Photographs by one of French cinema's most influential and enigmatic artists. Any new film and any new book by French filmmaker Chris Marker is an event. Marker gave film lovers one of their most memorable experiences with La Jetée —a time-travel montage set after a nuclear war that inspired Terry Gilliam's Twelve Monkeys. His still camerawork is not as well known, but Marker has been taking photographs as long as he has been making films. Staring Back (...) presents 200 black-and-white photographs from Marker's personal archives, taken from 1952 to 2006. Some of the photographs are related to his classic films, others are portraits of famous faces, but most are pictures of people Marker has encountered as he has traveled the world. The central section of the book contains a series of photographs documenting political protests Marker has witnessed, including the march on the Pentagon in 1967, the events of May 1968 in Paris, and the tumultuous 2006 demonstrations protesting the French government's proposed employment policies. The photographs are accompanied by several unpublished texts by Marker, including the English language text of The Case of the Grinning Cat and Marker's annotations for some of the photos. The book—which appears in conjunction with an exhibition at the Wexner Center for the Arts at The Ohio State University—also includes essays by Wexner Center curator Bill Horrigan and art historian Molly Nesbit. (shrink)

"The book version of the legendary science fiction film "--Publisher description.

Quand Chris Marker « filme les autres », comme dans Joli mai et autres documentaires, il adhère à une image émancipatrice du peuple, mais ce n’est pas seulement ou ce n’est surtout pas à une image qu’il se rallie. Son travail de cinéaste porte toujours sur la question : comment se font les images et quand s’il s’agit d’image du peuple, comment celui-ci participe-t-il à ces images? Et pour cela, il ne filme pas le peuple, mais scrute l’ordinaire (...) de son existence, dont il prélève des fragments, quand ces documents visuels et sonores ne sont pas fabriqués de concert avec les gens. (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed (...) and as ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

"Chris Marker's La Jetee is considered one of the greatest experimental films of all time. This short film - a compelling science-fiction story composed almost entirely of black-and-white photographs - has been praised by cultural theorists, artists and film-goers alike." "Janet Harbord focuses on the film's influential circular treatment of time, the power of its voice-over narration and the qualities of stillness and movement in its images. She examines the pace and shifting rhythm of the various editing techniques (...) employed in the work, the use of sound as a key affective device and the relationship of film to animation - in the sense of things brought to life. Harbord moves deftly from close readings of the film to discussions of broader cultural issues, navigating within La Jetee's prospect of a post-apocalyptic future, where humanity searches to save itself through experiments in time." --Book Jacket. (shrink)

La Jetée is a Chris Marker movie composed by still images, photographs, with the exception of a very short sequence. The paper aims to account for the experience of temporality induced by photography, framing the structural analysis of the movie in a phenomenological horizon, in particular with regard to the Husserlian’s notion of “Living Present”.

1 Evidence-based policy requires researchers to provide the answers to ecological questions that are of interest to policy makers. To find out what those questions are in the UK, representatives from 28 organizations involved in policy, together with scientists from 10 academic institutions, were asked to generate a list of questions from their organizations. 2 During a 2-day workshop the initial list of 1003 questions generated from consulting at least 654 policy makers and academics was used as a basis for (...) generating a short list of 100 questions of significant policy relevance. Short-listing was decided on the basis of the preferences of the representatives from the policy-led organizations. 3 The areas covered included most major issues of environmental concern in the UK, including agriculture, marine fisheries, climate change, ecosystem function and land management. 4 The most striking outcome was the preference for general questions rather than narrow ones. The reason is that policy is driven by broad issues rather than specific ones. In contrast, scientists are frequently best equipped to answer specific questions. This means that it may be necessary to extract the underpinning specific question before researchers can proceed. 5 Synthesis and applications. Greater communication between policy makers and scientists is required in order to ensure that applied ecologists are dealing with issues in a way that can feed into policy. It is particularly important that applied ecologists emphasize the generic value of their work wherever possible. (shrink)

El presente artículo explora la presencia de un principio dialógico en la configuración de las subjetividades que interactúan en Level Five de Chris Marker con el objetivo de matizar la metáfora crítica que califica de forma consistente el cine del director francés como ejemplo del autorretrato. Mediante el concepto bajtiniano de “devenir ideológico”, el texto presta especial atención a la creciente importancia que juegan las tecnologías de la comunicación en los procesos de reacentuación discursiva que determinan en último (...) término la construcción de subjetividades. La noción de “imagen-red” busca poner de relieve las formas en las que la imagen digital ha propiciado el desarrollo de un nuevo pasaje de la imagen hacia un régimen representativo dominado por las ideas de intercambio autoinscripción cuyos ecos Level Five explora mediante el análisis de aspectos que van desde la dicotomía entre historia y memoria al papel de la imagen documental en la construcción de la realidad. This article analyzes the presence of a dialogic principle in the way subjectivities are constructed within Chris Marker’s Level Five, with a view to critically counteract the notion of Marker’s films as forms of the self-portrait. Through the Bakhtinian concept of “ideological becoming”, special attention is paid to the role played by new technologies of information and communication in the processes of re- accentuation which determine how subjectivities evolve in the context of the film. The concept of an “image-network” attempts to highlight the development of a new passage of the image towards a mode of representation dominated by a principle of exchange, whose importance is echoed in the film through the analysis of issues ranging from the dichotomy between memory and history to the relevance of documentary image for reality construction. (shrink)

Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. Visual representations have often played a crucial role in imagining future urban forms. In the aftermath of the Second World War, a noteworthy new (...) genre of urban plan was published in Britain, most deploying seductively optimistic illustrations of ways forward not only for the reconstruction of bomb-damaged towns and cities but also for places left largely undamaged. This paper assesses the contribution of visual elements in this,process with a detailed case study of the maps, statistical charts, architectural drawings and photographs enrolled into the 1945 City of Manchester Plan. The cultural production of these visual representations is evaluated. Our analysis interprets the form, symbology and active work of different imagery in the process of reimagining Manchester, but also assesses the role of these images as markers of a particular moment in the cultural economy of the city. This analysis is carried out in relation to the ethos of the Plan as a whole. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Giving an Account of OneselfChris LundbergGiving an Account of Oneself. Judith Butler. New York: Fordham University Press, 2005. Pp. x + 149. $18.95, softcover.Giving an Account of Oneself, Judith Butler's recent foray into moral philosophy, is a lucid interrogation of the problem of responsibility in the wake of contemporary critiques of the subject. In it, Butler moves beyond her concern with the conditions of subjectivity and its performances (...) towards a fuller consideration of life with others. Butler proffers an answer to the problem of post-subjective responsibility that resonates with the best elements of the rhetorical traditions, [End Page 329] though perhaps Butler's project might also benefit from a more thorough engagement with the problem of rhetoric in its specificity.Though works such as Gender Trouble earned a reputation (perhaps unfairly) for being theoretically dense to the point of obscurity, Giving an Account of Oneself is clearly and elegantly argued. Butler's argument is that moral philosophy relies on the ability of subjects to give an account of themselves and their actions. Such an account seems difficult in the face of blistering critiques of an autonomous, self-possessed, transparent, and naturally given subject of intention. How can one affirm responsibility in the post-subjective moment? As Butler puts it: "does the postulation of a subject who is not self-grounding … whose conditions of emergence can never fully be accounted for, undermine the possibility of responsibility and, in particular, of giving an account of oneself" (19)? What are the assumptions latent in critiques of the humanist subject that might deny the possibility of giving an account of oneself? Inspired by Foucault's interrogation of a naturalized truth of the subject, Lacan's account of a subject produced and dispossessed by the Symbolic Order, and Derrida's critique of presence, such critiques locate the subject as an effect of the operations of discourse, conceived broadly. Despite the force of these critiques, Butler claims that a view of the subject nested in and dispossessed by discourse provides possibilities for ethics. Butler's reframing of ethics draws on two assumptions that underwrite "post" accounts of the subject: that the subject is both an effect of discourse and of differential relation to others.The first assumption is that a subject produced within discourse is also a subject that is dependent on and interpenetrated by others. Drawing on her continuing engagement with Hegel, the work of Adriana Cavarero, Levinas's conception of alterity and Laplanche's theory of seduction, Butler argues that the subject is endowed with a "fundamental sociality" (33). The markers of fundamental sociality differ for each of these theorists: Hegel relies on the concept of recognition; Cavarero appropriates Arendt's space of appearance; Levinas argues for the priority of an ethical relation to the other over ontology; and Laplanche conceives of the emergence of subjectivity as a primal seduction of a child by the adult world. But each of these framings of the subject is united by a basic commitment that subjects are produced in relation to others both as a generative point and as a horizon.The second assumption is that when a subject dependent on other subjects attempts to give an account of itself, it does so within a structure of address. A subject makes a claim for itself only in the presence of others—an account of oneself both aims at the self but also simultaneously aims at presenting the self to another. On this reading, accounts of oneself are not transparent descriptions [End Page 330] of a subject's interiority: rather, an account of oneself must be a narrative, a discursive gathering of the self that can never fully recover the conditions of its emergence. Narrative is not simply a mode of communicating the content and intentions of a self to the other. Narrative is simultaneously the precondition for a subject naming and providing retroactive order to its own subjectivity. But where there are narratives, there is always the risk of narrative closure, or that the narrative is repeated without interruption. Put in terms of Butler's concern with ethics, is there not always a risk that a narrative becomes a self... (shrink)

