{"id":27124,"date":"2021-02-14T21:27:35","date_gmt":"2021-02-14T20:27:35","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=27124"},"modified":"2022-02-26T11:06:47","modified_gmt":"2022-02-26T10:06:47","slug":"kameraval-pusztito-az-antropocen-mozgokepes-diskurzusai","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/kameraval-pusztito-az-antropocen-mozgokepes-diskurzusai\/","title":{"rendered":"Kamer\u00e1val puszt\u00edt\u00f3: az antropoc\u00e9n mozg\u00f3k\u00e9pes diskurzusai"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-1-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Ecology After Nature<\/em> \u2013 e-flux, online vet\u00edt\u00e9ssorozat1<\/span><\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-1-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Hatalmas v\u00edznyel\u0151 \u00fcregek szerte a Holt-tenger k\u00f6rny\u00e9k\u00e9n, szemk\u00e1pr\u00e1ztat\u00f3 sz\u00e9ps\u00e9gben vadul burj\u00e1nz\u00f3 hortenzi\u00e1k az Azori-szigeteken; egy hatalmas v\u00edzduzzaszt\u00f3 g\u00e1t a Jangce legikonikusabb szakasz\u00e1n \u2013 v\u00e9ge\u00e9rhetetlen\u00fcl sorolhatn\u00e1nk az emberi tev\u00e9kenys\u00e9g m\u00e9g j\u00f3sz\u00e1nd\u00e9k\u00e1ban is puszt\u00edt\u00f3 eredm\u00e9nyeit, amelyek v\u00e9g\u00e9rv\u00e9nyesen megv\u00e1ltoztatt\u00e1k bolyg\u00f3nk kin\u00e9zet\u00e9t \u00e9s j\u00f6v\u0151j\u00e9t. \u00c9rthet\u0151 teh\u00e1t, hogy mikor a k\u00e9tezres \u00e9vek elej\u00e9n az elm\u00falt n\u00e9h\u00e1ny \u00e9vsz\u00e1zadot \u00faj geol\u00f3giai kork\u00e9nt kezdt\u00e9k le\u00edrni a tud\u00f3sok, a szoci\u00e1lisan \u00e9rz\u00e9keny kort\u00e1rs k\u00e9pz\u0151m\u0171v\u00e9szet is hamar mag\u00e1\u00e9v\u00e1 tette a terminust, \u00e9s elkezdte az antropoc\u00e9n-fogalom probl\u00e9mafelvet\u00e9s\u00e9n kereszt\u00fcl elgondolni alkot\u00e1sait, illetve m\u00e9g ink\u00e1bb annak perspekt\u00edv\u00e1ja fel\u0151l szervezni \u00f6nmaga diskurzus\u00e1t. A kl\u00edmav\u00e1ls\u00e1g jelenlegi, megk\u00e9rd\u0151jelezhetetlen\u00fcl \u00e9s k\u00e9ts\u00e9gbeejt\u0151en akut f\u00e1zis\u00e1ban a mag\u00e1t a vil\u00e1g \u00e9s a t\u00e1rsadalom r\u00e9szek\u00e9nt elgondol\u00f3 m\u0171v\u00e9szet nem teheti meg, hogy ne reflekt\u00e1ljon arra a folyamatra, amely hamarosan \u00f6nmaga l\u00e9t\u00e9t is fenyegeti.<\/p>\n

Az antropoc\u00e9n m\u0171v\u00e9szeti tematiz\u00e1l\u00e1s\u00e1ban \u00f6ssze\u00e9r a m\u00falt sz\u00e1zad nyolcvanas \u00e9veit\u0151l egyre nagyobb teret h\u00f3d\u00edt\u00f3 kult\u00faratudom\u00e1nyi szeml\u00e9letm\u00f3d (amely a m\u0171alkot\u00e1sokat \u00e9s az ember \u00e1ltal tervezett dolgokat nem \u00f6nmagukban, hanem az \u0151ket k\u00f6r\u00fclvev\u0151 t\u00e1rsadalmi, t\u00f6rt\u00e9nelmi, politikai \u00e9s kultur\u00e1lis sz\u00f6vettel szoros \u00f6sszef\u00fcgg\u00e9sben vizsg\u00e1lta), valamint a t\u00e1rsadalmilag elk\u00f6telezett m\u0171v\u00e9szet \u00f6nmaga hasznoss\u00e1g\u00e1ban k\u00e9telked\u0151, b\u0171ntudattal terhelt trad\u00edci\u00f3ja. E kett\u0151 keresztmetszet\u00e9ben sz\u00fcletett meg az a felismer\u00e9s, hogy korunk antropoc\u00e9n jelleg\u00e9nek tudatos\u00edt\u00e1sa azzal j\u00e1r, hogy perspekt\u00edv\u00e1nkat m\u00e9g t\u00e1gabbra nyitjuk, \u00e9s imm\u00e1r az emberi t\u00e1rsadalmon k\u00edv\u00fcl\/t\u00fal, az annak (egyre nehezebben) otthont ad\u00f3 k\u00f6rnyezetet is a m\u0171v\u00e9szeti reflexi\u00f3 t\u00e1rgy\u00e1v\u00e1 kell tenni.2<\/span><\/p>\n

Ezzel kapcsolatosan, illetve k\u00fcl\u00f6n\u00f6sen a filmes vonatkoz\u00e1sokban k\u00e9t kritika mer\u00fcl fel. Az egyiket legmark\u00e1nsabban tal\u00e1n T. J. Demos<\/span> fogalmazta meg, aki Against the Anthropocene<\/em> c\u00edm\u0171 k\u00f6nyv\u00e9ben arra h\u00edvja fel a figyelmet, hogy az \u00f6kol\u00f3giai szempontok, a katasztr\u00f3f\u00e1k \u00e9s a puszt\u00edt\u00e1sok l\u00e1tv\u00e1nyoss\u00e1gai fel\u00e9 val\u00f3 fordul\u00e1s ugyan intenz\u00edv \u00e9rzelmi reakci\u00f3t \u00e9s ennek k\u00f6vetkezt\u00e9ben k\u00f6nny\u0171 n\u00e9pszer\u0171s\u00e9get \u00edg\u00e9r, azonban eltereli a figyelmet a rendszerszint\u0171 probl\u00e9m\u00e1kr\u00f3l, \u00e9s puszt\u00e1n sz\u00ednvak \u00f6kotudatoss\u00e1gg\u00e1 v\u00e1lik. Naomi Klein<\/span>nal egyet\u00e9rtve azt \u00e1ll\u00edtja, hogy maga a kifejez\u00e9s olyan v\u00e1llalhatatlan el\u0151feltev\u00e9seket tartalmaz, amelyek f\u00e9lreviszik mind az elm\u00e9let\u00e9t, mind a gyakorlat\u00e1t, \u00e9s \u00e9ppen ez\u00e9rt a kapitaloc\u00e9n terminus mellett teszi le a voks\u00e1t.3<\/span> A vizu\u00e1lis m\u0171v\u00e9szetekkel kapcsolatosan pedig az e-flux<\/em> idei online vide\u00f3projektj\u00e9hez kapcsol\u00f3d\u00f3 Zoom-besz\u00e9lget\u00e9sen \u00fagy fogalmazott, hogy a m\u0171v\u00e9szeknek \u201et\u00fal kell l\u00e9pni\u00fck az antropoc\u00e9n olyan \u00e9rz\u00e9ki etnogr\u00e1fi\u00e1j\u00e1n\u201d amelynek eredm\u00e9nye nem t\u00f6bb, mint \u201eegy csod\u00e1latos pusztul\u00e1s filmes eszt\u00e9tik\u00e1ja\u201d. Az antropoc\u00e9n-t\u00e9zist k\u00f6z\u00e9ppontj\u00e1ba \u00e1ll\u00edt\u00f3 m\u0171v\u00e9szetnek egyr\u00e9szt tudatos\u00edtania kell, hogy amit tapasztalunk, az a rassziz\u00e1lt, gyarmatos\u00edt\u00f3 neoliber\u00e1lis kapitalizmus egyenes k\u00f6vetkezm\u00e9nye, m\u00e1sr\u00e9szt radik\u00e1lis, dekolonializ\u00e1l\u00f3 \u00e9s antikapitalista alternat\u00edv\u00e1kat kell k\u00edn\u00e1lnia, olyan struktur\u00e1lis okokra f\u00f3kusz\u00e1l\u00f3 megold\u00e1sokat, amelyek az igazs\u00e1goss\u00e1gon alapulnak.4<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

