I maj och juni har Konstnärliga fakulteten (Litterär gestaltning och Valand) och Humanistiska fakulteten gemensamt bjudit in en gästforskare – dr Vasanthi Mariadass från Bangalore.
Vasanthi är filmteoretiker och litteraturteoretiker och bygger nu upp forskarutbildningen i konst vid Srishti - en ledande konstskola i Indien. I Göteborg ska hon arbeta med en bok om filmaren Harun Farocki, bygga nätverk med Göteborg och arbeta med en större forskningsansökan i kulturarvsfrågor – heritage spaces. Under sin tid i Göteborg är Vasanthi Mariadass placerad vid V:ARC – Valand Artistic Research Centre. En biografisk notis om Vasanthi finns längst ner under rubriken "Pause the Image".
Måndagen den 21 maj håller Vasanthi Mariadass ett seminarium om sitt arbete med Farockis filmer i Glashuset, inne på Valands / HFF:s gård (ingång från Chalmersgatan).
Alla intresserade är välkomna!
Tid: Måndag 21 maj kl.16.00-18.00
Plats: Glashuset – Valands / HFF:s gård
Images are speeding or flooding us from innumerable directions and “life” is vanishing into them at dizzying velocity and perhaps we are unable to keep up with them. Media noise and image pollution are the concern of the moment, hence in my paper “Pause the Image” I am examining the formal strategies used by the German filmmaker Harun Farocki, who not only resists the pollution but also gives life to images and hence “life” returns to life hence ensuring life does not disappear in the gaps of representations. Farocki called as the “philosopher of images” uses the strategy of “pausing” on the image and thus creates “stills” from the moving image in order to analyze them more acutely.
While examining the formal methods I also encountered Farocki’s critique of Enlightenment which is unusually linked with still life paintings and advertisements. In his film Still Life (1997) he links his critique through the concept of fetishism and more particularly the process of fetishism. He pushes the limits of Enlightenment and silently moves towards precision which gives a fresh account on Enlightenment. In other words, precision and perfection is as fundamental to it as reason, logic and rationality.
The second part of my research examines his work as an archive or rather the deconstruction of archive by rearchiving archived material (Images of the World and Inscriptions of War, (1989). In this examination I suggest that the classical archiving methods through film and other media engagements conscribe (Judith Butler) the public into war or other such complicities and consents. In my work I illustrate that rearchiving through montage deconscribes and resists strategised or unethical rhetorical deceptions. These deceptions conscribes and recruits the public also into war or other totalitarian interest that are disguised as democratic and justifiable human rights (Paul Virilio). In sum the public are made to understand that they themselves wanted the war.
The third part of my research is the comparative study of Godard and Farocki where I demonstrate that Farocki is and is not like Godard. This comparative study is worked via Brecht who was key to the French New Wave cinema for its stylistic and political concerns. Indeed I argue that Farocki’s work renews them or extends their potential.
Dr. Vasanthi Dass is currently teaching and researching at Srishti College for Art, Design and Technology, Bangalore, India. Organized a workshop by Harun Farock at Srishti Jan 2012, Co ordinated the Srishti-Gothenburg conference on Resistances and Identities: Heritage, Feb 2012. She did her DAAD research stay at Asian Studies Department, Humboldt University, Berlin, 2011. Her teaching experience include both in the US and in India. Research fellow at Indian institute of Science, Bangalore. (2008-2009). Project Manager for CIDA Grant project on Women and development (Canadian International Development Agency). (2001-2003)