Arbitrary symbolism is a linguistic doctrine that predicts an orthogonal relationship between word forms and their corresponding meanings. Recent corpora analyses have demonstrated violations of arbitrary symbolism with respect to concreteness, a variable characterizing the sensorimotor salience of a word. In addition to qualitative semantic differences, abstract and concrete words are also marked by distinct morphophonological structures such as length and morphological complexity. Native English speakers show sensitivity to these markers in tasks such as auditory word recognition and naming. One (...) unanswered question is whether this violation of arbitrariness reflects an idiosyncratic property of the English lexicon or whether word concreteness is a marked phenomenon across other natural languages. We isolated concrete and abstract English nouns, and translated each into Russian, Arabic, Dutch, Mandarin, Hindi, Korean, Hebrew, and American Sign Language. We conducted offline acoustic analyses of abstract and concrete word length discrepancies across languages. In a separate experiment, native English speakers with no prior knowledge of these foreign languages judged concreteness of these nouns. Each naïve participant heard pre-recorded words presented in randomized blocks of three foreign languages following a brief listening exposure to a narrative sample from each respective language. Concrete and abstract words differed by length across five of eight languages, and prediction accuracy exceeded chance for four of eight languages. These results suggest that word concreteness is a marked phenomenon across several of the world's most widely spoken languages. We interpret these findings as supportive of an adaptive cognitive heuristic that allows listeners to exploit non-arbitrary mappings of word form to word meaning. (shrink)

A shared goal amongst most educators, we argue, is to supplant students’ raw or “naive” intuitions with more refined intuitions about a particular domain. Educators want students, and people more generally, to recognize when ideas, frameworks, and processes don’t “look right”. When we know that something does not look right, sound right, or feel right, we investigate further. We seek to fill in the gaps between our knowledge and we attempt to learn new approaches for solving problems. Lifelong learning, in (...) other words, builds from a recognition of incoherence. We hope students will be more likely to recognize flawed reasoning or rhetorical appeals, even if they have long forgotten the details of logic, statistics, and argumentation. They have acquired a refined (one might even say “aesthetic”) sense of what is likely correct or incorrect; what is likely promising or empty. This sense is “aisthesis”. -/- Aisthesis is a marker of education. Although it doesn’t refer to particular sets of knowledge or particular skills in analyzing and evaluating problems, it provides a overarching framework that binds educators in both literature and science. Consequently, aisthesis provides a novel lens for pedagogy. Insofar as we are correct that education is about the cultivation of an aesthetic discrimination between good and bad work, aisthesis could be more explicitly targeted. Educators hope to instill in students an aisthetic sense of how to recognize when statements, issues, or artifacts are problematic and require further engagmeent. (shrink)

Despite its uniform appearance, the cerebellar cortex is highly heterogeneous in terms of structure, genetics and physiology. Purkinje cells (PCs), the principal and sole output neurons of the cerebellar cortex, can be categorized into multiple populations that differentially express molecular markers and display distinctive physiological features. Such features include action potential rate, but also their propensity for synaptic and intrinsic plasticity. However, the precise molecular and genetic factors that correlate with the differential physiological properties of PCs remain elusive. In this (...) article, we provide a detailed overview of the cellular mechanisms that regulate PC activity and plasticity. We further perform a pathway analysis to highlight how molecular characteristics of specific PC populations may influence their physiology and plasticity mechanisms. (shrink)

Individuals regaining reliable day-to-day walking function after incomplete spinal cord injury report persisting unsteadiness when confronted with walking challenges. However, quantifiable measures of walking capacity lack the sensitivity to reveal underlying impairments of supra-spinal locomotor control. This study investigates the relationship between intramuscular coherence and corticospinal dynamic balance control during a visually guided Target walking treadmill task. In thirteen individuals with iSCI and 24 controls, intramuscular coherence and cumulant densities were estimated from pairs of Tibialis anterior surface EMG recordings during (...) normal treadmill walking and a Target walking task. The approximate center of mass was calculated from pelvis markers. Spearman rank correlations were performed to evaluate the relationship between intramuscular coherence, clinical parameters, and center of mass parameters. In controls, we found that the Target walking task results in increased high-frequency intramuscular coherence, which negatively related to changes in the center of mass movement, whereas this modulation was largely reduced in individuals with iSCI. The impaired modulation of high-frequency intramuscular coherence during the Target walking task correlated with neurophysiological and functional readouts, such as motor-evoked potential amplitude and outdoor mobility score, as well as center of mass trajectory length. The Target walking effect, the difference between Target and Normal walking intramuscular coherence, was significantly higher in controls than in individuals with iSCI [F = 13.042, p < 0.001]. Intramuscular coherence obtained during challenging walking in individuals with iSCI may provide information on corticospinal gait control. The relationships between biomechanics, clinical scores, and neurophysiology suggest that intramuscular coherence assessed during challenging tasks may be meaningful for understanding impaired supra-spinal control in individuals with iSCI. (shrink)

