How to handle these materials.
An example of re-visualization of an accident, event, case.
Showing posts with label reproduction. Show all posts
Showing posts with label reproduction. Show all posts
a human like a cold fish.
how to deal with others' pain and materialize it to represent.
It reminded me of Alice Munro's “Family Furnishings”. In that short story, the narrator writes her novel using the disaster that happened to her relatives.
Munro has repeatedly used stories from home and foregrounded reflections on what it means to use home as material – memories, people, and stories. The story that best epitomizes this is probably “Family Furnishings” (Hateship), a story about a woman who becomes a writer.
(...)
First, the narrator seems to somehow share her fiancé’s doubts. So far, the family story has been a story that she could not stand listening to, as her mother and her aunts told it: the narrator’s feeling that her mother and her aunt’s voices were “obscene” (Hateship 110) is conveyed by a striking image that conjures up the body: “their voices were like worms slithering in my insides” (110). Alfrida, however, will tell her story and as the narrator listens to her, one sentence catches her attention: “And the minute I heard it, something happened. It was as if a trap had snapped shut, to hold these words in my head” (112). The moment is epiphanic, it is the moment when she understands how the sort of stories and real life tragedies her fiancé despises can provide her with her material, as the repetition of the pronoun “me” shows: “I only knew how they jolted me and released me, right away, to breathe a different kind of air available only to my- self” (112). “Family Furnishings” clearly suggests that the narrator has to find her own voice by claiming these stories as her material and incorporating them in her own wri- tings (Bigot “Voices” 31). The exploding lamp may have killed the cousin, but it offers the would-be writer a moment of clarity when she sees that one can become a writer by using material from home, which, as the rest of the story points out, is no easy thing: “there was a danger whenever I was on home ground. It was the danger of seeing my life through other eyes than my own” (“Family Furnishings” 114).
(...)
Ultimately, the story aims to show that there can be no separation between “the classics” and tragedies in ordinary people’s lives, and demonstrates that Munro’s stories are rooted in world literature as well as in family stories.
Alice Munro: Writing for Dear Life, Corinne Bigot,
Commonwealth Essays and Studies, Vol. 37, N°2, Spring 2015
Sympathy
It is in vain that we say what we see; what we see never resides in what we say. And it is in vain that we attempt to show by the use of images, metaphors, or smiles, what we are saying; that space where they achieve their splendour is not that deplyed by our eyes but that defined by the sequential elements of syntax. p. 10
보는 것을 말한다 해도, 보는 것은 결코 말하는 것 속에 존재하지 않고, 말하고 있는 것을 이미지, 은유, 직유에 의해 본다 해도, 이것들이 반짝이는 장소는 우리의 눈앞에 펼쳐지는 장소가 아니라 통사법의 연속에 의해 규정되는 장소이다.
p.34
Sympathy plays through the depths of the universe in a free state. It can traverse the vastest spaces in an instant: it falls like a thunderbolt from the distant planet upon the man ruled by that planet; on the other hand it can be brought into being by a simple contact - as with those ‘mourning reses that have been used at obsequies’ which, simply from their former adjacency with death, will render all persons sho smell them ‘sad and moribund’. But such is its power that sympathy is not content to spring from a single contact and speed through space; it excites the things of the world to movement and can draw even the most distant of them together. It is a principle of mobility. p. 26
감응의 작용에서는 어떤 경로도 사전에 결정되어 있지 않고 어떤 거리도 전제되어 있지 않으며 어떤 연쇄도 규정되어 있지 않다. 감응은 세계의 심층에서 자유로운 상태로 작용한다. 감응은 한순간에 가장 드럽은 공간을 가로지른다. 감응은 행성에서 행성의 지배를 받는 인간까지 멀리에서 벼락 치듯 일어나기도 하고, 이와는 반대로 ”장례식에서 사용되어” 다만 죽음과 인접했다는 사실만으로 향기를 들이마시는 모든 사람을 “슬프고 기력 없게” 만들 “애도의 장미” 처럼 접촉만으로 생겨날 수도 있다. 그러나 감응의 힘은 매우 커서 단지 접촉만으로 솟아나거나 공간을 가로지르는 것으로 그치지 않으며, 세계 내에 사물의 움직임을 초래하고, 아무리 멀리 떨어져 있는 사물이라도 가까이 접근시킨다. 감응은 운동성의 원리이다. … p. 54
It (Sympathy) has the dangerous power of assimilating of renderung things identical to one another, of mingling them, of causing their individuality to disappear - and thus of renderung them foreign to what they were before. Sympathy transforms. p.26
감응은 (…) 사물들을 동일하게 하고 뒤섞고 사물의 개체성을 사라지게 하고, 따라서 사물을 이전의 상태와 무관하게 만드는 위험한 동화의 힘을 지니고 있다. 감응은 변형시킨다. 감응은 변질시키지만, 동일성의 방향으로 그렇게 한다. p. 55
Foucault, M. (2002). The Order of Things. (Tavistock/Routledge,Trans.) New York, (Original work published 1966) 푸코, 말과 사물
Affect of things
P. 122 Laut Benjamin sind die Dinge nicht einfach unbelebte Gegenstände, mit inerter Materie angefällte Hülsen oder passive Objekt, die dem dokumentarischen Blick zur Verfügung stehen. Sondern sie bestehen aus Kräfteverhältnissen, aus verborgenen Mächten, die miteinander in Austausch oder in Konflikt stehen. Diese Auffassung grenzt einerseits an magisches Denken, dem zufolge die Dinge mit übersinnlichen Kräften ausgestattet sind. Auf der anderen Seite ist diese Vorstellung eine klassisch materialistische.