https:\/\/www.e-flux.com\/announcements\/ 341335\/ecology-after-nature-industries-communities- and-environmental-memory\/<\/a>; https:\/\/www.e-flux.com\/announcements\/ 346010\/ecology-after-nature\/<\/a> (utols\u00f3 bel\u00e9p\u00e9s a sz\u00f6vegben hivatkozott webhelyekre: 2021. m\u00e1rcius 29.)<\/p>\n

2<\/p>\n

R\u00e9szletesebben l\u00e1sd Varga T\u00fcnde: Sz\u00e9p \u00faj vil\u00e1g? Az antropoc\u00e9n-fogalom kritikai vizsg\u00e1lat\u00e1nak m\u0171v\u00e9szeti aspektusai,<\/em> Balkon, 2020\/7-8., 4-15.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”full-5-40 p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Malena Szlam: Altiplano,<\/em> 2018, 35 mm film, 15:30 perc<\/p>\n[\/vc_column_text][nectar_video_lightbox link_style=”play_button_mouse_follow” image_url=”27128″ mouse_indicator_style=”default” video_url=”https:\/\/vimeo.com\/284554622″ image_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-8-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A m\u00e1sik kritika tal\u00e1n pont ebb\u0151l indulhat ki: az ennyire pontosan kijel\u00f6lt politikai vagy t\u00e1rsadalmi program elv\u00e1r\u00e1sa vajon nem sz\u00fcnteti-e meg a m\u0171v\u00e9szet aktu\u00e1lis \u00f6nmag\u00e1n t\u00falmutat\u00f3 l\u00e9nyeg\u00e9t, auton\u00f3mi\u00e1j\u00e1t? S\u0151t, m\u00e9g azt is megkock\u00e1ztatom, hogy a m\u0171v\u00e9szett\u0151l minden\u00e1ron konkr\u00e9t \u00e9s azonnali hasznoss\u00e1got elv\u00e1rni tal\u00e1n nem m\u00e1s, mint ugyanannak a kapitalista hat\u00e9konys\u00e1g-logik\u00e1nak a megism\u00e9tl\u00e9se, amit \u00e9ppen b\u00edr\u00e1lni \u00e9s felsz\u00e1molni pr\u00f3b\u00e1lunk. Ha az olyan \u2013 ma m\u00e1r tal\u00e1n kiss\u00e9 konzervat\u00edvnak t\u0171n\u0151 \u2013 szerz\u0151k, mint Hans-Georg Gadamer<\/span> gondolatait felid\u00e9zz\u00fck, akkor azt tal\u00e1ljuk, hogy a normat\u00edv\/kritikai<\/em> (teh\u00e1t nem t\u00f6rt\u00e9neti) \u00e9rtelemben vett klasszikus fogalm\u00e1nak l\u00e9nyege \u201ea maradand\u00f3nak, az elvesz\u00edthetetlen, minden m\u00faland\u00f3 k\u00f6r\u00fclm\u00e9nyt\u0151l f\u00fcggetlen jelent\u0151s\u00e9g\u00e9nek a tudata\u201d, hogy \u201e\u00fagy mond valamit a mindenkori jelennek, mintha egyenesen neki mondan\u00e1\u201d. Mivel \u201eami klasszikus, az \u00bbid\u0151tlen\u00ab\u201d,5<\/span> egy ilyen rangra \u00e1h\u00edtoz\u00f3 m\u0171alkot\u00e1s t\u00fal kellene, hogy tudjon mutatni \u00f6nmaga kor\u00e1nak percnyi aktualit\u00e1s\u00e1n, k\u00e9pesnek kell lennie m\u00e1s korok \u00e9s\/vagy helyek befogad\u00f3inak megsz\u00f3l\u00edt\u00e1s\u00e1ra is.<\/p>\n

Tov\u00e1bb\u00e1 \u2013 ha a fentebb m\u00e1r eml\u00edtett m\u0171v\u00e9szeti b\u0171ntudat-\u00f6ntudatot<\/em> komolyan vessz\u00fck \u2013 napjaink kl\u00edmav\u00e1ls\u00e1g\u00e1ban minden m\u0171v\u00e9szeti tev\u00e9kenys\u00e9g l\u00e9trehoz\u00e1sa \u00e9s fogyaszt\u00e1sa etikailag elfogadhatatlan er\u0151forr\u00e1s-pazarl\u00e1ssal \u00e9s szennyez\u00e9ssel j\u00e1r, teh\u00e1t az antropoc\u00e9n-gondolat perspekt\u00edv\u00e1j\u00e1b\u00f3l minden auton\u00f3m m\u0171v\u00e9szeti tev\u00e9kenys\u00e9g felsz\u00e1moland\u00f3. Ha egyed\u00fcl az itt-\u00e9s-mostban k\u00e9zzelfoghat\u00f3 eredm\u00e9nnyel j\u00e1r\u00f3 cselekedet \u2013 vide\u00f3m\u0171v\u00e9szeti-filmes kontextusban a t\u00e1j\u00e9koztat\u00e1s, a tudatos\u00edt\u00e1s \u00e9s a mozg\u00f3s\u00edt\u00e1s \u2013 elfogadhat\u00f3, mennyiben lesz az eredm\u00e9ny megk\u00fcl\u00f6nb\u00f6ztethet\u0151 a h\u00edrad\u00f3-riportt\u00f3l vagy a propagandafilmt\u0151l? Kayla Anderson<\/span> r\u00e1ad\u00e1sul azt is hozz\u00e1teszi, hogy minden olyan m\u0171v\u00e9szeti projekt, ami aktiviz\u00e1l, t\u00f6bb k\u00e1rt okoz, mint hasznot, mert csak n\u00f6veli az ember bolyg\u00f3ra gyakorolt hat\u00e1s\u00e1t. \u201eParadox m\u00f3don \u2013 \u00edrja \u2013 azok a m\u0171v\u00e9szi kezdem\u00e9nyez\u00e9sek hordozz\u00e1k legink\u00e1bb a konstrukt\u00edv hozz\u00e1j\u00e1rul\u00e1s lehet\u0151s\u00e9g\u00e9t, amelyek ink\u00e1bb stimul\u00e1lj\u00e1k a kritikai gondolkod\u00e1st, mintsem szimul\u00e1lj\u00e1k a cselekv\u00e9st.\u201d6<\/span><\/p>\n