The use of transcranial Electrical Stimulation in the modulation of cognitive brain functions to improve neuropsychiatric conditions has extensively increased over the decades. tES techniques have also raised new challenges associated with study design, stimulation protocol, functional specificity, and dose-response relationship. In this paper, we addressed challenges through the emerging methodology to investigate the dose-response relationship of High Definition-transcranial Direct Current Stimulation, identifying the role of negative valence in tinnitus perception. In light of the neurofunctional testable framework and tES application, (...) hypotheses were formulated to measure clinical and surrogate endpoints. We posited that conscious pairing adequately pleasant stimuli with tinnitus perception results in correction of the loudness misperception and would be reinforced by concurrent active HD-tDCS on the left Dorsolateral Prefrontal Cortex. The dose-response relationship between HD-tDCS specificity and the loudness perception is also modeled. We conducted a double-blind, randomized crossover pilot study with six recruited tinnitus patients. Accrued data was utilized to design a well-controlled adaptive seamless Bayesian dose-response study. The sample size and optimum interims were anticipated for adaptive decision-making about efficacy, safety, and single session dose parameters. Furthermore, preliminary pilot study results were sufficient to show a significant difference within the longitudinally detected self-report tinnitus loudness between before and under positive emotion induction. This study demonstrated a research methodology used to improve emotion regulation in tinnitus patients. In the projected method, positive emotion induction is essential for promoting functional targeting under HD-tDCS anatomical specificity to indicate the efficacy and facilitate the dose-finding process. The continuous updating of prior knowledge about efficacy and dose during the exploratory stage adapts the anticipated dose-response model. Consequently, the effective dose range to make superiority neuromodulation in correcting loudness misperception of tinnitus will be redefined. Highly effective dose adapts the study to a standard randomized trial and transforms it into the confirmatory stage in which active HD-tDCS protocol is compared with a sham trial. Establishing the HD-tDCS intervention protocols relying on this novel method provides reliable evidence for regulatory agencies to approve or reject the efficacy and safety. Furthermore, this paper supports a technical report for designing multimodality data-driven complementary investigations in emotion regulation, including EEG-driven neuro markers, Stroop-driven attention biases, and neuroimaging-driven brain network dynamics. (shrink)

Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent (...) like an “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s. (shrink)

“Speak to it, Horatio. Thou art a scholar.” –Shakespeare, Hamlet -/- With the recent passing of the world’s “best-known unknown filmmaker,” Chris Marker, it is axiomatic that left-wing melancholy now includes the ongoing loss of previously lost causes – a paradox that suggests the true address of all lost causes worth defending is a strange confluence of past and futural states, as one state. This double loss as gain is also the primary mark of the “landscape” of pessimistic (...) optimism that also denotes the foremost position to occupy today in the battles associated with capitalist end times (Slavoj Žižek’s term). -/- Cultural ecology is no longer what it once was – that is to say, a strange amalgam of vernacular essences perpetrated in the rather forlorn 1970s and/or the insistent and incessant production of difference. Instead, cultural ecology invokes spectral civil war – arguably the very state of things today – and the return of “the dead” in the persistence of forms of high-formalist and high-conceptualist works of art and architecture. -/- This paper examines the late works of the late Chris Marker, including the very short videos he uploaded to YouTube under the pseudonym “Kosinki” from 2007 to 2011, an event contiguous with his return to exhibiting very-still photography from 2006 to 2011. -/- Marker’s simultaneous returns to still photography and the short film-essay are both magnificent gestures toward the austerities required of present-day media to effect the necessary “return” to what is always present in one form or another anyway – the non-place between world and world-to-come. (shrink)

Dans le sillage de Chris Marker ou de Grégory Chatonsky, de plus en plus d’artistes contemporains pratiquent la réappropriation, le détournement, l’usage critique de l’intelligence artificielle. Grand connaisseur des arts numériques, Fabien Zocco est l’un d’entre eux. Il est l’auteur, avec le réalisateur Gwendal Sartre, d’ Attack The Sun, film dont des dialogues ont été générés par une IA au cours même du tournage qui suit la dérive d’un youtuber californien paraissant sombrer dans une folie de tuerie. L’enjeu (...) : éprouver « de l’intérieur » des outils contemporains comme l’IA pour « escompter ensuite analyser et déconstruire leurs effets ». (shrink)

This paper argues that Chris Marker's 1982 film Sans Soleil derives its affective force from doublings and ‘faces’ of horror and beauty that reveal a twofold synthesis of actual and virtual. While a focus upon the material, ever in relation to transient yet lingering sensations, cannot discharge the power and force of the film, this paper endeavours nevertheless to assess and evoke Marker and Deleuze's own interrogative methods that thoroughly explore, in the manner of a revelatory ‘schizoanalysis’ (...) or empiricism, molecular and variable operations beneath our ‘molar’ structures and organisations. As Sans Soleil's voiceover states, ‘If they don't see happiness in the picture, at least they'll see the black’, a provocative remark that invokes indefinable singularities and the darkness of a wound, cracking of time and splitting of self in film, life and death. Considerations of death, consciousness and subjectivity extend this paper's examinations. (shrink)

