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A number of sublimations concerning capitalist feminism exist. In a sense, the main theme of McElwaine’s[5] model of subsemioticist rationalism is the fatal flaw, and some would say the collapse, of dialectic sexuality.
emuseum.mfah.org/objects/163837/double-fiction?ctx=74bc48...
Igor and Svetlana Kopystiansky: Double Fiction
Date: 2008
Medium Single channel video, sound
Dimensions: 1 hour 57 minutes, 46 seconds
Edition 2/3 collection of the Museum of Fine Arts Houston. MFAH.
An excerpt from the "Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock: vimeo.com/user16505543
…“Two revelatory pieces taken from the classical narrative cinema, Spellbound (2009) and Birds (2008), rework canonical Alfred Hitchcock films employing the same technique used in Pink and White. In this case, the moving image is not found footage but a finely crafted example of the classical cinema, created by a director employing elaborately staged action, cinematography, a script, acting, lighting, composition, and sound. In the case of Spellbound, a three-minute loop superimposes a sequence from the film played forward with the same scenes played in reverse. The two sequences come together in the middle and then continue on to either the conclusion or beginning of the sequence. Narrative anticipation and the intense drama of the action reaches its climax as a single scene. Time folds upon itself as we watch, but also as we recall what we already know. This method is elaborated further in The Birds, in which the entire Hitchcock film is shown with sound, from beginning to end and over again in reverse, from the end to the beginning. (The credits have been removed.) At the mid-point, the film becomes one as the superimposed films line up and become a single film. A work of astonishing simplicity and originality, it takes the meta-cinematic work of such artists as Douglas Gordon and Stan Douglas and the treatment of language in Gary Hill’s videotapes into the complex terrain of narrative, storytelling, and perception. The anticipation and remembrance of time and events through the conventions of storytelling, as we see in the Birds, also becomes a means to provide new insight into that film’s apocryphal vision of nature and human relationships. Early scenes are joined with later scenes, and it is almost as if the film itself is dreaming its own narrative as it unfolds. Birds is a brilliant choice, since it heightens the dramatic intensity of the narrative cinema and the nuance of the performances in a deconstruction of the meanings of the original film. It also places the viewer before the screen as an active participant. In a sense, the film haunts itself, as the action that unfolds anticipates its own conclusion, and the relationships between the characters become tragically predicted and realized. The destruction that is foreshadowed actually appears in the film at its beginning.
Igor and Svetlana Kopystiansky have created a dialectical process by integrating the point of view of the camera and the play of time. The viewer becomes engaged in active looking and creates meaning out of moving images through that cognitive process. These artists have created an aesthetic text that is haunted by memory, whether represented by found footage, by the chance recordings of plastic bags blowing along on the sidewalk or the movement of people on the street, or by the rediscovery of scenes from well-known movies. Time erases itself as scenes overlap and change, in the process refashioning the moving image into an aesthetic text of timeless fascination.”
Excerpt from: The Play of Time: The Art of Svetlana and Igor Kopystiansky
By John G. Hanhardt, Senior Curator for Media Arts, Smithsonian American Art Museum.
Published in:
Igor & Svetlana Kopystiansky. The Lithuanian National Museum of Art. Texts by Michel Gauthier, John G. Hanhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg. ISBN 978-609-426-182-4, 2023.
Kopystiansky. Double Fiction/Fiction Double. Musée d’Art Moderne de Saint-Étienne. Texts by John G. Hanhardt, Philippe-Alain Michaud. Les Presses du Réel, 2010.
www.lespressesdureel.com/EN/ouvrage.php?id=1817&menu=0
Book are available at Printed Matter NYC:
www.printedmatter.org/catalog/65103/
and at Walther König Germany:
The name "Manarola" is probably dialectical evolution of the Latin, "magna rota". In the Manarolese dialect this was changed to "magna roea" which means "large wheel", in reference to the mill wheel in the town
The pages which map my body are
done in an expressive pencil for-
mat, while the guitar drawings are
done in a pencil schematic with ink-
jet transfers overlayed on top. The
pages fold out within each other
to create a new dialectic similar to
that between musicians and their instruments
The Education Relief Foundation, ERF, Dec 7-8, 2017, A two days event in Geneva on Balanced and Inclusive Education.
ERF's Mission is to deliver, promote and embed a new, inclusive balanced education that enables young people to learn from the contributions of diverse civilisations and cultures.
ERF's balanced and Inclusive Education is based on four foci: intraculturalism, transdisciplinarity, dialecticism, and contextuality.
SPECIAL GUEST E. MORIN AND J. LANG
photo credit: ERF/PM VIROT
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active mode of production [...] [it] is an active mode of relations .
SOAS Literary Review (2), July 2000 .
25 .