Ez a n\u00e9h\u00e1ny kiindul\u00f3 felvet\u00e9s is j\u00f3l jelzi, mennyire \u00e9rz\u00e9keny \u00e9s problematikus terepre t\u00e9ved a kur\u00e1tor, ha megfelel\u0151 tudatoss\u00e1ggal v\u00e1g bele az antropoc\u00e9n m\u0171v\u00e9szeti tematiz\u00e1l\u00e1s\u00e1nak feldolgoz\u00e1s\u00e1ba. A 2020 nyar\u00e1n az e-flux<\/em> fel\u00fclet\u00e9n indult online hatr\u00e9szes vide\u00f3-sorozat az antropoc\u00e9n egyik alapvet\u0151 teoretikus\u00e1nak ikonikus k\u00f6nyvc\u00edm\u00e9b\u0151l \u2013 Ecology without Nature<\/em>7<\/span> \u2013 inspir\u00e1l\u00f3dott, tal\u00e1n csak kicsit pesszimist\u00e1bbra hangolva a v\u00e9gkicseng\u00e9st. Timothy Morton<\/span> 2009-ben azzal magyar\u00e1zta a provokat\u00edv k\u00f6nyvc\u00edmet, hogy a kl\u00edmav\u00e1ls\u00e1g megfelel\u0151 \u00e9rt\u00e9s\u00e9nek \u00e9s kezel\u00e9s\u00e9nek \u00fatj\u00e1ban legink\u00e1bb a romantikus term\u00e9szet-k\u00e9p<\/em> \u00e9s az ahhoz val\u00f3 ragaszkod\u00e1s \u00e1ll. T\u00f6bb, mint egy \u00e9vtizeddel k\u00e9s\u0151bb az Ecology After Nature<\/em> c\u00edm nyilv\u00e1n arra utal, hogy imm\u00e1r nincs v\u00e1laszt\u00e1sunk, a \u201eterm\u00e9szet\u201d ideje lej\u00e1rt: a sorozat els\u0151sorban az elm\u00falt t\u00edz \u00e9v m\u0171v\u00e9szvide\u00f3 \u00e9s k\u00eds\u00e9rleti film term\u00e9s\u00e9b\u0151l szemezgetve k\u00edn\u00e1l leny\u0171g\u00f6z\u0151 v\u00e1logat\u00e1st, ami egyszerre c\u00e1folja meg \u00e9s igazolja a fentebb megfogalmazott ellenvet\u00e9seket. Lukas Brasiskis<\/span> kur\u00e1tor hat tematikus blokkba csoportos\u00edtotta a munk\u00e1kat, amelyek egyenk\u00e9nt k\u00e9t h\u00e9tig voltak el\u00e9rhet\u0151ek, \u00e9s az\u00e9rt a leny\u0171g\u00f6z\u0151 jelz\u0151, mert m\u0171fajukt\u00f3l f\u00fcggetlen\u00fcl \u00e9s e sorok \u00edr\u00f3j\u00e1nak kezdeti fenntart\u00e1sai ellen\u00e9re, alig lehetett k\u00f6z\u00f6tt\u00fck \u00e9rdektelen filmmel tal\u00e1lkozni.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

5<\/p>\n

Hans-Georg Gadamer:<\/span> Igazs\u00e1g \u00e9s m\u00f3dszer: egy filoz\u00f3fiai hermeneutika kezdetei.<\/em> Ford. Bonyhai G\u00e1bor, Budapest: Osiris, 2003, 320-25<\/p>\n

6<\/p>\n

Kayla Anderson:<\/span> \u201eEthics, Ecology, and the Future: Art and Design Face the Anthropocene\u201d, Leonardo 48,<\/em> sz. 4 (2015. augusztus): 339, ld. https:\/\/doi.org\/10.1162\/LEON_a_01087<\/a><\/p>\n

7<\/p>\n

Timothy Morton:<\/span> Ecology without Nature: Rethinking Environmental Aesthetics, 1.<\/em> Harvard Univ. Press paperback ed., Cambridge, Mass.: Harvard Univ. Press, 2009<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

T\u00e1gra z\u00e1rt szemmel \u2013 a bolyg\u00f3 manipul\u00e1lt-manipulat\u00edv \u00e9szlel\u00e9se<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A v\u00e1logat\u00e1s legink\u00e1bb meglep\u0151 vet\u00fclete, hogy az antropoc\u00e9n perspekt\u00edva k\u00f6z\u00e9pponti jelent\u0151s\u00e9ge ellen\u00e9re a filmek nagy r\u00e9sz\u00e9nek koncepci\u00f3j\u00e1ban domin\u00e1lt a formai megk\u00f6zel\u00edt\u00e9s, az experimentalit\u00e1s trad\u00edci\u00f3ja fele hajl\u00f3 k\u00eds\u00e9rletez\u00e9s. Ezen bel\u00fcl is k\u00fcl\u00f6n csoport k\u00e9pezhet\u0151 azokb\u00f3l a munk\u00e1kb\u00f3l, amelyek a k\u00f6rnyezet (\u00e9s nem a term\u00e9szet!) percepci\u00f3j\u00e1n alapulnak, azonban pontosan a Morton-i kritika megsz\u00edvlel\u00e9sek\u00e9nt egyetlen esetben sincs sz\u00f3 az \u00e9rintetlen\/romlatlan term\u00e9szet h\u00e1bor\u00edtatlan kontempl\u00e1ci\u00f3j\u00e1r\u00f3l: sem a megfigyel\u00e9s, sem annak t\u00e1rgya nem \u00e1rtatlan imm\u00e1r.<\/p>\n

Az Andokban f\u00e9nyk\u00e9pezett Altiplano<\/em> (2018) c\u00edm\u0171 negyed\u00f3r\u00e1s munka az eg\u00e9sz program sz\u00edvemhez legk\u00f6zelebb \u00e1ll\u00f3 darabja, a belefeledkezett kontempl\u00e1ci\u00f3 \u00e9s a tudatos konstrukci\u00f3 olyan kever\u00e9ke, ami a celluloid film k\u00e9pi karakterisztik\u00e1j\u00e1nak k\u00f6z\u00e9ppontba \u00e1ll\u00edt\u00e1s\u00e1val teszi k\u00e9pp\u00e9 a l\u00e1tv\u00e1nyt. A mont\u00e1zs, a koll\u00e1zs \u00e9s az egym\u00e1sra \u00fasz\u00f3, egym\u00e1st \u00e1tsz\u00ednez\u0151 k\u00e9pkock\u00e1k egy mag\u00e1ra hagyott, k\u00eds\u00e9rteties sivatagi t\u00e1j zaklatott \u00e1br\u00e1zol\u00e1s\u00e1t t\u00e1rj\u00e1k el\u00e9nk \u2013 olyan\u00e9t, amit holdb\u00e9linek lehetne nevezni, ha a hold sarl\u00f3ja nem jelenne meg oly gyakran. Malena Szlam<\/span> a k\u00e9p \u00e9s a geol\u00f3giailag \u00e9rtett, siv\u00e1r, lakatlan \u00e9s \u00e9lettelen f\u00f6ld \u00f6sszef\u00fcgg\u00e9s\u00e9t val\u00f3s\u00edtja meg, tudatosan avantg\u00e1rd gesztusok r\u00e9v\u00e9n hangs\u00falyozva, hogy nem puszta megfigyel\u00e9ssel van dolgunk. Az Altiplano<\/em> gadameri \u00e9rtelemben klasszikus m\u0171: az elm\u00falt 120 \u00e9vben nagyj\u00e1b\u00f3l b\u00e1rmikor \u00e9s b\u00e1rhol k\u00e9sz\u00fclhetett volna, tal\u00e1n a timelapse vide\u00f3kra eml\u00e9keztet\u0151 vizu\u00e1lis hat\u00e1sok k\u00f6tik egyed\u00fcl az ut\u00f3bbi \u00e9vtizedekhez.<\/p>\n

