Provocaciones expandidas

On a new kind of cinematographic thesaurus, H. Farocki.

Preguntas de arranque a partir de Trabajadores saliendo de la fábrica (Farocki, 1995)

El origen del cine es la fábrica. ¿Qué ideas de partida nos brinda esta coincidencia histórica?

Relación entre cine y trabajo.
Relación entre cine y producción (económica, de sentido, etc.).

Aspectos que surgen de la narración de Farocki:
 Cruces entre esferas de producción con esferas de poder.
Toda poética tiene implicaciones políticas y económicas.
¿Cuáles son algunas de ellas?
¿Qué entendemos por político?

Esta pieza tiene una presentación alternativa en la forma de videoinstalación.

¿Qué podemos entender por un nuevo tesauro cinematográfico? ¿Qué nos aporta esta propuesta conceptual del realizador alemán? 

La obra de Farocki como un tesauro en sí que cuestiona la tradición de la mirada en el siglo XX-XXI

 ¿Qué aportes puede tener el documental y el ensayo fílmico a la apertura de nuevas formas de representación?

Un ejemplo desde Canadá: Petropolis, de Peter Mettler.

La peli la pueden ver aquí (bajar fólder completo “petropolis” y jalar a VLC)

Pensemos en un caso ya mencionado en el curso, Tempestad, de Tatiana Huezo, como otro abordaje del ensayo y alternativas para crear representaciones de la violencia.
La peli completa aquí.
Las películas de Ben Rivers también nos ayudan a poner en relación la idea de ensayo y la de documental. Aquí pueden ver Origin of the Species.  O Slow Action:

O, por ejemplo, Old Dark House:

Media archaeology is an emerging set of interdisciplinary theories and methodologies that address media history in new, often unconventional ways – both looking for elements of repetition as well as variation in the past. Media archaeology wants to understand new and emerging media cultures through the past. J. Parikka
The term media art is useful and used for artistic projects bringing up the technological, aesthetical, social, cultural, legal and political issues that come along with the emergence of new media. Monoskop
Rudolf Frieling and Dieter Daniels: media art is “by definition multimedia, time-based or process-oriented”[10]
We pointed out the special qualities of media art reception in the introduction toMedia Art Net 1. This applies both to direct knowledge of the artworks and also their technological and theoretical context; we would like to sum this up succinctly in the following three theses:

  •  1. Media art must be conveyed multimedially so that its time-based, processual and interactive aspects can be understood.
  •  2. Media art needs a special theory that combines competencies from art theory, media science and media technology.
  •  3. Multimedia presentation and special theory are mutually dependent; they have to relate to each other and be published on a joint platform.

To these we can now add a fourth thesis as the sum of our past experiences:

  •  4. Contexts can be created and presented only through the Net: the idea of networking the competencies of curators, academics, mediators and institutions met with a great deal of willingness to cooperate. So finally, thanks to these many collaborators, it was possible to finance a large number of additional themes, projects and materials. Here the bandwidth of the approaches, which were often very heterogenous in terms of method, first reflects existing divergencies of theory and practice. But at the same time the joint, collectively filled data pool, starting from the work, makes it possible to respond to these works and to make them productive in this way. Cross-links between the text were built in editorially. This led to an intensification process that we often found remarkable; it crystallized out from multiple references to a whole series of older, but also more recent artistic positions.

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