Our paper deals with the work of André Malraux on the illustrations for his Musée imaginaire from the point of view of visual and cognitive experimentation. This work is explicitly inspired by the Benjamin of the »technical reproducibility« and the »author as producer.« We examine the opening of the imaginary field, as it is suggested by the praxis of the art book – an album of images that is supported by a certain kind of expressivity of framing, illumination and montage (...) – in Malraux. Through this praxis of montage, Malraux constructs the authority of his visual style and the closure of the literary field. Above all, however, we discuss critically the anti-historical and anti-political destiny of his aesthetics, which in the end is quite far from Benjamin’s, and we conclude with a comparison between two contemporary artworks, namely Malraux’ Le Musee imaginaire de la sculpture mondiale and Les Statues meurent aussi, a film by Chris Marker and Alain Resnais. (shrink)

Co-écrit par Chloé Galibert-Laîné et Guillaume Grandjean, l’essai vidéo GeoMarkr (22 minutes, 2022) explore différentes pratiques de l’enquête spatiale médiatisée, des explorations filmiques de Chris Marker au jeu vidéo GeoGuessr. Les deux auteurices ont proposé à Corentin Lê de se joindre, le temps d’un échange, à leurs déambulations théoriques.

Introduction : first things : two black and blue thoughts -- Author's note I. a sewing needle inside a plastic and rubber suction cup sitting on a watch spring, or, an object for seeing nothing -- Elegy of milk, in black and blue : the bruising of La Chambre claire -- "A" is for Alice, for amnesia, for anamnesis: a fairy tale (almost blue) called La Jetée -- Happiness with a long piece of black leader : Chris Marker's (...) sans soleil -- Author's note II. She wrote me -- "Summer was inside the marble": Alain Resnais and Magurite Duras's Hiroshima mon amour. (shrink)

How do the practices of philosophy and film converge in ethical and political theory? Untimely Affects is an ethical and aesthetic interweaving of Deleuzian philosophy and close film analysis to discern how thought persists productively after the horrors of World War II. In the first extensive analysis of Chris Marker and Alain Resnais' films, Nadine Boljkovac draws on concepts and images that interrogate 'what we are now living through', in the words of Klossowski's Nietzsche. Mindful of the seen (...) and unseen 'that quicken the heart', this book of film-philosophy discerns new and deeply ethical life-affirming possibilities through its weave of cine-philosophy. As such, this book speaks directly to essences of cinema, thought and life through creative untimeliness and the idea of the 'ever new'. (shrink)

A 37,641-word exegesis for thesis "sur travaux". Includes: Research methodology; "Expositions des textes"; Paralogisms for scholars; Conference, exhibition, and research tour details and itineraries. -/- PhD (Doctor of Philosophy) – Deakin University – 2011-2014 – Thesis by Publication (“sur travaux”): “Visual Agency in Art and Architecture” – Two monographs: Dossier Chris Marker: The Suffering Image (2012); and Not-I/Thou: The Other Subject of Art and Architecture (2014) – Two curated, multimedia group exhibitions: “‘Shadow-lands’: The Suffering Image” (2012), Dennys Lascelles (...) Gallery, Alfred Deakin Prime Ministerial Library, Deakin University; and “‘Shadow-lands’ II: Not-I/Thou” (2014), Dennys Lascelles Gallery, Alfred Deakin Prime Ministerial Library, Deakin University – Two archival submissions: “DCM Bequest” (2012), research dossier, Australian Film Institute/RMIT; “Shadow-lands”: The Suffering Image (2012), limited-edition, hand-made folio (exhibition dossier), Alfred Deakin Prime Ministerial Library, Deakin University, and St. Paschal Library, Yarra Theological Union – Supervision: David Jones, John Rollo, and Flavia Marcello – External examination: Tom Conley, Harvard University, Cambridge, MA, USA; Suzana Milevska, Academy of Fine Arts, Vienna, Austria; and Anonymous, Australia – Research conducted in Australia, England, France, Croatia, and Slovenia – Seven conferences attended in Australia (3), England (2), Italy (1), and Greece (1). (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Comment définir l'essai au cinéma? Reprenant l'héritage des avant-gardes des années 1920, à travers notamment les œuvres de Dziga Vertov, Jean Epstein ou Jean Vigo, l'essai filmique s'inscrit dans le cinéma moderne qui se définit au moment de la deuxième guerre mondiale avec Le Dictateur (1940) de Charlie Chaplin. Cette évolution se caractérise par un retour au documentaire et de nouvelles relations entre l'image et le son. On assiste alors dans le cinéma hollywoodien, avec Citizen Kane (1941) d'Orson Welles et, (...) dans le cinéma européen, avec Rome, ville ouverte (1945) de Roberto Rossellini, au développement de deux modernités cinématographiques qui annoncent les deux catégories de l'essai au cinéma : l'essai documentaire et l'essai de fiction. Ces deux tendances se traduisent dès les années 1960 avec Le Joli Mai (1963) de Chris Marker (coréalisé avec Pierre Lhomme) et 2 ou 3 choses que je sais d'elle (1967) de Jean-Luc Godard. En suivant les films qui ont marqué l'histoire de la modernité cinématographique et celle de l'essai au cinéma comme Voyage en Italie (1953), Nuit et Brouillard (1956), La Jetée (1963), Le Mépris (1963), Pierrot le fou (1965)... mais aussi avec les œuvres d'Agnès Varda, Jean Rouch, Pier Paolo Pasolini, Federico Fellini, Jean-Daniel Pollet, Harun Farocki ou Manoel de Oliveira, ce livre montre comment s'est développée une nouvelle approche du cinéma comme 'pensée qui forme' et 'forme qui pense'."--Page 4 of cover. (shrink)