B\u00e1r kor\u00e1bban is l\u00e9tezett, az osztott k\u00e9perny\u0151 a digit\u00e1lis k\u00e9palkot\u00e1ssal terjedt el, m\u00edg azt\u00e1n ebben a j\u00e1rv\u00e1nyid\u0151szakban mindennapjaink r\u00e9sze lett a vide\u00f3konferenci\u00e1k eszt\u00e9tik\u00e1ja r\u00e9v\u00e9n. Beatriz Santiago Mu\u00f1oz<\/span> viszont a sz\u00f3 szoros \u00e9rtelm\u00e9ben anal\u00f3g m\u00f3don, h\u00e1zi k\u00e9sz\u00edt\u00e9s\u0171 t\u00fck\u00f6rrendszer seg\u00edts\u00e9g\u00e9vel, technikailag egyetlen k\u00e9pen bel\u00fcl \u00e9rte el ezt a hat\u00e1st. Az Other Uses<\/em> (2014) egy hadihaj\u00f3k sz\u00e1m\u00e1ra \u00e9p\u00edtett egykori \u201et\u00f6lt\u0151\u00e1llom\u00e1sr\u00f3l\u201d, egy rendk\u00edv\u00fcl hossz\u00fa, a tengerbe m\u00e9lyen beny\u00fal\u00f3 betonm\u00f3l\u00f3r\u00f3l \u201esz\u00f3l\u201d, amely eredeti funkci\u00f3j\u00e1t vesztve a helyi horg\u00e1szok telephelye lett. A t\u00f6redezett, egys\u00e9gess\u00e9g\u00e9t \u00f6nmag\u00e1n bel\u00fcl felsz\u00e1mol\u00f3 k\u00e9p egy megismerhetetlen val\u00f3s\u00e1got mutat be, egy olyan \u00e9lethelyzetet, amelyet hi\u00e1ba gondolunk az \u00fajrahasznos\u00edt\u00e1s remek p\u00e9ld\u00e1j\u00e1nak, val\u00f3j\u00e1ban a m\u00e9rt\u00e9ktelen emberi pazarl\u00e1s \u00e9s a visszavonhatatlan puszt\u00edt\u00e1s l\u00e1tszik rajta. Mu\u00f1oz az\u00e1ltal teszi mag\u00e1\u00e9v\u00e1 az antropoc\u00e9n kritikai diskurzus\u00e1t, hogy a t\u00f6r\u00e9keny, esetleges t\u00fck\u00f6rreflexi\u00f3 r\u00e9v\u00e9n \u2013 bizonyos \u00e9rtelemben az el\u0151z\u0151 filmhez hasonl\u00f3an \u2013 azt \u00e1ll\u00edtja, a h\u00e1bor\u00edtatlan kontempl\u00e1ci\u00f3 m\u00e1r nem lehets\u00e9ges, vil\u00e1gunk percepci\u00f3ja csak akkor lehet hiteles, ha \u00f6nmaga lepusztult fragment\u00e1lts\u00e1g\u00e1t mutatja fel.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”full-5-40 p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Beatriz Santiago Mu\u00f1oz: Other Uses,<\/em> 2014, 16 mm film. 7 perc<\/p>\n[\/vc_column_text][nectar_video_lightbox link_style=”play_button_mouse_follow” image_url=”27136″ mouse_indicator_style=”default” video_url=”https:\/\/vimeo.com\/203882138″ image_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-6-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A geol\u00f3giai form\u00e1k konkr\u00e9tan filmk\u00e9pp\u00e9 v\u00e1lnak az Otolith csoport<\/span> munk\u00e1j\u00e1ban, mikor egy adott pillanatban a kamera mozg\u00e1sa lek\u00f6veti a l\u00e1that\u00e1ron megjelen\u0151 kaliforniai sziklagerinc csipk\u00e9zetts\u00e9g\u00e9t. A Medium Earth<\/em> (2013) leny\u0171g\u00f6z\u0151, asszociat\u00edv szerkezet\u0171 m\u0171, amelyben a l\u00e1tv\u00e1nnyal egyen\u00e9rt\u00e9k\u0171 rangot kap a tapint\u00e1s\u00e9rzet a fel\u00fcletek szuperk\u00f6zelikben p\u00e1szt\u00e1z\u00e1sa r\u00e9v\u00e9n: gy\u0171r\u0151d\u00e9sek, red\u0151z\u00e9sek, csiszolts\u00e1gok \u00e9s sim\u00edt\u00e1sok gesztusait \u00e9rezz\u00fck tenyer\u00fcnk\u00f6n \u00e9s ujjbegyeinken, mik\u00f6zben a dimenzi\u00f3v\u00e1lt\u00e1sokat figyelj\u00fck. B\u00e1r tal\u00e1n \u00e9ppen perceptu\u00e1lis gazdags\u00e1ga miatt a v\u00e1logat\u00e1sb\u00f3l tal\u00e1n ez a film \u00e1ll legk\u00f6zelebb a T. J. Demos \u00e1ltal az \u201eantropoc\u00e9n \u00e9rz\u00e9ki etnogr\u00e1fi\u00e1jak\u00e9nt\u201d b\u00edr\u00e1lt megk\u00f6zel\u00edt\u00e9shez, pontosan az\u00e9rt nem tudn\u00e1m politikuss\u00e1g\u00e1nak hi\u00e1nya vagy rejtettebb jelenl\u00e9te miatt lekicsinyl\u0151en elengedni ezt a lebilincsel\u0151 munk\u00e1t, mert elhivatotts\u00e1g\u00e1t nyilv\u00e1nval\u00f3 programatikuss\u00e1g n\u00e9lk\u00fcl teszi zsigeri szinten \u00e1t\u00e9lhet\u0151v\u00e9.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”full-5-40 p-cont-4-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Otolith Group: Medium Earth,<\/em> 2013, HD vide\u00f3, 41:08 perc<\/p>\n[\/vc_column_text][image_with_animation image_url=”27132″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-6-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Hangerd\u0151<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]K\u00fcl\u00f6n csoportot alkothatunk a v\u00e1logat\u00e1s azon filmjeib\u0151l, amelyekben a megfigyel\u00e9s koncentr\u00e1lts\u00e1ga \u00e9s er\u0151teljess\u00e9ge a hangi k\u00f6rnyezetre val\u00f3 f\u00f3kusz\u00e1l\u00e1sban teljesedik ki. Ez persze vonatkozhat direkt m\u00f3don az emberi tev\u00e9kenys\u00e9g hars\u00e1nys\u00e1g\u00e1ra, a hangszennyez\u00e9sre, de a hanggal val\u00f3 munk\u00e1ban sz\u00e1momra legink\u00e1bb a k\u00fcl\u00f6nb\u00f6z\u0151, ak\u00e1r elt\u00e9r\u0151 t\u00e9rb\u0151l \u00e9s id\u0151b\u0151l sz\u00e1rmaz\u00f3 zajok egym\u00e1shoz illeszt\u00e9s\u00e9nek \u00e9rz\u00e9kelhetetlens\u00e9ge a legizgalmasabb. M\u00edg a k\u00e9pek \u00f6sszemont\u00edroz\u00e1sa, egym\u00e1sra \u00fasztat\u00e1sa, r\u00e9tegz\u00e9se legt\u00f6bbsz\u00f6r egyb\u0151l felismerhet\u0151, a hangok eset\u00e9ben ez sokkal ink\u00e1bb elrejthet\u0151, \u00e9s pont ez teszi alkalmass\u00e1 elvont jelent\u00e9sek sugalmaz\u00e1s\u00e1ra.<\/p>\n

