visual philosophy
Carlos Franqui - Cuban writer, poet, journalist, art critic, and political activist.
Franqui responded with a poem: (Retrieved from "https://en.wikipedia.org/w/index.php?title=Carlos_Franqui&oldid=1047426851")
![[image] An image from “Serene Velocity” (1970).2011113-DARGIS-slide-ZHUE-articleLarge](https://images.squarespace-cdn.com/content/v1/56b7bd549f7266e7efc9583d/1455832941700-HO6OWLPGDUIIGZQ5Q2RD/2011113-dargis-slide-zhue-articlelarge.jpg)
[image] An image from “Serene Velocity” (1970).2011113-DARGIS-slide-ZHUE-articleLarge
By MANOHLA DARGIS Published: November 11, 2011
"THERE are a multiplicity of adjectives that fit Ernie Gehr’s experimental film and digital work: abstract, beautiful, mysterious, invigorating, utopian. The work can also be oblique; this is not a bad thing! His 14-minute film “History” (1970), to take one extreme example, largely consists of what looks like a sparkly black-and-gray blob that brings to mind a hallucination of a desert night sky, like van Gogh on acid.... "
Retrieved from: http://www.nytimes.com/2011/11/13/movies/ernie-gehrs-films-traffic-in-images-and-light.html
Recent works : Ernie Gehr: Bon Voyage http://www.centre.ch/en/ernie-gehr-multi-channel-digital-installations-en
Screen Shot 2015-02-02 at 10.02.02 pm
[youtube=http://youtu.be/KF3am9peDRg]
Video retrieved from: http://www.theseventhart.org/main/videos/issue-9-ernie-gehr/#.Uk3nw7xQ2wA
"It is a question that is always haunting me: What is it that I’m working with? It’s also, What is a film? What is a digital work? Is it the physical item? Is it the projector? The strip of film? The tape? The disc? It’s all part of it. It’s mixed media. And the way these things all interact tell us so much about human perception and experience and the way one sees anything in the world."
Retrieved from: Can we see philosophy? A dialogue with Ernie Gehr By Peter Catapano and Ernie Gehr – http://opinionator.blogs.nytimes.com/2013/10/03/can-we-see-philosophy-a-dialog-with-ernie-gehr/
"Structuralist film theory is a branch of film theory that is rooted in Structuralism, itself based on structural linguistics. Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication". taken from somewhere on the web
Here is a sneak at his recent video works : + raphael hefti - or or or?
[youtube=http://youtu.be/Ip8Z1loR_xE]
Within these complex interrelated interactions the image is mediated by our screens, where it is no more than a ‘front-end’ abstraction of its ordinal ‘back-end’ persona. Where “the real is produced from miniaturized units, from matrices, memory banks and command models”4 and the manufacturing of perception is shaped by human hands in order to broker the socialisation of images
. connections with digital objects allows us to extend our presence into a new dimension, an encounter of occurrence and phenomena. It enables us to replicate our existence and to generate a continuum that exists well beyond the animate; an electronic mimesis, a genus of digital procreation ... // here images represent a type of 'de-coding' invoking a sense of decomposition like a corrupted glitch or a digital aberration. They express the invisible or unseen, those moments and places where activity is present and intent is purposeful but we are unable to understand their mechanisms or true outcomes ... // ready-made and found objects act as an initial reflection on the over consumption of objects in society. Some of these objects have been abandoned and superseded by newer technologies and I have re-purposed them to express the analogous nature of humanity.
4. Baudrillard, J. (1983). Simulations: The precession of simulacra.