In Selfless Cinema?, Sarah Cooper maps out the power relations of making, and viewing, documentaries in ethical terms. The ethics of filmmaking are often examined in largely legalistic terms, dominated by issues of consent, responsibility, and participantse(tm) or film-makerse(tm) rights, but Cooper approaches four representative French film-makers e" Jean Rouch, Chris Marker, Raymond Depardon, and Agns Varda e" in a far less juridical way, drawing on the ethical philosophy of Emmanuel Levinas. She argues that, in spite of Levinase(tm)s (...) iconoclastic, anti-ocular thinking, his concept of visage is richly applicable to film, and especially to documentary. (shrink)

Introduction Paul Boshears The following excerpt from Paul Amitai's In Between States: Field notes and speculations on postwar landscapes (2012) confounds its reader. Presenting an alternate history of the State of Israel as a space station orbiting Earth, the excitement of possibilities crackles across the texts and images. Like Chris Marker's La Jeteé , the accompanying static images distort the viewer's temporality: are these archaeological items, images from a past, or a future? Why isn't this our future? In (...) Between States can also be seen as complementing Larissa Sansour's provocative science fiction works, Space Exodus (2009) which "documents" the Palestinian space program, and her Nation Estate (2012), in which Palestine is relocated into a skyscraper. Amitai's vision opens onto an intergalactic diaspora, wherein the refugees of World War II are given the stars as Western Europe continues to fight over terrestial colonies. —PFB Auditorium, Hoechst AG headquarters, Industriepark-Höchst, 2011. In 1941 an investigation by the US Justice Department exposed a marriage cartel between John D. Rockefeller’s Standard Oil (now ExxonMobil) and I.G. Farben. The two corporations had formed a joint operation in 1927 called Standard IG Farben. It was revealed that the two had shared patents in order to control prices and markets in their respective regions. Standard was accused of hiding patents from the US Navy and supplying fuel to German submarines, which lead to charges of criminal conspiracy. The Pentagon intervened, requesting that President Roosevelt stop the investigation in order to protect war production and oil supply. Roosevelt agreed, and the Senate committee investigating the matter, headed by Senator Harry Truman, was halted. Standard Oil paid a fine of $5000 and promised to stop supplying fuel to the enemies. Auditorium, Hoechst AG headquarters, Industriepark-Höchst, 2011. Furious at the decision to terminate the investigation of acts he considered treason, Truman initiated a new inquiry into Standard Oil’s war-time practices after succeeding Roosevelt as president in 1945. With the chief executives of I.G Farben simultaneously on trial at Nuremburg, Truman brokered a deal with the Allies that reduced or withdrew criminal charges leveled against both corporations in exchange for Standard Oil and I.G. Farben’s sponsorship of one of Truman’s most ambitious postwar projects—the relocation of the Jewish people. Detail, Sanofi-Aventis advertisement, 2011. The third critical player in this bold experiment was the nascent North Atlantic Space Agency. Formed by Allied forces using the seized assets and engineering expertise of Hitler’s hitherto classified space program (conquer Earth, then the stars), the North Atlantic Space Agency was a pre-NATO foray into interstellar nation building, with orbital occupation as the first point of order. By 1947, NASA was nearly ready to deploy the first manned space station. Standard Oil and I.G. Farben’s advanced fuel refinement capacities and deep, war-enriched financial resources allowed NASA to speed up their launch schedule significantly. Detail, Sanofi-Aventis advertisement, 2011. Diplomatic efforts to establish a Jewish homeland in Palestine were failing to gain traction, while post-colonial England held its ground on immigration restrictions and bands of Jews and Arabs battled over territory on the ground. More immediate was the issue of temporarily housing Holocaust survivors and refugees across scorched Europe. Leaders of the continental nations demonstrated, at best, reluctance to accommodate the Jews, who in turn were, at the least, resistant to returning to the same bloody cocktail from which they had fled. Truman used the impasse to advance a plan for NASA’s space station to be put to use as a temporary Jewish outpost, an orbital displaced persons camp, to be operated by the US Army. Detail, Infaserv Höchst advertisement, 2011. Final preparations advanced rapidly. Viewing the orbital displaced persons (ODP) camp as a solution to their immigration problem both at home and abroad, England came on board as a willing partner. Spaceship Exodus was positioned for takeoff on German farmland 20 kilometers southwest of Frankfurt. On December 30, 1947, one month after the UN General Assembly voted down the separation plan for Palestine, Exodus rocketed into the atmosphere hauling the first module of barracks designed to house 1,500 refugees. Transport vehicles arrived shortly thereafter, loaded down with leftover wartime military rations and 3,000 Jews of Russian and Polish origin. Detail, Infaserv Höchst advertisement, 2011. "The camp is the space that is opened when the state of exception begins to become the rule."—Giorgio Agamben, Homo Sacer , trans. Daniel Heller-Roazen, (Stanford: Stanford University Press, 1995), 96. Detail, Infaserv Höchst advertisement, 2011. The ODP camp proved to be a longer-term solution than originally envisioned. Additional installations were positioned to form swollen clusters of interlocking units – sleeping quarters, schools, clinics, canteens. The UN was brought in to monitor the camp following two chaotic years of US Army control in which food shortages, pandemic diseases, and rampant black market trade had brought the camp to near total collapse. No less bureaucratic or ineffectual, the UN relief agency at least had prior experience facilitating contexts of a similar magnitude and could potentially predict outcomes. Detail, Infaserv Höchst advertisement, 2011. What had been unexpected was the degree to which the camp would evolve into its own self-regulated, hive-like ecosystem where previously accepted rules of conduct were not applicable. The ODP camp was an exceptional space, a riverboat casino, an offshore research lab of social experimentation and entrepreneurial innovation. No longer Earth-bound, touching soil knotted by prescripts of Talmudic law, the camp residents were able to rationalize loopholes and detonate barriers standing in the way of absolute production. The Jewish archipelago was renamed Israel after the ancient homeland. If the temple couldn’t be rebuilt in the motherland, a post-national rhizome would sprout up in its stead. Eyes everywhere, beyond all borders. More information on the project at the author's site. (shrink)

