Farofa

– loops dinâmicos que se combinam para formar filmorganismos –

“the medium itself, as a vehicle of truth, is subject to radical doubt”

Farocki`s works are a constant conversation with images, with image making, and with the institutions that produce these images

“My films are made against the cinema and against television”

Die Bilder sollen gegen sich selbst aussagen

instabilidade x controle

Suprimir o tempo no loop – ele nao tem começo nem fim – trabalho para Simone Michelin

A ideia de repetição ou de loop : Ewige Wiederholung

Eine Montage muss mit unsichtbaren Kräften die Dinge zusammenhalten, die sonst durcheinander kollern.

A computer can process pictures, but it needs no pictures to verify or falsify what it reads in the images it processes. Fot the computer, the image in the computer is enough. Nevertheless, the “objective language” pictures are distinct by degrees from the “meta-linguistic” pictures, much as the aesthetics of the machine are distinct from commodity aesthetic. And the axe of Roland Barthes’s lumberjack is not simply a manifestation of goal-related rationality: even a tool communicates not only with the materials of its trade, but also with the human senses.

As early as 1942, scientists in Germany had succeeded in installing a television camera in a remote-control weapon. But it wasn’t until the Gulf War, almost fifty years later, that missiles could actually be guided with the help of electronic images obtained from ‚suicide cameras’ placed in their tips.

Das Arbeiten am Schneidetisch macht aus der Um- gangssprache Schriftsprache. Die Bilder bekommen einen Aktendeckel, genannt Schnitt oder Montage. Am Schneidetisch wird aus dem Gestammel Rhetorik. Weil es diese rhetorische Artikulation gibt, ist der Diskurs ohne Artikulation im Schneideraum Gestammel. Am Drehort, da kann man die Kamera hierhin und dorthin stellen, das ist die Entscheidung von einer Minute, getroffen mit einem nachdenklich verzogenen Gesicht. Im Schneideraum wird dann eine Woche lang abgewogen, wohin dieses Ein- Minuten-Bild kommt.

Harun Farocki, Substandard, in: Documentaire, No. 12, Automne 1996, S. 17-27. Nachdruck / Imprints, 2001 Siehe auch die deutsche Version Substandard

Le texte suivant est né d’une recherche fondée sur des images documentaires de la Roumanie en 1989 :images vidéo d’origines diverses (de la télévision, d’amateurs, de l’armée…) qui témoignent de la chute de Ceausescu […]
Dans Vidéogrammes d’une révolution, Farocki et Ujica analysent les dispositifs propres aux images de la télévision et du film d’amateur à différents ‘stades’ de la ‘révolution’. Ils partent exclusivement d’images préexistentes qu’ils commentent selon un type de montage qui va ‘de l’oreille à l’oeil’ et que que Bazin aurait appelé ‘horizontal’. (Christa Blümlinger)

http://www1.folha.uol.com.br/ilustrada/746992-obra-de-harun-farocki-usa-videogame-do-exercito-para-treinar-soldados.shtml

About paoleb

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