…Und Benjamin zufolge ist die Sprache der Dinge nichts anderes als der Ausdruck dieses Kräfteaustauschs. In seinem Modell einer durch wort- und lautlose Kräfte bewegten Sprache tauschen die Dinge Kräfte verhältnisse, Potenzen und Spannungen mit anderen Dingen aus. Sie werden nicht als statische Objekte begriffen, sondern als dynamische Bündel, die noch nicht verwirklichte Möglichkeiten in sich tragen und denen heraus sich neue Verhältnisse und Konstellationen entwickeln können. Auf der Ebene dieser schöpferischen Potenziale kommunizieren die Dinge miteinander, meint Benjamin, und nur wenn sie auf dieser Ebene erfasst werden, nimmt man an ihrer Sprache teil.
벤야민에 의하면 사물들은 다큐멘터리의 시선에 사용될 수 있는 단순히 죽어 있는 대상도, 비활성 물질로 채워진 껍데기도, 수동적 객체도 아니다. 오히려 그것들은 힘의 관계이며, 서로 교환되거나 갈등하는 숨어 있는 힘들로 이루어져 있다. 한편으로 이런 해석은 사물들에 초감각적인 힘들이 있다는 마법적 사유에 맞닿아 있다. … 그리고 벤야민에 이하면 사물의 언어는 다름 아닌 이러한 힘들의 교환의 표출이다. 말이 없고 소리가 없는 힘들에 의해 움직이는 벤야민의 언어 모델에서 사물들은 다른 사물들과 세력 관계와 잠재력과 긴장을 교환한다. 사물들은 정지된 대상이 아니라, 아직 실현되지 않은 가능성을 담고 있고, 새로운 관계들과 배열이 저내될 수 있는 역동적인 묶음으로 여겨진다. 벤야민은 이 창조적 잠재력의 차원에서 사물들은 서로 소통하며, 사물을 이런 차원에서 이해할 때에만 우리사 사물의 언어에 참가할 수 있다고 생각한다. p. 220
Walter Banjamin, “Über die Sprache überhaupt und über die Sprache des Menschen”, 9-26 p. in 진실의 색, 히토 슈타이얼
self-perpetuating power of image
Now, it was the image that caused the event.
Villem Flusser, Fernsehbild und Politische Sphäre, p 103-104
“이제 사건들은 유발하는 것은 이미지다”… (정동을 일으키는 이미지) 그것은 반드시 앞서 일어난 어떤 현실의 결과여야 하는 것은 아니지만, 분명히 그 이후에 이어지는 현실의 원인이다.
… (Affective image) It does not necessarily have to be the result of some preceding reality, but it is clearly the cause of the subsequent reality.
now, the image is even and flat.
