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Peter Tscherkassky
Born in 1958 in Vienna, Austria. Lived in Berlin 1979-84. Studied philosophy. Doctoral thesis: "Film as Art. Towards a Critical Aesthetics of Cinematography" (1985/86). Teaches film making at the University of applied Art in Vienna. Founding member of sixpackfilm. Organized several international avant-garde film festivals in Vienna and film tours abroad. Since 1984 numerous publications and lectures on the history and theory of avant-garde film. 1993 and 1994 artistic director of the annual Austrian film festival "Diagonale". Editor of the book "Peter Kubelka" (1995; with Gabriele Jutz). Films since 1979.
More info: http://www.tscherkassky.at/Peter Tscherkassky - Films from a Dark Room
A confrontation with the codes of narrative-representational cinema is one of Peter Tscherkassky´s constant concerns. If one attempts to distill a constant from his films, then this must surely be the oscillation between the abstract and the concrete, between the dry and the sensual, which is the source of energy of his work. The question of belly or brain is one which Tscherkassky stopped asking long ago - for ultimately sobriety is the route to ecstasy.
(Gabriele Jutz)
I'll add the shorts little by little, so keep checking up this thread. Faeton ripped Outter Space it's pointless making another rip since is rip is ok, grab it here: http://www.fileheaven.org/forum/viewtopic.php?t=40809&
L'Arrivée
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L'Arrivée is Tscherkassky's second hommage to the Lumiére-brothers. First you see the arrival of the film itself, which shows the arrival of a train at a station. But that train collides with a second train, causing a violent crash, which leads us to an unexpected third arrival, the arrival of a beautiful woman – the happy-end.
Reduced to two minutes L'Arrivée gives a brief, but exact summary of what cinematography (after its arrival with Lumiéres train) has made into an enduring presence of our visual enviroment: violence, emotions. Or, as an anonymous american housewife (cited by T. W. Adorno) used to describe Hollywood's version of life: "Getting into trouble and out of it again."
(Peter Tscherkassky)
L'.Arrivee.-.Peter.Tscherkassky.1997-1998-fitz.avi 
Dream Work:
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A woman goes to bed, falls asleep, and begins to dream. This dream takes her to a landscape of light and shadow, evoked in a form only possible through classic cinematography.
"Dream Work" is – after "L’Arrivée" und "Outer Space" – the third section of my CinemaScope Trilogy. The formal element binding the trilogy is the specific technique of contact printing, by which found film footage is copied by hand and frame by frame onto unexposed film stock. Through this, I am able, in a literal sense, to realize the central mechanism by which dreams produce meaning, the "dream work," as Sigmund Freud described it: displacement [Verschiebung] and condensation [Verdichtung]. The new interpertation of the text of the original source material takes place through its "displacement" from its original context and its concurrent "condensation" by means of multiple exposure.
Moreover "Dream Work" positions itself as an hommage to Man Ray, who, in 1923 with his famous rayographs in "La retour á la raison" was the first artist to use this technique for filmmaking, exposing the image by shining light through physical objects onto the film stock.
(Peter Tscherkassky)
Dream.Work.Peter.Tscherkassky.2001-fitz.avi Manufraktur:
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tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the "to the left, to the right, back and forth" grammar of narrative space, discharged from all sematic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost directions, furrowed with the traces of the manual process of production.
(Peter Tscherkassky)
Cinematheque Royal, Bruxelles/Belgium, acquired Manufracture for their permanent collection.
Manufraktur.-.Peter.Tscherkassky.1985-fitz.avi Motion Picture (La Sortie des Ouvriers de l'Usine Lumière à Lyon):
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In the darkroom, 50 unexposed film strips were laid across a surface, upon which a frame of La sortie des ouvriers de l’usine Lumière was projected. The stringing together of the individual developed sections make up the new film, which reads the original frame like a page from a musical score: within the strips from top to bottom and sequentially from left to right.
(Peter Tscherkassky)
Motion.Picture.(La.Sortie.des.Ouvriers.de.L'Usine.Lumiere.a.Lyon).-.Peter.Tscherkassky.1984-fitz.avi Get Ready:
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The official trailer of the International Film Festival Viennale '99
Get.Ready.-.Peter.Tscherkassky.1999.(Viennale.Official.Trailer)-fitz.avi Miniaturen:
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The semi-documentary footage used for "Miniaturen - viele Berliner Künstler in Hoisdorf" ("Miniatures--Many Berlin Artists in Hoisdorf") was shot on June 3, 4 and 5, 1983. That weekend, in what was deemed a "country outing," an impressive number of artists from Berlin (about 50 people, including the fans) went to a small village in Schleswig-Holstein; their intention was to give the local residents a taste of Berlin's avant-garde art. This event, organized by Thomas Kapielski and Peter Hilber ("Artists dispatches hilber-kapielski"), included presentations of dance, music, performance art, painting, land art and film.
Back in Berlin the footage was manipulated in several ways to produce an "experimental examination." The final version was never officially released, as it was intended to be nothing more than a personal interpretation of a few - mainly peripheral - moments in Hoisdorf and a subjective reminiscence for the participants. Its official premiere took place at a fabulous reunion party held on September 24, 1983 at Berlin's legendary "Lunapark".
