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Elektroniczne przestrzenie widzenia

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Gwóźdź A.

ER(R)GO: Teoria – Literatura – Kultura

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2002

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nr 5

EN

Andrzej Gwóźdź "Electronic Spaces of Seeing" The author of the essay reiterates the questions posed by Merleau-Potty about the subject of seeing, the activity of seeing and the object or the world which is visible. He pays particular attention to the formula video ergo cogito, which appears to be an affirmation of reflection qua metaobservation: since, as radical constructionists insist, we cannot get to to know, and subsequently describe, what we see „from outside", all we can do is focus on how we observe and thus we ascend to a metalevel of observation although we still remain within the world we observe. Furthermore the author of the essay explores the consequences of our reliance on electronic devices which create teleoptic spaces of seeing/being seen. In the typology he introduces the space of seeing comprises the spaces of cognition, representation, monitoring, ritual, transaction, activity and memory.

PL

Andrzej Gwóźdź "Electronic Spaces of Seeing" The author of the essay reiterates the questions posed by Merleau-Potty about the subject of seeing, the activity of seeing and the object or the world which is visible. He pays particular attention to the formula video ergo cogito, which appears to be an affirmation of reflection qua metaobservation: since, as radical constructionists insist, we cannot get to to know, and subsequently describe, what we see „from outside", all we can do is focus on how we observe and thus we ascend to a metalevel of observation although we still remain within the world we observe. Furthermore the author of the essay explores the consequences of our reliance on electronic devices which create teleoptic spaces of seeing/being seen. In the typology he introduces the space of seeing comprises the spaces of cognition, representation, monitoring, ritual, transaction, activity and memory.

2

Media - teatr/spektakl

100%

Gwóźdź A.

Przestrzenie Teorii

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2004

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nr 3-4

175-189

EN

Considering the nature of the relation medium - form the author proposed an insight into two models of relationships between the cinema and the theatre: the first one including the decade of 1925-1935 and the contemporary one. However, the author is not concerned with how the theatre takes advantage of the achievements of the cinema, but he wishes to show the intermedial relationships which join the stage with the screen at the level of the medium - as a vision machine incorporated into a wide system of culture. And this is connected not only with techniques of forming the presented worlds, but first of all with calculating newer and newer environments for technology of the technically mediated seeing. Thus, if intermedia character was formerly expressed in the exchange of forms between the media (film in the theatre/spectacle in film), then the contemporary spaces of the borderline (represented, let's say, through Peter Greenaway's installations) concern tensions between the materiality of the world, medial character of cinema images and mobility of the spectator. Theatre becomes here an element of film culture, and film intervenes in the stage creating spectacles of medial interfaces.

3

Kino designu, czyli o widzialności obcowania człowieka z powierzchnią

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Gwóźdź A.

Kwartalnik Filmowy

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2014

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nr 85

154-164

PL

Od jakiegoś czasu pojawiają się filmy specyficznego nadmiaru obrazów, które wiele różni od wszystkiego, co dotąd określało naturę X muzy. Ów nadmiar sprawia, że doświadczenie innego kina – jeszcze kina, choć może już nie-kina – jest naturalne i dość powszechne. Filmy takie wykazują sporą dawkę nieprawdopodobieństwa, umykają utrwalonym nawet przez kino standardom fikcji, tym samym wykazując cechy autopojezy, a zwłaszcza jedną z nich: cechę operatywnego zamknięcia. Wyraża się ona dobitnie w eskalacji niemożliwych punktów widzenia, a więc i spojrzeń, co sprawia, że relacja widzialnego do niewidzialnego traci na znaczeniu, zostaje wręcz wymazana. Filmy te zakładają ponadto określony stopień wtajemniczenia w owe fikcje, ich rozpoznawalność jako warunek doświadczenia kina oraz znaczny poziom przyzwolenia na ich przyjęcie – wówczas film jawi się jako gra, w znaczeniu zabawy z obrazami, którym wszystko wolno. Chodzi tu głównie o zjawiska powierzchniowe, usytuowane na powierzchniach – zwłaszcza tych stymulujących oczekiwania widza – i jako takie interfejsowe, tak że to właśnie powierzchnia, wolna od ontologicznego przymusu głębi, staje się właściwym środowiskiem widzialności. Autor próbuje dociec istoty tego fenomenu w kategoriach techniki kulturowej o znamionach designu, kiedy to film osiąga poziom samoorganizacji wcześniej nieobecny (oparty głównie na proliferacji cyfrowości), skoncentrowany nie na hermeneutycznej „głębi”, ale na „powierzchni”. Zjawisko to ma wiele wspólnego z redefinicją ontologii kina w ogóle: w kinie designu znika bowiem kino jako matryca postrzegania, ale też coraz częściej jako podstawowa przestrzeń percepcji.

EN

For some time now films appear characterised by an excess of images. The films are very different from everything up till now associated with the Tenth Muse. This excess means that the experience of this other cinema – a cinema, or perhaps maybe cinema no longer – is natural and quite common. Such films exhibit a large dose of improbability, they go beyond the standards of fiction established in the cinema, thus demonstrating the qualities of autopoiesis, and especially one of them: the feature of operative closure. It is expressed clearly in the escalation of impossible angles, and therefore gazes, which make the relation of the visible to the invisible become less important. It is simply erased. Moreover, these films imply a certain degree of initiation into these fictions, their recognition as a condition of the cinema experience and a significant level of consent to their adoption – the film comes across as a game, in the sense of playing with the images, where everything is possible. It mainly concerns surface phenomenon, located on the surfaces – especially those that stimulate the expectations of the viewer – and, as such, interface, so that it is the surface, free from the coercion of ontological depth, that becomes the proper environment of visibility. The author tries to investigate the essence of this phenomenon in terms of the attributes of cultural techniques of design, when the movie reaches the level of self-organisation previously absent (based mainly on the proliferation of the digital), focused not on the hermeneutic “depth”, but on “surface”. This phenomenon has much in common with the redefinition of ontology of cinema in general: in the cinema of design, cinema as a matrix of perception disappears, and increasingly as a basic space of perception also.