No subject
Fri Aug 23 14:43:58 EST 2013
Korean screens/spectacle and the drive toward the commercial and economic
as a political gesture itself (against "stuffy traditionalists")....
This presents both a dynamic cultural difference and a fissure that reminds
me of the fact that politics, economics and cultural expectations are so
directly related to aesthetic culture. I am hoping that we can really
flush out this difference because I think it is an important one.
As a producer, critical engagement and collaborative gestures may help to
keep my understanding between my production, where the production is taking
place, and eventually where it is being received. The international film
festival and other international venues may be another necessary way to
expose ourselves to other ways of understanding.
Still very jet-lagged. Renate
--
Renate Ferro
Visiting Assistant Professor of Art,
(contracted since 2004)
Cornell University
Department of Art, Tjaden Hall Office: 306
Ithaca, NY 14853
Email: <rferro at cornell.edu <rtf9 at cornell.edu>>
URL: http://www.renateferro.net
http://www.privatesecretspubliclies.net
Lab: http://www.tinkerfactory.net
Managing Co-moderator of -empyre- soft skinned space
http://empyre.library.cornell.edu/
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<div dir=3D"ltr"><div>Thanks Dale for sharing this exciting work with empyr=
e. I think that the impetus for this month's topic was the notion of cr=
oss-disciplinarity (or multi/interdisc) that not only encourage shifts of c=
onvergence but are a necessity from my point of view. =A0I have students at=
Cornell working on their final Thesis research/artistic projects. =A0Many =
of them working with new media and the moving image must include collaborat=
ors from engineering or computing who can enable them to accomplish their p=
rojects. =A0What happens in the process is that ideas morph, shift, expand,=
contract as a result of the input of others and the collaborative process.=
=A0</div>
<div><br></div><div>Film is also a collaborative process but it is generate=
d from the top down, producer to director, etc, =A0whether in main-stream o=
r independent cinema.=A0</div><div><br></div><div>Earlier this month Young =
min very eloquently wrote about the split eye as described by Lacan.=A0</di=
v>
<div><My basic understanding of the eye/gaze dichotomy is from Jacques L=
acan who suggests that the eye and the gaze is the split. The function of t=
he eye is=A0to see, while the gaze deceives the eye. =A0<snip...></di=
v>
<div>This double gaze of deception/abandonment in the form of moving image =
(camera eye) can represent the unconscious of the subject by revealing the =
epistemological potentiality of the unconscious truth in analysis. I would =
argue that the camera eye becomes a derivative manifestation of Lacanian ae=
sthetics of the gaze, the aesthetics which transforms itself from the</div>
<div>images of the hoop nets representing the unconscious to the topology o=
f the klein bottle representing a new way of projection which transgresses =
the borderlands of the inside/outside region of the uncanny unconsciousness=
.></div>
<div><br></div><div>Tim responded: =A0<The issue, for me, is not whether=
the psychoanalytical paradigm remains helpful, but rather, how it might be=
rewritten by the convergences of medial culture, perhaps more akin to what=
the French psychoanalyst J-B Pontalis calls "the visual" along t=
he lines of vision scanned, glanced, looped, morphed and pixellated.></d=
iv>
<div><br></div><div>Dale it seems to me that the APPS workshop may be an ex=
cellent example of J_B Pontalis'visual or I might suggest Massumi's=
proprioception/sensing where the eye/gaze is disrupted and other senses ta=
ke over.=A0</div>
<div><br></div><div>The other work you mention that engages social conditio=
ns also may highlight possible cultural fissures that have become evident. =
=A0=A0</div><div><br></div><div><snip> Some of the work is very pract=
ical like mods of Wii consoles to help doctors and patients with monitoring=
physical therapy from remote locations and mobile-phone apps to help orpha=
nages record data for reports to funders, but other work is more engaged wi=
th artistic/cultural concerns, such as arts education and counter-narrative=
s of cultural heritage.<snip>=A0</div>
<div><br></div><div>Dale you are reminding me of Ricardo Dominguez, Zach Bl=
as, and Brooke Singer's work that has been featured in many of our disc=
ussions here on empyre where the visual becomes not only "scanned, gla=
nced, looped, morphed and pixellated" but displaced by the social move=
ment and politics that embodies it. =A0</div>
<div><br></div><div>While Busan screened international cinema both commerci=
al and independent within the hallows of theaters some situated on the top =
floors of high-rise department stores, in Seoul vast LED screens looped adv=
ertisements where both the aesthetics and the ideas were pretty innovative =
from my point of view. Multiple screens were perched on only on the sides o=
f skyscrapers; others were propped on the ground.=A0Driving through the cit=
y from some vantage points I saw five or six screens at once. =A0To take th=
em in my eyes and my body had twist and turn. Certainly no politics and no =
social concerns were evident in content but definitely large spectacle.=A0<=
/div>
<div><br></div><div>From Alex's post last week I think he may explain t=
he ubiquity of =A0the Korean screens/spectacle and the drive toward the com=
mercial and economic as a political gesture itself (against "stuffy tr=
aditionalists")....</div>
<div><br></div><div>This presents both a dynamic cultural difference and a =
fissure that reminds me of =A0the fact that politics, economics and cultura=
l expectations are so directly related to aesthetic culture. =A0=A0I am hop=
ing that we can really flush out this difference because I think it is an i=
mportant one.=A0</div>
<div><br></div><div>As a producer, =A0critical engagement and collaborative=
gestures may help to keep my understanding between my production, where th=
e production is taking place, and eventually where it is being received. =
=A0The international film festival and other international venues may be an=
other necessary way to expose ourselves to other ways of understanding.=A0<=
/div>
<div><br></div><div>Still very jet-lagged. =A0Renate</div><div><br></div><d=
iv><br></div><div><br></div>-- <br><div dir=3D"ltr"><br>Renate Ferro<br>Vis=
iting Assistant Professor of Art,=A0<div>(contracted since 2004)<div><div>C=
ornell University<br>
Department of Art, Tjaden Hall Office: =A0306<br>Ithaca, NY =A014853<br>Ema=
il: =A0 <<a href=3D"mailto:rtf9 at cornell.edu" target=3D"_blank">rferro at co=
rnell.edu</a>><br>URL: =A0<a href=3D"http://www.renateferro.net" target=
=3D"_blank">http://www.renateferro.net</a><br>
=A0 =A0 =A0 <a href=3D"http://www.privatesecretspubliclies.net" target=3D"_=
blank">http://www.privatesecretspubliclies.net</a> =A0 =A0 =A0 <br>Lab: =A0=
<a href=3D"http://www.tinkerfactory.net" target=3D"_blank">http://www.tinke=
rfactory.net</a><br>
<br>Managing Co-moderator of -empyre- soft skinned space<br><a href=3D"http=
://empyre.library.cornell.edu/" target=3D"_blank">http://empyre.library.cor=
nell.edu/</a><br><br></div></div></div></div>
</div>
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