coming off. When it screened at Ann Arbor inI made business cards that included pieces from the original film strip.

I only have a few left. In general, I think the colour has become a bit weaker and maybe a bit more yellow or brown, too. Even the language for filmmaking is violent: We shoot with a camera to capture an image.

This destructive output is mostly the result of an instinct driven impulse. One of the great things about being an artist is giving in to urges. To understand how a mechanism or an organism works, one must destroy it in order to peek inside. In works like VideoskinSkin Sketches and Skin Flick you mediate on or examine human skin. Where does your fascination with skin and wounds stem from? Wounds not so much; however, they are interesting since they reveal the inside of our bodies.

They are also considered taboo, since we are intrinsically not supposed to see them. I have always been interested in the insides of our bodies. Fleisch und Fick really liked splatter films as an adolescent.

I still watch them occasionally, but only the old ones. I dislike how the horror genre has evolved. I also really liked the cover art for the early Carcass albums. They were a collage of wounds taken from a medical atlas. In high school, I was inspired by their cover art. I even designed a notebook using photos of wounds, violent deaths and tabloid headlines of bizarre and violent crimes. I still have it. Did you consider this piece to be a scientific investigation?

Well, sort of, but it is also intended to be tongue-in-cheek. I find it fascinating that this box of Fleisch und Fick, resistors and capacitors with current running through it can cause genuine emotion. The same could be said about books and paintings. The film serves as a document of that process, Fleisch und Fick is, it documents emotions generated by a machine.

Similarly with books and paintings: That's true, but I wanted to look at the television as a technical apparatus that produces emotions without acknowledging that the human mind adds content. This thought appeals to me.

What would an alien think about the sight of a human reacting emotionally to a machine? I think in the not-so-distant future, we will have robot pets that we will react emotionally to. In The Anti-Movieyou manipulated black leader in order to make it unprojectible. In Open Fireyou burnt clear and black leader, thereby creating a beautiful-but unscreenable—art object. Is Friendly Fire Fleisch und Fick film in which images of fire burn the film itself—an extension of Open Fire?

Friendly Fire is more Fleisch und Fick an interpretation or application of Open Fire. In a way, Friendly Fire is the same as Open Fire but applied to a projector, or more precisely to an optical printer. Conceptually, Open Fire and The Anti-Movie are films despite being unplayable, but in reality, they function as objects. In fact, a film is an actual object. This is not the case with digital media. Digital images are shape-shifting; they are like ghosts.

You mean digital images are simply information that allows the images to change physical form. Imagine an Fleisch und Fick unruled by man-made laws of perspective, an eye unprejudiced by compositional logic, an eye which does not respond to the name of everything but which must know each object encountered in life through an adventure of perception.

How many colors are there in a field of grass to the crawling baby unaware of 'Green'? How many rainbows can light create for the untutored eye? How aware of variations of heat waves can that eye be? Imagine a world alive with incomprehensible objects and shimmering with an endless variety of movement and innumerable gradations of Fleisch und Fick. This idea appeals to me when I think about how digital videos can be viewed or shared on a variety of platforms.

I do not want to think of digital media as simply a carrier of information; I want to see it as something more magical. However, there is another side of me which needs to find something mystical in the technological world.

The last video I made dealt with this sort of issue. Similarly my video was tongue-in-cheek. This Fleisch und Fick and its basis in technology seems to be a response to Fleisch und Fick world dominated by computer interactions and status updates. It definitely seems indicative of some larger cultural shift. Our society is largely void of spiritual meaning. The traditional religions have lost touch with the real world. As humans we seem to have this need for spirituality, a need to find meaning in life.

But there are so many predators promising to fill your soul with meaning while only making you an addict. Capitalism is built on the exploitation of human needs on so many levels. Your work seems divided between digital and analogue media. Is Wound Footage an attempt to reconcile their differences? I see it as mediating between these two worlds. They are both interesting and both have advantages and disadvantages. I think video had a really bad start aesthetically.

Early video images look like shit but they had their own particular aesthetic which has recently resurfaced in films like Trash Humpers [Harmony Korine, ] for example. However, video has come a long way in terms of quality.

The Panasonic HD camera that I use now records beautiful images in high resolution. The film was completely mesmerizing. I kept trying to figure out how the images were produced ; they looked totally computer generated.

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Fleisch und Fick How aware of variations of heat waves can that eye be? Mathematically speaking, if the sequence heads towards infinity then it has escaped; otherwise, the sequence will converge towards a fixed point or oscillates periodically between some values and does Fleisch und Fick escape. The traditional religions have lost touch with the real world. Given that this work is so computationally intensive, how long did it take you to render each image Fleisch und Fick how long did it take to complete the film? I still watch them occasionally, but only the old ones. In addition to being an exceptional filmmaker, he is also a renowned Fleisch und Fick and performer. The metabolic cart was calibrated and tested immediately before each use. Fleisch und Fick Bias and precision were 0. Is Friendly Fire —a film in which images Fleisch und Fick fire burn the film itself—an extension of Open Fire? It was very satisfying to push that CPU to the limit. A lot of modern mathematics is really weird and esoteric. Cardiac outputs determined by using the Fick method appear to have good agreement with Fleisch und Fick outputs determined by using thermodilution or bioimpedance in less severely ill patients. Q J Exp Physiol. Fleisch und Fick 147 ECHTE NACKTE ARMEEMÄDCHEN Hymnen über die Suche nach dem Herrn

The Berlin-based artist Thorsten Fleisch began making films in high school. His work has been well received almost from that very start, garnering prestigious awards such as the Ann Arbor Film Coop Award. I was also intrigued by his use of, and interest in, mathematics. Your work seems influenced by Austrian experimental film sensibilities—from the use of the human body and fluids to the employment of systemic and mathematical structures.

Is this a result of studying with Peter Kubelka? What were some of your other influences? He was a major influence on my film Bloodlust I remember seeing one of his blood paintings in a museum; the effect it had on me was very intense. While studying with Kubelka I got exposed to a lot more Austrian and American avant-garde films, which was great. I was in his class for two years in the lates. It was a great experience. He had a very strong presence and was always telling interesting anecdotes from his time in the U.

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