User:Emily/Self-Evaluation trimester IV

Notes

Body as reference

Farocki's Cinematic Historiography-Reconstructing the Visible

- The visible differs from the evident;

- seeing with one's own eyes is a matter of political resistance

- observing against the grain of the habitual, against all evidence and blind spots, is the responsibility that remains in a world of machines that have appropriated human sight --> Machines have soldered eyes, optical instruments, and industrial weaponry.

- cinematic truth

- the past keeps disturbing and haunting the present in visible, perceivable, describable symptoms

- to appropriate history then is to appropriate the medium by studying itsproper logics of recording, storing, transforming and ordering sensory events

- cinema creates history instead of representing it

- cinema's trans-subjective memory --> it is not a collective memory though, but an invitation to relate to an image

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Aernout Mik's Reversal Room

- double scene to double seeing; - juxtaposing two opposing scenes where some uncommon element interferes; - periodic repetition; - what is common between the behaviour of the two scenes as they figure within the parallel relationships of activity; The construction of the scene, the construction of the shot, the construction of the spatial configuration and hence the construction of our perception, all take place within possible reversals.

Multitasking vs Unitasking

- switching our attention from one thing to another; - information constantly begging for our attention

“When you are really involved in this com­pletely engag­ing process of cre­at­ing some­thing new – as this man does – he doesn’t have enough atten­tion left over to mon­i­tor how his body feels or his prob­lems at home. He can’t feel even that he’s hun­gry or tired, his body disappears” from Dr. Mihály Csíkszentmihályi.

Bernard Stiegler