Along with the influence of experimental filmmakers such as Stan Brakhage, Marie Menkin, Bruce Conner, and Bruce Baillie, many of my recent discoveries and journeys as a filmmaker are the result of my work with musicians and bands. The great danger of our times, according to Rancière, is the contemporary shift in the aesthetics of politics: that what is called consensus. The regulations that set limits to the invasiveness of the principles of competition are removed, hard-and-fast automatisms are introduced in material relations between people. Convenience surpasses commitment just leave your mark. As a matter of fact, political art cannot work in the simple form of a meaningful spectacle that would lead to an awareness of the state of the world. For me, George says, cinema is a means without an end to paraphrase Agamben. Depression is based on the hardening of ones existential refrain, on its obsessive repetition Overcoming depression implies some simple steps: the deterritorialization of the obsessive refrain, the re-focalization and change of the landscape of desire, but also the creation. Politically speaking, it is about standing up, contesting these grey zones, these spaces or cracks like Calais standing somewhere between the exception and the rule, beyond the scope of law, where law is suspended, where individuals are deprived, stripped off their most fundamental rights. In this reading, the gaze refers to the subjects entrapment in the field of the visible: I see only from one point, but in my existence I am looked at from all sides (Lacan). How to break with and through the fantasies attaching us to communicative capitalism? A flash ball bullet hit him in the face and ruptured one of his eyes. LInformatisation de la Société. Its in this intertwining of philosophical, socio-political and humanistic concerns that his cinematic endeavors are grounded. If we want to understand something about what is happening in the society of the new millennium, we need to reflect on the transformations of activity and labor, the subsumption of the time of the mind under the competitive.
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Le Panier, «,.,., Palais de Longchamp. What could motivate whatever beings? One recent, powerful film that has the notion of the political at its very heart is Sylvain Georges Quils reposent en révolte (des figures de guerre). We see in the film a moment in which bodies appear. But we can mobilize this loss, googling, checking Wikipedia, mistrusting it immediately, losing track of what we doing, going somewhere else. As the system draws us in, we become captured in our endless circulation, lost in our repetitive loop. Maintaining a predominantly intuitive process in conceiving and creating films, where improvisation, utilizing mistakes, and wrong images (for example images that are overexposed or out of focus) are part of my filmmaking methodology, Im less concerned with a preconceived. Overproduction is an immanent character of capitalist production, since the production of goods never corresponds to the logic of human beings concrete needs, but to the abstract logic of the production of value. I dont believe that the world can be governed by reason. At some other points, she speaks a poetic sentence as an echo to the second" that concludes the film, inspired by political slogans heard during demonstrations of sans-papiers in the.S. Saturday Night Fever, in which a new working class seemed perfectly happy to be exploited, in exchange for some jivin n shakin. As the info-sphere is becoming thick and dense, putting our attention constantly under siege, we are less and less able to react consciously to emotional impulses.
to mix n blend. These subjects do not have the consistency of coherent social groups united by a common property or a common birth, etc. Also included are some recent interview with George (one featuring Archie Shepp, whose haunting rendition of Sometimes I Feel Like a Motherless Child closes Quils reposent en r?volte and a streaming copy of Ils nous tueront. They are never used for their own sake then, or as ends in themselves (an image for an image, an effect for an effect as opposed to a countless number of films, especially those on immigration that have been. Cybertime, on the contrary, is limited: we can increase the time of exposure to information, but experience cannot be intensified beyond certain limits. The last one is taken from a conversation with Sylvain George (translated from French). The process of creating the network is so complex that it cannot be governed by human reason. It doesnt matter if essentially there is nothing to say nor show, as long as it contributes to the driving flow of information. Affective attention suffers a kind of contraction, and it is forced to find ways of adaptation: the organism adopts tools for simplification, and it tends to smooth out the living psychic response, to repackage affective behaviour in a frozen and fastened framework. Our networks are reflexive, because we create, feed and sustain them. The fifteen-minute video is a riff on this adventure, a somewhat fictionalized version of the strange intimacies and connections formed between my subjects and. Every image has been made with the help of a friend who is in prison. Its something that is very important for me, the idea that the relation between politics and aesthetics is also the relation between the art form used by the individuals who struggle to change their conditions and the art. What interests Bifo is the question if and how it is possible to wake up from this bad dream.
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It is as if we cannot longer understand or convey that which cannot be verbalized, that which cannot be reduced to simple codified signs. The shooting of the latter is almost done, and the editing process is about to start. Then I started thinking about how neat of a website name it would. A, courtisane event, in the context of the.H.O.W. The mediatised gaze of the other, at the same time disturbing and stimulating in its elusiveness and omnipresence, has become the paramount point of reference for our obsessive search for identity and belonging. See below for video documentation. Both musicians draw their exorcising sound explorations from the tradition of American Primitivism, where the dreaded, uncompromising ghost of John Fahey dwells. Because this allows me to work and to question the concepts of document, archive, preservation. The dimension is akin to elegy, although there are some nuances here awaiting further specification. Accompanying each repetition, each loop or reversal, is a little nugget of enjoyment, a smidgen of attention that attaches to it, making it stand-out from the larger flow before it blends back.
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||We provide the feedback that amplifies or ignores. Now, there will probably be two feature-films.