Thomas Kapielski, who has since attained considerable prominence also in the field of literature ("Gottesbeweise", "Sozialmanierismus", etc.), contributed the wonderful soundtrack, which was recorded during a night session on September 22, 1983. In this soundtrack, short compositions by Kapielski alternate with a conversation between the musician and the film director, in which individual sequences of the film (projected simultaneously) are explained and commented upon. That talk was recorded live - listen for example for the ringing telephone which suddenly bursts into the recording session towards the end of the miniature "Breakfast als Hilber". Due also to live sound manipulations performed with a synthesizer, a great deal of that conversation remains incomprehensible.
"Miniatures" was created during the same early Super-8 period as "Freeze Frame" and "Urlaubsfilm." A growing interest in these early works was the reason for releasing it, at least as a bonus track. "Miniatures" contains some of my experiments in Super-8 format from the early 1980s which do not appear in the later films in the same form.
The dialogue:
Thomas Kapielski: So, now first of all comes "Thus S pake...." [Zarathustra]. ... It's running, there's the leader, the whole time. ... Well, you could say it's starting now... So, yes, yes. Now it really starts.
Peter Tscherkassky: Okay.
TK: "Miniatures". Rock on!! ... [laughing] ... right away, don't dilly-dally! [laughing]
PT: That has a blue tint, because it was filmed without daylight filter, but a lot of it was refilmed later with a daylight filter.
TK: Ah, here, now! Ah, there's that tilted picture! And here I had some crackling... a crackling sound... hay in hay...
[miniature "Burning Balthausstrawfirehay": Fritz Balthaus (turning)]
PT: "Promenade"
TK: Ah, that's the "Promenade"? .... So, now the first pan. Pan.
PT: Yes, and there's the kiosk.
[miniature "Kiosk": Ingrid Buschmann (shaking), Rolf-Peter Baacke (running), Thomas Kapielski (climbing)]
TK: Flicker, flicker. Flickering sound...
PT: "Promenade" two.
TK: That's supposed to be the pan? .... And now here's byside and inside. [Peter Hilber (pointing)]... And now this is... no, this is...
PT: ...Kathrin and the bus driver.
[miniature "Intertwist"]
TK: ...that intricate interlocked picture! Ah, that's on the way home. ... Sweet Antje [Fels]! ... Picture within picture within picture! The formal principle of this film: picture within picture within picture.
PT: Right is [Fritz] Rahmann. And to the left is a panning shot through the rear window of the stage, with that axe: that's an hommage to [Alfred] Hitchcock.
TK: You know what, I'm going to turn out the lights, so we can see better!
PT: Penny Lane's barber shop [Lucie, Antje (fighting)].
TK: That is unavoidable. And when you get older, it gets worse: you always say what you see.
PT: "Promenade" three.
TK: And here I thought that we should take some voices. Recordings, a talk or something like that. With Hahn. Snatches of conversation. Does that picture in picture thing come now? No...
PT: The one with Hahn? No, that comes later on.
TK: Whose legs are those?
PT: Free Wheelin' Franklin's [both laugh]
[miniature "Legs"]
TK: Ah, yes, yes, and now the pan again! .... Ah, and now comes Hahn!
[miniature "Heavenly guitarist who loves strong beer": Christoph Hahn (guitar)]
TK: Now comes the tractor!
[miniature "Tractor": we see and hear Hoisdorf's local mushroom grower's union tractor - an hommage to John Cage, arranged by Frieder Butzmann (with the mike) and Thomas Kapielski (in front of the tractor)] .
TK: .... and the panning shot!
PT: Ah, yes: X films A. A films B. B photographs C while being filmed by X.
TK: Aha! Aha! All of a sudden that wide shot! All of a sudden it's all clear!
[Werner Durand (ball & sax)]
[Nanaé Suzuki (walking by)]
[Gerti Fietzek (back & forth)]
TK: The pan.
[miniature "Breakfast at Hilber"; silhouette: Anne-Claire Martin]
TK: Here comes the pan again, the pan comes again, yes, indeed.
[miniature "Hahnanne Pull"]
PT: ... now you see Hahn pulling Anne. ... From outside you see Hahn pulling Anne. And now you see what Anne is filming while Hahn is pulling her. That's Anne's perspective.
TK: The picture in the picture...
PT: In the frame, since it's seen from outside. But with a time delay.
TK: And all that synchronized.
PT: No, it's not! It's delayed!
TK: Yes, exactly, but if only it could be time synchronized! [laughing] ... Again the pan. This would be a good time for "Die Tonkneter" ["The Tone Moulders"]. [Julia Kliesch, Nils Krüger (with musical vacuum cleaners); Butzmann/Kapielski (with loudspeaker); Thomas Kiesel (within the belly of the bus); Franz Schubert (distorted)].
Miniaturen.-.Viele.Berliner.Kunstler.in.Hoisdorf.-.Peter.Tscherkassky,.1983-fitz.avi 
Faeton bring that Walden ! 
