Being paced is a feeling that is deeply connected to the airport experience. One moves in different speeds, ranging from hurried, to strolling, to static. The fantasy of the airport, that takes a hint from the assembly line, is to tell you that an existence where people and things are always on time is not only possible but should be pursued. In reality, you’re either too late, having to rely on the moving walkways to provide extra acceleration, or too early, in which case the diversion that a HD-commercial-video screen can provide is gratefully accepted, even if what you see is just a commercial for an even better screen available for purchase somewhere (but not here).
Under the motto Pacing FRAport we are mixing in the airport’s traffic and busyness. Traffic, in this case, might however not only refer to the delegation of inbound planes and anxious passengers, but could also designate the traffic of data and imagery travelling along the complicated visual marketing grids of the airport.
Being a Kolleg concerned with “Configurations of Film” this is where we see the chance for an intervention. How can these ensembles be addressed, analyzed, understood? Our field trip and the subsequent panels, prepared by working groups of the Kolleg and our guests Anna McCarthy (NYU Tisch) and Norman M. Klein (CalArts), suggest to take a detour that increases our awareness to aspects of TIME, SPACE and SENSEs related to the moving image.