Die Vergangenheit wird ästhetisiert und verfremdet, sie wird zu etwas Andrem gemacht, das möglicherweise aufgeregende Schauer erzeugt, aber gerade dadurch auf Distanz gehalten werden kann. P. 36 _Allan Sekula
과거는 미적 대상화되고 낯설어지며, 어쩌면 자극적인 스릴을 만들수도 있는, 그러나 바로 그럼으로써 거리를 둘 수 있는, 다른 어떤 것으로 바뀐다. p. 66_앨런 세큘라
Ein Archiv vermittelt das fotografische Archiv zwischen diesen zwei Ebenen, zwischen Gebrauchs- und Tauschwert von Bildern, zwischen ihrem affektiven und informativen Charakter. Es ist auf der einen Seite durch ökonomische, auf der anderen durch historische Logiken bestimmt. Ein Archiv vermittelt Bedeutungen und Eigentumsverhältnisse - nicht an den Bildern an sich sondern am Recht, sie zu interpretieren und in neue Kontexte einzubinden. Es is ein Marktplatz, auf dem Bilder als Waren gehandelt werden, aus ihrem ursprünglichen Kontext gerissen und in neue eingebunden werden.
p. 34-35 _Allan Sekula
아카이브는 이미지 자체가 아니라, 이미지를 해석하고 새로운 맥락 속에 끼워 넣을 수 있는 권리, 의미와 소유 구조를 연결한다. 아바이브는 이미지가 상품으로 거래되고, 이미지 자체의 원래 맥락에서 떨어져 나와 새로운 맥락속에 편입되는 하나의 시장이다. P. 64 _앨런 세큘라
Das Archiv wird in individuellen Reinterpretationen umgebaut, auseinander genommen, neu zusammengesetzt, ästhetisiert. p. 36
아카이브는 개별적인 재해석들 속에서 개편되고, 분해되고, 재조립되고, 미적 대상화된다. P. 67
Steyerl, Hito. (2008). Die Farbe der Wahrheit, Dokumentarismen im Kunstfeld. VERLAG TURIA+Kant, Wien.
(Allan Sekula “The Body and the Archive” 181-192)This Image Is Still Valid
Why was the female panty such a big deal?
Does it still matter all that much?
unreliable speaker
Thoughts on the video materials.
About the narrator:
testifying about this case and the very image.
No choice but to follow this voice.
how convincing the speaker is?
with inaccurate memories,
still engulfed in infantile fear,
in the partial and fragmentary structure.
And the right to tell this story.
between ideologizing and repeating mystification
Roland Barthes, Mythologies
Selected and translated from the French by ANNETTE LAVERS
THE NOONDAY PRESS - NEW YORK FARRAR, STRAUS & GIROUX, 1972
"It seems that this is a difficulty pertaining to our times: there is as yet only one possible choice, and this choice can bear only on two equally extreme methods: either to posit a reality which is entirely permeable to history, and ideologize; or, conversely, to posit a reality which is ultimately impenetrable, irreducible, and, in this case, poetize. In a word, I do not yet see a synthesis between ideology and poetry (by poetry I understand, in a very general way, the search for the inalienable meaning of things).
The fact that we cannot manage to achieve more than an unstable grasp of reality doubtless gives the measure of our present alienation: we constantly drift between the object and its demystification, powerless to render its wholeness. For if we penetrate the object, we liberate it but we destroy it; and if we acknowledge its full weight, we respect it, but we restore it to a state which is still mystified. It would seem that we are condemned for some time yet always to speak excessively about reality. This is probably because ideologism and its opposite are types of behaviour which are still magical, terrorized, blinded and fascinated by the split in the social world. And yet, this is what we must seek: a reconciliation between reality and men, between description and explanation, between object and knowledge."
Roland Barthes, Mythologies
두 가지 똑같이 극단적인 방법이 있다. 역사에 전적으로 투과되는 현실을 상정하고 이데올로기화하는 것이 있다. 또는 반대로 궁극적으로 투과될 수 없고, 환원될 수 없는 현실이 있으며, 이 경우에는 결국 시화하는 것이다. … 우리는 물체와 그것의 탈신비화 사이에서 끊임없이 표류하며, 그 전체를 제대로 표현할 힘이 없다. 우리가 그 물체를 관통하게 되면 우리는 그것을 해방시킬 수 있지만 결국 그것을 파괴한다. 그리고 우리가 그것의 전체 무게를 제대로 인정하려 하면, 우리는 그것을 존중할 수 있긴 하지만 여전히 그것을 신비로운 상태로 복원할 뿐이다.
an iconic image, The Most Beautiful Suicide
Source from Wikipedia "https://en.wikipedia.org/wiki/Evelyn_McHale"
And its cultural representation.
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| Andy Warhol used Wiles' photo in one of his prints entitled Suicide (Fallen Body) |
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| Her picture was also used on the cover of Saccharine Trust's album Surviving You, Always, released in 1984 by SST Records |
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