more than everything

In a certain way, the stereoscopic image produced here, of abstract, moving information, is a remarkable test for perception. Since there is no distinct body in the space, also no object fixation takes place; our habitual seeing becomes inadequate. Already the first cut - a demonstratively implemented ubiquitous static - allows the moving picture to lift from the screen; there is no longer any dependence on the projection´s carrier surface, all visual data vibrate at a certain distance, an in between. Whereas narrative 3D cinema presumes the perceptual difference of a stable background and the depths of the bodies lifted out from it; here, an emancipation from natural object perception takes place. This stream of ambiguous visual material´s ontological status is somewhere between gas- and water-shaped. Rainer Kohlberger programs both channels differently, places a visual incoherence at the origin of the images, provokes a "binocular rivalry." Our perception apparatus no longer applies a statistically calculable synthesis, does not generate a powerful third element (the "depth") but instead produces, as the title also heralds, a capricious "more" from the structural ambivalence. A more that generates restlessness, even the geometric figures no longer create certainty for the order of the space. All attempts fail to locate these images interpretively. The demand for a uniform-coherent form (of the nation state, the everyday objects, or images) is rejected with the indication that coherence should always be a readiness to admit every interregnum of form, no matter how unknown or strange. (Marc Ries)

Translation: Lisa Rosenblatt

This is a dance between your brain and the world. A hallucinatory figure of information that speaks on the threshold of being. We are bathed in interferences from sensual data to what might be out there. We will go to another land, we will try another sea. One plus one equals three. (Rainer Kohlberger)

Humans and other animals that have their eyes attached towards the front of their bodies see the world with binocular vision. Stereoscopic seeing enables a precise perception of depth. This film challenges this perceptual apparatus that interacts with the brain to generate a coherent image of the surroundings. In more than everything, I use stereoscopic technology that was experimented with in early and pre-cinema by Münsterberg et. al and became installed in digital cinema in the last ten years due to the popular culture of 3D movies.
Here different images for the left and the right eye were generated that are blended to a third image in the spectators brain. We have the tendency to prefer visual input from one eye to the other, a phenomenon called ›Ocular dominance‹. Approximately two-thirds of the population is right-eye dominant and one-third left-eye dominant (some don´t have a preference). If the perceptual apparatus has to deal with different inputs for each eye, instead of superimposing the image in the brain it alternates between the two images, something called ›Binocular rivalry‹. In this cinematic endeavour, the characterised physical phenomena above are incorporated in its artistic formulas. According to the visual preference of the viewer for one eye or the other, the film will be perceived quite differently. Other parts give the same importance to both channels where an oscillation between left and right will occur.
Due to its nature, the film has to be presented with stereoscopic technology, there´s no other version of it. Still, if someone in the cinema does not want to wear glasses (or only got one eye), I took care in the artistic process that it is still possible to watch another consistent version of the film. (production note)