23 Mart 2010 Salı

digital cinema

a .

what generates video is television (tape) with its own broadcast logic.

television gets into private (!) spaces, and hunts person

confined in her/his home. this is not the same as cinema

meeting people in theatre. person goes to street after cinema, and

to sleep after television. keeping mind capitalist logic of distribution,

it must be noted that it is not to same to rent a film and watch it at home.

therefore, the first issue required to be discussed by video

is television. ‘zapping’ is not making choices, but wandering in

limited data drained through an ideological filter.

video must break free from mentality of television.

b .

the fact that video can facilitate movement thanks to its

quality of being easily accessible and portable may lead to

misinterpretation of speed.

“it is possible to be late due to speed”.

c .

video possess a potential to change modes of production and democratize cinema.


video possess the potential to break down capitalist distribution monopolies.

d .

any nonsense, boredom, meaningless plans to be brought by video

are preferred to harmful insects.

for now.

as for the discussion to start later, here it goes:

“limits of our language are the limits of our world.”

e .

advertise(r)ment brings her/him/itself into being by creating an illusion of lack.

those lacks never to be completed, always having a

‘never’ version that we are confronted!..

art is not an object that balloons illusion of lack created by

advertisement with sense of ‘envy’, and makes itself

sold to us when we are unable to find the chance to think over.

video, must take the required floor in such a showdown.

f .

even the simplest sentence not serving to the system bloats becoming.

‘transgression' requiring a process is the child of ‘becoming’.

attention must be paid to video’s sentence.

g .

just as the way following makes one think: schwitters, duchamp, soulages, arslan,

bacon, rothko, orhon, dubuffet, tanguy, mondrian, malevich, kossuth,

lissitzky, hopper, webern, cage, feldman, varese, lautreamont, ayhan,

mallarme, jabes, celan, ırgat, dağlarca, o. bener, faik, uzun, erbil, karasu,

beckett, kafka, artaud, marx, deleuze, levinas, clastres, stirner, said,

negri, heidegger, nietszche, stoppard, brecht, tatlin, giacometti…

so do the following: jost, tarr, godard, tarkovski, liang, angelopoulos, bunuel,

bresson, ozu, loach, herzog.

ğ .

long shot makes cinematic time correspond with real time.

this is editing within the plan.

remains only cut-paste.

long shot’s quality of ‘alienation effect’

makes us approach to brecht than theories of editing.

h .

warhol, lichtenstein ....

disgust against pop and decorative art !

ı .


what a beautiful sentence !

uygar asan

kadıköy / istanbul

translated by: nilay kacar

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