User:Emily/Self-Evaluation trimester IV

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Notes

Body as reference
Farocki's Cinematic Historiography-Reconstructing the Visible[1]
- 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
-
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. [2]
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