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Being at the core of present-day surveillance mechanisms is a phenomenon that can be understood through the increasing use of scanning technologies, as means of production for tracing systems and visual continuity.
These analytical operations belong to a broader history of the gaze and its counter-devices. The film makers and video directors have long taken interest in the deconstruction of the mechanisms connecting the act of watching to the question aarau swiss anti aging power, and leading to a regime of generalized surveillance.
Recalling the counter-devices invented by these artists, film makers and video directors whose most contemporary version would in this case aarau swiss anti aging sousveillancewe aim to see what are the work techniques we could use today for future resistance. In a brief attempt to reiterate these radical gestures, we will see how the invention of counter-watching has developed, confronted with the colonial, patriarchal, mechanical or panoptical watching.
This was possible in the first place only due to those inversions in the sequence of watching, that reveal the mechanisms of reification, guardianship, and control. The rhizomatic strategies involved still had to deal with the hegemonic control of image production and dissemination in the mass and official media.
Finally, one will infer from the historical practices of experimental cinema, which even more propose a pure and simple dissolution of seeing into touching and feeling, that the invention of a third eye and of tactile watching is the final effort of abolishing the imprint of power over watching.
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For him, escaping surveillance has developed into surveilling the surveillance, enacted by vigilance produced from its own moving, performing, photographing, and filming body.
Declercq has been working for over a decade on control societies, using logic to the extent of unveiling its limits, surveilling the systems of surveillance themselves.
One can detect in his obstinate inquiries some fragile game between exposing the technologies of power, truth regimes and fictional evidence, suspicion, paranoia and unexpected reversals of reality.
In Hidden he diverts security regulations by placing a pinhole camera obscura in front of the constructions and buildings protected by îngrijire a pielii anti-îmbătrânire folosită de celebrități city legislation post Ground Zero, thus constituting an inventory of forbidden places of representation.
Using mise en abîme and the demystification of points of view, the scopic lens cut is impressed within the frame, roundly shaped by an absolute eye.
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For Mike, an undecidable piece of docufiction on the iconography of international plots, Alain Declercq makes up a character, Mike, who is in charge of surveying the actions of international networks. Aarau swiss anti aging Declerq would be interrogated, his studio searched, and all of his documents and art works carefully analyzed.
He would then realize he had been himself observed for the last several months. His work of fictionalized reality allows him to unmask the way security and surveillance dynamics feed themselves from staging reality and the way fictionalizing actually permits them to exist. These strategies have been particularly used in video or cinema by minority groups, within a framework of self-statement and self-production.
These practices defuse objectivating watches and expertise, leading to a self representation of the recorded subjects, and especially of the subjects that are designed as pervert.
Within the framework of identity policies — most of all the feminist, queer and postcolonial — it was necessary to produce cinema that no longer focused on women, homosexuals, racial minorities, subordinate subjects, etc.
Instead, we came up with cinema that came straight from under a condition of minority, as if to disrupt the device producing the truth on bodies and identities. In other words, those who had created the very objects of medical, psychiatric, anthropological and colonial expertise have progressively claimed the establishment of a local knowledge and a set of self representations that question the hegemonic dogma.
Maybe Touch Cinema becomes even more a form of cinema - cinema that is forced to step out of itself in order to question its own mechanism, cinema that explodes, in order to define itself as a mechanism of watching. It was shown in art places or aarau swiss anti aging history museums. Since we were assuming the stereotypical role of the domesticated savage, a great part of the public felt authorized to adopt the role of the colonizer Diana Taylor will underline that aldi crema antirid piece reflects the failure of each spectator, since no reaction could possibly be adequate to this situation 4.
By exhibiting and exacerbating the fetish of subaltern identities, they mock contemporary post-colonial techniques of representation. The diorama is a representation technique of the indigenous peoples, commonly used in ethnography museums.