B\u00e1r \u00e1lland\u00f3ak a v\u00edzkimarad\u00e1sok, a t\u00e1vk\u00f6zl\u00e9si v\u00e1llalat alkalmazottai szorgosan telep\u00edtik a nagy s\u00e1vsz\u00e9less\u00e9g\u0171 optikai k\u00e1beleket; s mik\u00f6zben a f\u0171t\u00e9shez-f\u0151z\u00e9shez f\u00e1t apr\u00edtanak, a \u201etiszta\u201d szob\u00e1ban, h\u00e1z n\u00e9lk\u00fcli sz\u00e1m\u00edt\u00f3g\u00e9pek z\u00fcmm\u00f6gnek h\u00e1zilag bark\u00e1csolt ventil\u00e1tor \u201erendszerek\u201d h\u0171v\u00f6s\u00e9ben. Mintha egy gazdas\u00e1g-t\u00f6rt\u00e9nelmi l\u00e9pcs\u0151fok kimaradt volna Gr\u00fazia \u0151sr\u00e9gi bortermel\u0151 vid\u00e9k\u00e9n: az ezredfordul\u00f3 gazdas\u00e1gi n\u00f6veked\u00e9s\u00e9nek perif\u00e9ri\u00e1j\u00e1n ragad\u00f3, abb\u00f3l csak a kil\u00e1t\u00e1stalan k\u00f6r\u00fclm\u00e9nyek el\u0151l Nyugatra menek\u00fcl\u0151 munkaer\u0151t tapasztal\u00f3, a huszadik sz\u00e1zadi moderniz\u00e1ci\u00f3b\u00f3l kimarad\u00f3 orsz\u00e1g az elm\u00falt \u00e9vekben a vil\u00e1g m\u00e1sodik legnagyobb kriptovaluta export\u0151r\u00e9v\u00e9 v\u00e1lt. Misho Antadze<\/span> filmje8<\/span> (The Harvest,<\/em> 2019) a t\u00e1rsadalmi viszonyokat is \u00f6nmagukb\u00f3l kiforgat\u00f3 ellentmond\u00e1sokat visszafogottan, minden verb\u00e1lis komment\u00e1r n\u00e9lk\u00fcl jelen\u00edti meg, audit\u00edv alap\u00fa, asszoci\u00e1ci\u00f3s konstrukci\u00f3s elv alapj\u00e1n egym\u00e1s mell\u00e9 illesztve az apr\u00f3 megfigyel\u00e9seket. L\u00e9gkondik, sz\u00e1m\u00edt\u00f3g\u00e9pek, ventil\u00e1torok, fej\u0151g\u00e9pek, m\u00e9hek, dr\u00f3nok, hegeszt\u0151k\u00e9sz\u00fcl\u00e9kek \u00e9s f\u00far\u00f3k z\u00fag\u00e1s\u00e1ban \u00e9s egyform\u00e1n szorgos z\u00fcmm\u00f6g\u00e9s\u00e9ben \u00e9r \u00f6ssze a pre- \u00e9s a posztindusztri\u00e1lis kor. A bukolikus t\u00e1jat antenn\u00e1k \u00e9s vezet\u00e9kek rond\u00edtj\u00e1k, alattuk mikrocsipek dolgoznak f\u00e9kevesztetten olyan absztrakt matematikai probl\u00e9m\u00e1kon, amelyek egy teljesen fikt\u00edv, fizet\u0151eszk\u00f6zk\u00e9nt l\u00e9nyeg\u00e9ben haszn\u00e1lhatatlan p\u00e9nz energiazab\u00e1l\u00f3 \u00e9s bolyg\u00f3puszt\u00edt\u00f3 termel\u00e9s\u00e9hez sz\u00fcks\u00e9gesek.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