Introduction -- Time and matter: temporality, embodied subjectivity and film phenomenology -- Knowing and nothing: Chris Marker, subjective temporalities and vocalic bodies in the future tense -- Agnès Varda's Trinket box: subjective relationality, affect and temporalised space -- Burlesque gestures and bodily attention: phenomenologies of the ephemeral in Chantal Akerman -- Threatened corporealities: thinking with the films of Philippe Grandrieux -- Conclusion: rethinking cinematic subjectivity and beyond.

En guise d’ouverture à la réflexion sur la théologie africaine, il est proposé de méditer le destin des statues africaines, qui furent à la fois rejetées comme païennes et pillées pour remplir les musées occidentaux. Or ces statues n’étaient pas plus voulues objets d’art qu’elles ne furent considérées comme des idoles. Selon Chris Marker, elles sont elles-mêmes des prières, des intermédiaires qui enseignent à « réparer le tissu du monde » en le raccommodant et en l’ajourant.

In this paper, I use two films—Les Statues MeurrentAussi directed by Resnais and Marker and Sans Soleil as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French cinema (...) as it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: (...) La Jetée (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

While the initial reception of Alfred Hitchcock's Vertigo was unspectacular, it made its presence felt in a host of other films – from Chris Marker's Sans Soleil, to Brian De Palma's Obsession, and David Lynch's Mulholland Dr.. What seemed to have eluded the critics at the time is that Vertigo is a film about being haunted: by illusive images, turbulent emotions, motion and memory, the sound and feeling of falling into the past, into a nightmare. But it is (...) also a shrewdly reflexive film that haunts filmmakers, critics, and artists alike, raising fundamental questions about the ontology of moving images and the regime of fascination that churns them out. Douglas Gordon's Feature Film, D.N. Rodowick's The Wanderers, and Lynn Hershman's VertiGhost are contemporary examples of how the appropriation and contemplation of some the film's most iconic motifs, themes and strategies ask us to rethink the relation of fetishism to fabulation, and supplementarity to dissimulation and social engineering. Feature Film, The Wanderers, and VertiGhost are supplementary works, but like the original film they are about duplicity, doppelgänger, and dissimulation. What interests us is how they challenge the authority over, or even proximity to, that which returns in the form of the supplement. And ultimately, attaching themselves to the chain of forgers and forgeries, these supplementary works take their place in the vertiginous sequence of substitutions the film established: a neat allegory for a reign of the digital ghosting that Hitchcock could never have anticipated. (shrink)

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and (...) the “dogmatic” (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

In the film Sans Soliel, Chris Marker challenges received wisdoms with regard cinematic production of real worlds and real people. In Marker’s techniques, Jacques Rancière observes an intensely political, highly accessible, art form that leads to a theorisation of cinema for its democratic and educational functions. In this paper we take up Rancière’s interest in the democratic and educational functions of cinema through a reading of three films: Sans Soliel, Minority Report, and After Yang. Marker’s essayist (...) cinema produces an uncanny experience of anthropological irony, and a mode of rethinking imperialism, revealing stories of communities that typically do not get told. Spielberg’s film adaptation of Philip K. Dick’s story is a cautionary contemplation on the ethics of the future of a police force that has access to visions of the future. Kogonada’s poetic lens muses on what it is to be human, what it is to be a family, and what it is to be a child and a parent negotiating complexity, loss, and identity. Each film is of interest here for the openness with which they engage thinking about democracy and education. They are democratic and educational precisely because they do not tell us what to think about democracy and education. Each film at the same time provides insight into Rancière’s thinking about the functions of cinema in producing senses of politics. (shrink)