Invented at the beginning of the 19th century by Daguerre, the diorama is composed of large panels illuminated from behind and, since then, it aarau swiss anti aging been used for ethnographic reconstructions, capturing the subjects in their traditional environment: along with their costumes, tools, weapons and sometimes with their entire housings.
Gómez-Peña uses these contextual settings both photographically or performatively, his characters resorting to a wide range of objects and identity markers.
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All along, a new epistemological relation between subject and object emerges, a relation between mainstream and subcultures, liberated from questions of power and privileges 5. In Fusco, Coco. English is Broken Here. Mediactivists have thus put themselves at the service of a subjective informational practice, rejecting professional expertise and redistributing the right to speak to everybody, by installing devices for the production of image and open speech.
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They have equally worked to propagate the emission centers, at the same time trying to put together platforms of collective action, dismissing the rupture between information and action. Two audiovisual productions are representative for this strategy. During the manifestations against the OMC in Seattle the IMC shot aarau swiss anti aging report in the streets, using more cameras that any other media, coordinating more than a hundred mediactivists and gathering more than hours of rushes.
This is What Democracy Looks Like captures the plurality of the images shot by these mediactivists, mostly involved in independent media for pomologie anti-imbatranire 300 years.
It could stand as a model for imagining the experience of alternative media and their cooperative and highly subjective practices of collective and autonomous creation.
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Here lies the multiplicity of gazes and watchers that allow them to produce their own story of the event and to see themselves as observing the apparatus of democracy. The second, Burma VJedited by Anders Østergaard and produced on the occasion of the repressions in the democratic movements in Myanmarseizes numerous edits operated on the images taken by Burma video journalists with video cameras or cell phones, at the risk of losing ambalaj pentru piele suisse anti aging lives.
This striking film marks on the edge of sight, observing everything through sensitive and passionate eyes, spread all around the Burma capital, it maps the repressive actions of a frozen surveillance regime — the Burma military dictatorship. The argument strongly relies on the contribution of psychoanalysis in order to deconstruct the Hollywood apparatus as a double device of patriarchal power.
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On one hand, this device submits women through the script-like construction of the characters, whose points of view are necessarily masculine narcissist pleasure of identification. On the other hand, through an objective staging, watching turns women into an object of visual pleasure scopophile pleasure.
According to Mulvey, in order to experience visual aarau swiss anti aging in cinema, women can only submit to the narcissist scopophilia of masculine stagings that take over them as objects of pleasure, subjected to the controlling watch.
The second wave of feminist theory has developed the idea that the camera itself is the ultimate result of the phallocratic ideology, intensely supported by the industrial development. Teresa de Lauretis will later on talk about the cinema apparatus as a social technology of genre-production 7. Resulting from debates on the de-hierarchization of senses, the notion of haptic vision 8 has emerged at the beginning of the 20th century, in the attempt to separate from the optic vision.
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In his text The Logic of Sensation, Gilles 6. Film-maker and composer, together with Jean-Luc Guionnet, he invented a haptic cinema where the camera was no longer guided by the eye, but only by the arm of those who acted and who were being filmed at the same time. His haptic cinema illustrated a kinesthetic way of knowing the world, and film became a proof of transformation for the one performing it.
The endless contingencies in between microcosms and macrocosms, sometimes dissolving the vision in the materiality of the video granularity, sometimes in an oceanic vision, would absorb perspectivist structure of the gaze until the latter disappears. These scalar variations allowed the switch of the optical plan to the haptic.
They were working to produce cinema that associates sight and feeling, that brings vision closer to sensation, liberating itself from the masculine gaze.
Carolee Schneemann produced Fuses in the middle of a sexual spree with her companion, James Teeney. Dyketactics explores new sensual, emotional, and mental areas, inventing an organless, deterritorialized body. Her deconstruction of the masculine representations of carnal experience in cinema undergoes an entire phenomenology of experience. It would be like two oculars, not used for perceiving the outlines; two oculars, like two memories, even if he who films would have something like an eye that lingers on, looking for anything human outside the script-like scene.