8<\/p>\n

http:\/\/mishoantadze.com\/index.php\/project\/the-harvest\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”full-5-40 p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Misho Antadze: The Harvest,<\/em> 2019, 70 perc<\/p>\n[\/vc_column_text][nectar_video_lightbox link_style=”play_button_mouse_follow” image_url=”27148″ mouse_indicator_style=”default” video_url=”https:\/\/vimeo.com\/308107024″ image_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-8-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]F\u00e1b\u00f3l \u00e1csolt kil\u00e1t\u00f3 egy szinte kipusztult erd\u0151 k\u00f6zep\u00e9n: Litv\u00e1ni\u00e1ban, a tengert\u0151l n\u00e9h\u00e1ny kilom\u00e9terre, az arrafele csoportosul\u00f3 kormor\u00e1nok savas \u00fcr\u00fcl\u00e9ke hatalmas ter\u00fcleten kezdte kisz\u00e1r\u00edtani a feny\u0151erd\u0151t, \u00e9s ez a jelens\u00e9g a glob\u00e1lis turizmus telhetetlen \u00e9hs\u00e9ge miatt pillanatok alatt idegenvezet\u0151k \u00fatvonal\u00e1ba iktatott l\u00e1tv\u00e1nyoss\u00e1gg\u00e1 lett. Term\u00e9szetesen maga a helyzet is figyelemrem\u00e9lt\u00f3, azonban Rugil\u0117 Barzd\u017eiukait\u0117<\/span> filmj\u00e9ben (Acid Forest,<\/em> 2018) tal\u00e1n a hangs\u00e1v kezel\u00e9se a legeml\u00e9kezetesebb \u00e9lm\u00e9ny, ugyanis az emberek \u00e9s a madarak hangja \u00e9s k\u00e9pe sosem szerepel egyszerre: vagy a madarakat (\u00e9s az \u0151 perspekt\u00edv\u00e1jukat) l\u00e1tjuk a magasb\u00f3l, \u00e9s a kil\u00e1t\u00f3n b\u00e1m\u00e9szkod\u00f3kat halljuk, vagy a t\u00e9bl\u00e1bol\u00f3 \u00e1lm\u00e9lkod\u00f3kat figyelj\u00fck, \u00e9s a madarakat hallgatjuk a k\u00e9pen k\u00edv\u00fclr\u0151l. Ez\u00e1ltal a k\u00e9t, \u00f6sszeegyeztethetetlennek bizonyul\u00f3 vil\u00e1g (a term\u00e9szet\u00e9 \u00e9s az ember\u00e9) a legt\u00f6bb mozg\u00f3k\u00e9p j\u00f3t\u00e9kony hazugs\u00e1g\u00e1val ellent\u00e9tben csak t\u00f6red\u00e9kesen \u00e9r a film\u00e9lm\u00e9nyben \u00f6ssze, inkongruit\u00e1suk metsz\u0151 \u00e9less\u00e9ggel k\u00e9pez\u0151dik le a film sz\u00f6vet\u00e9ben. Ez a megold\u00e1s egy\u00e9bk\u00e9nt a narrat\u00edv inform\u00e1ci\u00f3kezel\u00e9s szempontj\u00e1b\u00f3l is izgalmas, ugyanis b\u0151ven a film fel\u00e9n\u00e9l j\u00e1runk, mire a t\u00f6red\u00e9kes p\u00e1rbesz\u00e9dekb\u0151l nagyj\u00e1b\u00f3l \u00f6ssze tudjuk rakni a szitu\u00e1ci\u00f3t. A l\u00e1tsz\u00f3lag titokban filmezett\/lehallgatott l\u00e1togat\u00f3k viselked\u00e9se a \u201et\u00f6rt\u00e9net\u201d el\u0151rehaladt\u00e1val r\u00e1ad\u00e1sul egyre val\u00f3sz\u00edn\u0171tlenebb\u00fcl bl\u0151dd\u00e9 v\u00e1lik (az egyik dial\u00f3g rejtett kamer\u00e1k ut\u00e1n kutatva m\u00e9g \u00f6nmag\u00e1t is leleplezni l\u00e1tszik), \u00fagyhogy elkezd\u00fcnk a megrendezetts\u00e9g, a fikci\u00f3 jegyei ut\u00e1n kutatni. V\u00e9g\u00fcl azonban bizonytalans\u00e1gban maradunk, illetve azoknak a szenz\u00e1ci\u00f3s felv\u00e9teleknek az eml\u00e9k\u00e9vel, amelyek a hallgat\u00f3z\u00e1s perceptu\u00e1lis \u00e9lm\u00e9ny\u00e9t gy\u00f6ny\u00f6r\u0171 k\u00e9peken teremtik meg, \u00e9s csak ringunk egy\u00fctt a kamer\u00e1val a sz\u00e9l \u00e1ltal mozgatott magas feny\u0151 cs\u00facs\u00e1n.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”full-5-40 p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Rugil\u0117 Barzd\u017eiukait\u0117: Acid Forest,<\/em> 2018, 63 perc<\/p>\n[\/vc_column_text][nectar_video_lightbox link_style=”play_button_mouse_follow” image_url=”27138″ mouse_indicator_style=”default” video_url=”https:\/\/vimeo.com\/328404391″ image_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-8-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ha m\u00e1r mad\u00e1r\u00fcr\u00fcl\u00e9k: az 1856-os amerikai Guan\u00f3-szigetek t\u00f6rv\u00e9ny a vil\u00e1g ismeretlen furcsas\u00e1gainak egyike, ugyanis ez alapj\u00e1n b\u00e1rmely amerikai \u00e1llampolg\u00e1r a vil\u00e1g b\u00e1rmely r\u00e9sz\u00e9n mag\u00e1nak k\u00f6vetelhet minden olyan szigetet, amelyen mad\u00e1r-\u00fcr\u00fcl\u00e9k lerakat tal\u00e1lhat\u00f3. Ezek az \u00e1ltal\u00e1ban mindent\u0151l t\u00e1voli, teljesen kop\u00e1r tengeri k\u0151szirtek egyszerre tudnak p\u00e9ld\u00e1i lenni a mag\u00e1ra hagyott term\u00e9szet ridegs\u00e9g\u00e9nek \u00e9s a kegyetlen\u00fcl szel\u00edd\u00edt\u0151 emberi tev\u00e9kenys\u00e9gnek. A kiakn\u00e1zatlanul maradt szigetecsk\u00e9k mellett ugyanis Dinh Q. L\u00ea<\/span> filmj\u00e9ben9<\/span> lencsev\u00e9gre kap olyanokat is, ahol ma is nagyj\u00e1b\u00f3l egy-k\u00e9t \u00e9vsz\u00e1zaddal ezel\u0151tti, rudiment\u00e1ris gyarmati m\u00f3dszerekkel zajlik a guan\u00f3 kitermel\u00e9se. Ezzel egyr\u00e9szt leleplezi a modernkori kolonializmus \u00e9s rabszolgamunka egyik v\u00e1lfaj\u00e1t, m\u00e1sr\u00e9szt azonban mindez att\u00f3l v\u00e1lik igaz\u00e1n k\u00eds\u00e9rtetiess\u00e9 a sz\u00f3 freudi \u00e9rtelm\u00e9ben, mert egy adott ponton ebben az embertelens\u00e9gben felt\u00e1rul az emberi szellem \u00e9s tervez\u00e9s nagyszer\u0171s\u00e9ge. A minden korszer\u0171 v\u00e9d\u0151felszerel\u00e9s \u00e9s munkaeszk\u00f6z n\u00e9lk\u00fcl robotol\u00f3 emberek ugyanis a guan\u00f3val teli m\u0171anyagzs\u00e1kokat olyan elk\u00e9peszt\u0151 precizit\u00e1s\u00fa \u00e9s m\u00e9ret\u0171, k\u00f6z\u00e9pkori v\u00e1rfalakra eml\u00e9keztet\u0151 konstrukci\u00f3kba rakj\u00e1k (felt\u00e9telezhet\u0151en a sz\u00e1ll\u00edt\u00f3haj\u00f3k \u00e9rkez\u00e9s\u00e9ig), amelyek emelv\u00e9nyk\u00e9nt \u00e9s strukt\u00farak\u00e9nt az \u0151 mozg\u00e1sukat \u00e9s munk\u00e1jukat is megk\u00f6nny\u00edtik. Vagyis a kitermelt alantas kosz a kitermel\u00e9s eszk\u00f6z\u00e9v\u00e9 \u00e9s magasztos architekt\u00far\u00e1k \u00e9p\u00edt\u0151elem\u00e9v\u00e9 v\u00e1lik.<\/p>\n

A The Colony<\/em> (2016) c\u00edm\u0171 filmet az teszi m\u00e9g k\u00eds\u00e9rtetiesebb\u00e9, hogy ezeket a guan\u00f3-szigeteket p\u00e1rhuzamosan, k\u00e9t dr\u00f3nnal filmezt\u00e9k, \u00edgy azok meg is jelennek egym\u00e1s felv\u00e9telein. Ezzel a megold\u00e1ssal Dinh Q. L\u00ea nem csak arra eml\u00e9keztet, hogy az id\u0151nk\u00e9nt (f\u0151leg a munk\u00e1sok barakkjai belsej\u00e9ben) teljesen emberl\u00e9pt\u00e9k\u0171 kameramozg\u00e1sok val\u00f3j\u00e1ban ennek a vil\u00e1gnak a faragatlan lepusztults\u00e1g\u00e1ba egy\u00e1ltal\u00e1n nem ill\u0151, cs\u00facstechnol\u00f3gi\u00e1j\u00fa lebeg\u0151 k\u00e9sz\u00fcl\u00e9kekkel k\u00e9sz\u00fcltek, hanem a g\u00e9pp\u00e9 lett tekintet poszthum\u00e1n tapasztalat\u00e1t \u00e9s diskurzus\u00e1t is bekapcsolja. Ehhez ad\u00f3dik a k\u00fcl\u00f6n\u00f6s komplexit\u00e1s\u00fa hangs\u00e1v, amelyben a term\u00e9szeti hangok (madarak vijjog\u00e1sa, tenger \u00e9s sz\u00e9l z\u00fag\u00e1sa) folyamatosan \u00f6sszefon\u00f3dnak a zaklatott ritmus\u00fa experiment\u00e1lis zen\u00e9vel, \u00edgy t\u00e9ve id\u0151nk\u00e9nt megk\u00fcl\u00f6nb\u00f6ztethetetlenn\u00e9 emberi \u00e9s nem emberi, vagy \u00e9ppen az embertelen vil\u00e1g zajait.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