Dialogic Materialism: Bakhtin, Embodiment and Moving Image Art argues for the relevance of Mikhail Bakhtin's theories of dialogism as a means of examining the interdisciplinary nature of contemporary moving image art forms. The volume comprises six chapters divided into two sections. The first section, Part I, illustrates the key concepts in Bakhtin's multifaceted dialogism and develops these ideas in relation to moving image art. The main focus of this first part is the proposal of what the author terms dialogic materialism, (...) which builds upon the Marxism inherent in Bakhtin, examining the material processes of cultural exchange with a particular emphasis on multi-perspective subjective relations. Part II consists of case studies that apply dialogic materialism to the moving image artwork of three artists: Stan Douglas, Jamelie Hassan and Chris Marker. Applying Bakhtinian theory to the field of the visual arts provides a means of examining the fundamentally dialogic nature of moving image art making and viewing, a perspective that is not fully developed within the existing literature. (shrink)

Enthusiasm, a project launched in 2002 by the artists Neil Cummings and Marysia Lewandowska, inventories hundreds of films created by amateur filmmakers in Poland from the 1960s to the late 1980s. On the basis of this previously unavailable film archive, the two artists have elaborated a network or stratification of narratives – concerning a certain mode of collective film production and distribution, a visualization of socialism as lived from within, and a transmission of historical-political enthusiasm. This essay attempts to highlight (...) the link – palpable in the exhibitions of the project both in Europe and America – between such an enthusiasm and a conception of cinema as a historical vestige in a process of perpetual becoming, from the Russian avant-garde of the 1920s all the way to certain recent artistic productions by Lewandowska/Cummings as well as Pierre Huyghe or Douglas Gordon, via the filmic works of Jean-Luc Godard and Chris Marker. (shrink)

The title of this essay is not to be taken literally: I will not be making the case that Marseille is actually the last working class city in France. My title is a reference to Chris Marker’s 1993 film The Last Bolshevik (Le Tombeau d’Alexandre), a film about Alexander Medvedkin, one of the pioneers of early Soviet cinema. Medvedkin was the inspiration for the Groupe Medvedkine, a film collective founded by Chris Marker and made up of (...) French militant filmmakers who, in December 1967, decided to document the labor unrest that had erupted in factories near Besançon by making experimental films that involved the active participation of the workers themselves. Marker first met Medvedkin at a film festival in Leipzig .. (shrink)

Cet article s’inscrit dans le prolongement d’une recherche que je mène depuis une vingtaine d’années sur les rapports entre cinéma et pensée. En m’appuyant en particulier sur les réflexions de Gilles Deleuze, Félix Guattari, Edgar Morin, j’ai ainsi pu créer les concepts de « complexité esthétique », « noosphère filmique », « cinématographie des flux ». Suite à l’évocation de créateurs-penseurs du cinéma muet d’avant-garde, sont ici abordés des films d’Amos Gitaï, Chris Marker, Jean-Luc Godard, Alain Resnais et (...) Andreï Tarkovski. L’intitulé, « Les métaphores filmiques du cerveau » indique que l’approche de la relation cinéma-cerveau est d’ordre philosophique, mais également d’ordre poétique. Si le cinéma est à même de donner forme à la pensée, il invente aussi des circuits cérébraux — sonores et visuels — qui lui permettent de devenir forme « pensante ». This paper is a continuation of my research over the past twenty years on the relationship between cinema and thought. By relying in particular on the reflections of Gilles Deleuze, Félix Guattari and Edgar Morin, I was able to create the concepts of “aesthetic complexity”, “filmic noosphere” and “cinematography of flows”. Following the evocation of creative thinkers coming from avant-garde movies of the silent era, here I discuss films from Amos Gitaï, Chris Marker, Jean-Luc Godard, Alain Resnais and Andreï Tarkovsky. My title, “The brain’s cinematic metaphors”, indicates that my approach to cinema-brain relationship is philosophical, but also of a poetic nature. If cinema is able to shape thought, it also invents metaphorical brain paths—audio and visual—that allow it to become a “thinking” form. (shrink)

Conflicting accounts of the role of mathematics in our physical theories can be traced to two principles. Mathematics appears to be both (1) theoretically indispensable, as we have no acceptable non-mathematical versions of our theories, and (2) metaphysically dispensable, as mathematical entities, if they existed, would lack a relevant causal role in the physical world. I offer a new account of a role for mathematics in the physical sciences that emphasizes the epistemic benefits of having mathematics around when we do (...) science. This account successfully reconciles theoretical indispensability and metaphysical dispensability and has important consequences for both advocates and critics of indispensability arguments for platonism about mathematics. (shrink)