(not only to objects, but to the collectivity and to the world), a systematic mode of activity and a global response on which our whole global structure is founded (ibid. 21). At the very least, supply and demand appear to be dialectically related, because marketing strategy (overtly as in advertising, and more implicitly, as favourable reviews by acknowledged taste-makers) is also important in the creation of this demand: the consumption of goods no doubt presupposes a labour of appropriation [...] the consumer helps to produce the product he consumes, by a labour of identification and decoding(ibid.). However, this decoding does not and cannot occur in a vacuum. There are ways in which consumers are skewed, by the media in particular, towards preferred readings even as counter-hegemonic ones remain a possibility. Stuart Hall reminds us that the ideological work of the media depends on the underwiring and underpinning of the structured ideological field in which the positions [within the dominant ideologies] play, and over which [...] they contend (Hall 1979). Following the social biography of a commodity like GOST, Kamasutra or Fire also makes it possible to argue that commodities, particularly cultural ones, become sites of struggle over prestige and identity, both of which are deeply political. It is no longer the commodities themselves which matter, but the meaning(s) attached to them. The longstanding question of whether art should or should not be political is thus replaced by whether art can ever help but be political given the fields of meaning within which it is produced, circulated and consumed. Even if the artist (in this case as writer and film-maker) can be said to be more .
SOAS Literary Review (2), July 2000 .
26 .
autonomous of, or be allowed more agency vis-à-vis the market, s/he is not immune to it, especially when so-called high art, such as literature, becomes drawn into the commodity stream as is the case now. It is also possible to concur with Ryan (1992) that despite this pull of the market, capital is unable to make the artist completely subservient to its drive for accumulation [...] [because] artistic objects must appear as the product of concrete identifiable persons(Ryan, op. cit. 412). However, what do we do when the concrete, identifiable artist herself becomes a commodity, such as Roy has become? It is impossible to .
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When the speaker thinks he is making an irrefutable point he stamps his foot and claps his hand as he makes it. A gesture of dominance!
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“Narrativity is part of the paradigm of reality,” says Lacan; however, according to Long[1] , it is not so much narrativity that is part of the paradigm of reality, but rather the rubicon, and some would say the dialectic, of narrativity. Therefore, if Foucaultist power relations holds, we have to choose between neocapitalist patriarchialist theory and postsemioticist theory.
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situation variously described as "the edge of a volcano", "almost revolution" and so on, the CPI leadership was thus running after the events. There was no political resolve to combine all these revolutionary currents -with the peasant rebellions as the axis -into a concerted all-India upsurge for overthrowing the British imperialists and Indian reactionaries. .
That the party's point of departure was not proletarian political independence but petty bourgeois reformist tailism, becomes self-evident when one takes a look at the documents of this period. The June 1947 resolution entitled "Mountbatten Award and After", for istance, made a correct assessment of the award, noting that it was "the culmination of a double-faced imperial policy which while making concession to the national demand to transfer power, sets in motion disruptive and reactionary forces to disrupt the popular upsurge, obstruct the realization of real independence, throttle the growth of democracy and destroy the unity and integrity of India." And yet, the partners in this conspiracy, the Congress and the Muslim League, were eulogised as "national leadership", and later on, all support was pledged to the governments run by these parties. .
This sort of critical tailism was one of the two fundamental reasons why the Indian communists, for all their sacrifices, failed to establish leadership over our freedom movement and carry it to consummation; the other being the lack of serious, sustained, painstaking effort to build revolutionary peasant struggles as the mainstay of freedom movement, as the bulwark of proletarian hegemony over the Indian struggle for independence. .
Communists in the Second Freedom Movement .
The net result of this crucial failure was that the hard own harvest of peoples prolonged battles was high jacked .
by vested interests masquerading as liberators and on 15 August 1947 a divided India became not a truly .
independent but only a semi-feudal, semi-colonial country. The struggle for real liberation from foreign and .
domestic exploitation and oppression continued, albeit on a new plane. Since early 1990s, it has reached a .
particularly intense phase in the Liberalisation-Privatisation-Globalisation (LPG) environment, rendered all the .
more complicated by hard and soft communalisms. .
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What role communists are playing in this struggle? .
Communists no longer belong to a single party: the tailist-opportunist tendency and the dynamic-revolutionary .
tendency within the undivided CPI have since crystalised into social democratic and revolutionary communist .
wings respectively. The former has earned the trust of ruling classes and emerged as natural rulers in three .
States; at the national level it supports a Congress-led Government that is selling out our (residual) economic, .
political and military (witness the recent Indo-US military pact) sovereignty and presiding over systematic .
repression on workers, peasants and others who dare to fight back. The latter, a small force reflecting the .
unfavourable balance of class forces at national and international levels, is growing independently with people .
struggles and striving for a broader mobilisation of forces, under the banner of Left Confederation, in the .
movement for total emancipation. Such in barest outline are the dialectics and dynamics of communist role in .
the second freedom movement. Even as the debate between the two wings continues, come let us all unite in .
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this great struggle. On the morrow of the 60th anniversary of Hiroshima Day, which my party has celebrated as .
anti-imperialist day, and on the eve of 9th August, the Quit India Day, let us roar out in one voice: .
Imperialist powers and lackeys quit India! .
Annul the Indo-US military pact! .
Forward to Freedom, Democracy, Socialism! .
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