9<\/p>\n

https:\/\/www.artangel.org.uk\/\/project\/the-colony\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”full-5-40 p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Dinh Q. L\u00ea: The Colony,<\/em> 2016<\/p>\n[\/vc_column_text][nectar_video_lightbox link_style=”play_button_mouse_follow” image_url=”27145″ mouse_indicator_style=”default” video_url=”https:\/\/vimeo.com\/174360528″ image_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-6-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Ment\u00e1lis konstrukci\u00f3k<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A v\u00e1logat\u00e1s tal\u00e1n legkomplexebb darabja az egyszerre szenzu\u00e1lis \u00e9s filozofikus 4 Waters \u2013 Deep Implicancy<\/em> (2018),10<\/span> amely leny\u0171g\u00f6z\u0151 \u2013 nem tudok jobb kifejez\u00e9st \u2013 m\u00e9dia-sz\u00f6vegk\u00e9nt m\u0171k\u00f6dik. Ez azt jelenti, hogy k\u00e9peknek, hangoknak \u00e9s sz\u00f6vegeknek olyan sz\u00f6vet\u00e9vel tal\u00e1lkozunk, amelyben minden elem saj\u00e1t jog\u00e1n \u00e9s saj\u00e1t kifejez\u00e9sm\u00f3dj\u00e1nak logik\u00e1j\u00e1val van jelen; ez\u00e9rt b\u00e1r felsejlik egy rendk\u00edv\u00fcl kidolgozott gondolatmenet, az eg\u00e9sz nem ford\u00edthat\u00f3 \u00e1t line\u00e1ris, sz\u00f6vegszer\u0171 \u00e9rvel\u00e9ss\u00e9. \u00c9s ez kirajzolja a szerz\u0151k egyik alapvet\u0151 strat\u00e9gi\u00e1j\u00e1t, a visszah\u00faz\u00f3d\u00e1st, azt, hogy nem k\u00edv\u00fclr\u0151l pr\u00f3b\u00e1lnak r\u00e1telepedni felhaszn\u00e1lt t\u00e9m\u00e1kra vagy formai elemekre, hanem hagyj\u00e1k \u2013 ahogy a sorozathoz tartoz\u00f3 besz\u00e9lget\u00e9sben fogalmaztak \u2013 azok bels\u0151 vil\u00e1gl\u00e1s\u00e1t \u00e9rv\u00e9nyes\u00fclni. Fotografikus vagy rajzolt, \u00e1ll\u00f3- vagy mozg\u00f3k\u00e9pek, zenei vagy besz\u00e9dhangok, \u00edrott \u00e9s hangz\u00f3 sz\u00f6vegek ker\u00fclnek egym\u00e1sra vagy egym\u00e1s mell\u00e9 egy olyan strukt\u00far\u00e1ban, amelyet az\u00e9rt nevezn\u00e9k m\u00e9gis legink\u00e1bb sz\u00f6vegnek, mert nem impulz\u00edv-improvizat\u00edv asszoci\u00e1ci\u00f3-sort l\u00e1tunk, hanem egy teoretikusan, racion\u00e1lisan \u2013 de nem diszkurz\u00edvan! \u2013 \u00e9p\u00edtkez\u0151, teljes \u00e9rt\u00e9k\u0171 gondolatmenetet fogadunk be. Ez azt jelenti, hogy minden m\u00e9diat\u00edpus a saj\u00e1t specifikumait hordozza \u00e9s nem v\u00e1lik egy verb\u00e1lis szerkezet szimbolikus elem\u00e9v\u00e9. P\u00e9ld\u00e1ul a helyenk\u00e9nt var\u00e1zslatos, szinte a v\u00edz szemsz\u00f6g\u00e9t felvev\u0151 k\u00e9pek foglyul ejtik l\u00e1t\u00e1sunkat \u00e9s magukba szippantanak pillanatokra, de m\u00e9gsem maradnak meg a puszta passz\u00edv kontempl\u00e1ci\u00f3 szintj\u00e9n; a hangz\u00f3 sz\u00f6vegr\u00e9szeknek nem csak textu\u00e1lis jelent\u00e9s\u00fck van, hanem a nyelv hangz\u00e1sk\u00e9nt, a dialektus zenek\u00e9nt is be\u00e9p\u00fcl; az egyes k\u00e9pek alatt\/f\u00f6l\u00f6tt felsejl\u0151 geometrikus rajzban megjelen\u0151 krist\u00e1lyszerkezet diagramszer\u0171v\u00e9 teszi a term\u00e9szetk\u00e9peket \u2013 \u00e9s \u00edgy tov\u00e1bb. Tov\u00e1bb bonyol\u00edtja ezt a szenz\u00e1ci\u00f3s m\u00e9dia-sz\u00f6veget, hogy nem csak saj\u00e1t anyagok, hanem nagy r\u00e9szben id\u00e9zetek jelennek meg iraki vad\u00e1szrep\u00fcl\u0151k c\u00e9lpontkeres\u0151 vide\u00f3it\u00f3l Tarkovszkij Stalker\u00e9ig. Arjuna Neuman<\/span> \u00e9s Denise Ferreira da Silva<\/span> egy n\u00e9gy alapelem k\u00f6r\u00e9 (laz\u00e1n) szervez\u0151d\u0151 sorozat els\u0151 darabj\u00e1nak sz\u00e1nta ezt az els\u0151dlegesen a v\u00edzr\u0151l sz\u00f3l\u00f3 filmet, \u00e1m megk\u00f6zel\u00edt\u00e9s\u00fcket nem ez teszi az antropoc\u00e9n gondolatk\u00f6r r\u00e9sz\u00e9v\u00e9. A \u201ehal\u00e1los absztrakci\u00f3\u201d kifejez\u00e9ssel a szerz\u0151k azt \u00e1ll\u00edtj\u00e1k, hogy a n\u00e9gy alapelem geometrikus form\u00e1knak val\u00f3 plat\u00f3ni megfeleltet\u00e9se volt az absztrakci\u00f3 azon \u00e9vezredes folyamat\u00e1nak az els\u0151 l\u00e9p\u00e9se, amelynek v\u00e9gpontj\u00e1n a hidrog\u00e9nbomba g\u00f6mb form\u00e1ra \u00e9p\u00fcl\u0151 m\u0171k\u00f6d\u00e9si mechanizmus\u00e1t tal\u00e1ljuk.11<\/span> Tal\u00e1n ez a p\u00e9lda tudja legjobban megvil\u00e1g\u00edtani azt a non-line\u00e1ris, szokatlan, kev\u00e9sb\u00e9 leural\u00f3an racionaliz\u00e1l\u00f3, kev\u00e9sb\u00e9 maszkulin gondolkod\u00e1sm\u00f3dot, \u00e9s a kreat\u00edv m\u0171v\u00e9sz-kutat\u00e1snak azt a gyakorlat\u00e1t, ami a 4 Waters \u2013 Deep Implicancy<\/em> m\u00e9dia-sz\u00f6veget eredm\u00e9nyezte. \u00c9s pont ezen jellemz\u0151k miatt v\u00e1lik az antropoc\u00e9n probl\u00e9mafelvet\u00e9st a maga komplexit\u00e1s\u00e1ban \u00e9s teljess\u00e9g\u00e9ben megtestes\u00edt\u0151 darabb\u00e1.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

