To interpret “Caravan” by Hugo Ball, I thought of the stage of the Cabaret Voltaire, and the first thing that came to mind was the concept of the somewhat unserious intro of the “piece”. Through a moderated introduction – a stage situation?
One hears several voices simultaneously as a reference to the simultaneous readings.
I assume that in Dada, attempts are made to bring expressions out of the subconscious as directly as possible, similar to Surrealism, which has paved the way for Dada (also the case with Raoul Hausmann, for example). It is often improvised and comes close to chance.
The human brain always tries to understand and make associations, even with (seemingly) random events. Thus, one sees images in the clouds, hears sounds in the noise, and recognizes meaning in Dada poems.
Noise can be considered random, it contains all frequencies, and since it fits the overload of the video, I used it as a cutting element.
Since there is no audio recording of the original poem, the interpretation of “Caravan” can only be based on the words and semantics of the text, of which I do not know whether it was calligraphically written by Ball himself or not. Hearing the articulation or seeing the writing (keyword: Concrete Poetry) is crucial to infer the artist’s idea. All interpretations I found sound very different as a result. The understanding of the syllable endings even differs.
Therefore, I had the idea to use a robotic voice – this way, no human emotion is added to the text on an acoustic level, and there is a “cold status quo”.
Based on this, I represented my understanding of the syllables with subtitles.
Now the framework was ready to illustrate the actual content.
I used the text as a template for free association in the spirit of Dada, and downloaded every image that came to my mind for each word or word part from the internet.
Copyright violations are mocked by the fourfold mention of the author “Hugo Ball” at the beginning of the video.