10<\/p>\n

https:\/\/www.berlinale.de\/en\/archive\/jahresarchive\/ 2019\/02_programm_2019\/02_filmdatenblatt_2019_ 201902234.html#tab=filmStills<\/a><\/p>\n

11<\/p>\n

Misho Antadze, Lukas Brasiskis, Thirza Cuthand, Heather Davis, Su Yu Hsin,<\/span> and Arjuna Neuman:<\/span> \u201eOutside the Timeline of Progress: Techno-Material Traces, Post-Human Landscapes, and The New Social\u201d. Online discussion, Ecology After Nature: Industries, Communities, and Environmental Memory.<\/em> Ld. https:\/\/www.e-flux.com\/video\/357450\/outside-the-timeline-of-progress-techno-material-traces-post-human-landscapes-and-the-new-social\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”full-5-40 p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Arjuna Neuman \u00e9s Denise Ferreira da Silva: 4 Waters \u2013 Deep Implicancy,<\/em> 2019, 31 perc<\/p>\n[\/vc_column_text][nectar_video_lightbox link_style=”play_button_mouse_follow” image_url=”27146″ mouse_indicator_style=”default” video_url=”https:\/\/vimeo.com\/287255021″ image_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-8-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A pusztul\u00f3 f\u00f6ldet (sz\u0171kebben Kanad\u00e1t) a privilegiz\u00e1lt feh\u00e9rek elhagyt\u00e1k a Mars kedv\u00e9\u00e9rt, az ottmarad\u00f3 bennsz\u00fcl\u00f6ttek pedig megpr\u00f3b\u00e1lnak t\u00fal\u00e9lni a romokon. Igazi anti-ut\u00f3pi\u00e1nak hangzik \u00e9s n\u00e9z ki a sztori, azonban Thirza Cuthand<\/span> alig negyed\u00f3r\u00e1s \u00e1ldokumentumfilmj\u00e9ben11<\/span> a \u201emeginterj\u00favolt\u201d alakok arr\u00f3l besz\u00e9lnek, hogy b\u00e1r az ut\u00f3bbi \u00e9vtizedekben megszokott \u201e\u00e9letmin\u0151s\u00e9gnek\u201d annyi, milyen j\u00f3 most, hogy v\u00e9gre a probl\u00e9ma nagyobb r\u00e9sze (a gyarmatos\u00edt\u00f3k) sok\u00e9vsz\u00e1zadnyi uralom ut\u00e1n elt\u00e1vozott. A Reclamation<\/em> (2018) tele van humorral \u00e9s ir\u00f3ni\u00e1val, de k\u00e9pes felvillantani valamit abb\u00f3l is, hogy milyen lenne egy olyan vil\u00e1gban \u00e9lni, ahol nincs Google vagy Facebook, \u00e9s ahol nem a p\u00e9nz\u00fcgyi probl\u00e9m\u00e1k hat\u00e1rozz\u00e1k meg a mindennapokat: vagyis az, ami els\u0151 pillant\u00e1sra anti-ut\u00f3pi\u00e1nak t\u0171nik, kezd ut\u00f3pisztikusnak t\u0171nni. A film jelent\u0151s\u00e9g\u00e9t sz\u00e1momra nem csak a boncolgatott k\u00e9rd\u00e9sk\u00f6r adja (amely l\u00e9nyeg\u00e9ben a kolonializ\u00e1ci\u00f3t \u00e9s a kapitalizmust jel\u00f6li meg az antropoc\u00e9n legk\u00e1rosabb jelens\u00e9gek\u00e9nt), hanem a megk\u00f6zel\u00edt\u00e9s alapvet\u0151 attit\u0171dje, ami a m\u0171faji \u00e9s formai szempontokat meghat\u00e1rozza. Cuthand munk\u00e1ja ugyanis az \u00e1ldokumentumfilm m\u0171faj\u00e1t v\u00e1llaltan amat\u0151r m\u00f3don val\u00f3s\u00edtja meg, ami nem csak a speci\u00e1lis effektek h\u00edj\u00e1n szer\u00e9ny kivitelez\u00e9s\u0171nek nevezhet\u0151 k\u00fcls\u0151 jelenetekben \u00e9rhet\u0151 tetten, hanem abban is, ahogy az interj\u00fa sor\u00e1n egym\u00e1sra tromfol\u00f3 alakok egy pillanatban elnevetik magukat azon, amit egym\u00e1st cukkolva kital\u00e1ltak. Az\u00e1ltal ugyanis a Reclamation<\/em> (t\u00e1rsadalom)kritikus hangneme \u00edgy \u00f6nn\u00f6n mag\u00e1t is el\u00e9ri \u00e9s roncsolja, ez\u00e1ltal t\u00e9ve k\u00e9zzelfoghat\u00f3v\u00e1 a heideggeri igazs\u00e1got, hogy \u00faj gondolathoz \u00faj nyelv, \u00faj forma is kell.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

11<\/p>\n

https:\/\/vimeo.com\/279943832<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”full-5-40 p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Thirza Cuthand: Reclamation,<\/em> 2018, 13 perc<\/p>\n[\/vc_column_text][nectar_video_lightbox link_style=”play_button_mouse_follow” image_url=”27150″ mouse_indicator_style=”default” video_url=”https:\/\/vimeo.com\/279943832″ image_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” class=”p-8-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Kayla Anderson<\/span> azt \u00e1ll\u00edtja, hogy az elm\u00falt \u00e9vekben az antropoc\u00e9n igaz\u00e1b\u00f3l egy kur\u00e1tori m\u00e9mm\u00e9<\/em> lett,12<\/span> egy h\u00edv\u00f3- vagy kulcssz\u00f3v\u00e1, c\u00edmk\u00e9v\u00e9, ami k\u00f6r\u00e9 k\u00f6nnyed\u00e9n \u2013 trendin \u00e9s az int\u00e9zm\u00e9nyek finansz\u00edroz\u00f3it is kiel\u00e9g\u00edt\u0151 m\u00f3don \u2013, t\u00e1rsadalmi hasznoss\u00e1got m\u00edmelve lehet a m\u0171alkot\u00e1sokat, eset\u00fcnkben a filmeket felf\u0171zni. E jelens\u00e9get \u00e9s annak problematikuss\u00e1g\u00e1t \u00e9rz\u00e9kelve azonban \u00fagy gondolom, az e-flux<\/em> tavalyi v\u00e1logat\u00e1sa a k\u00e9tked\u0151ket k\u00e9t okb\u00f3l is meggy\u0151zheti. Egyr\u00e9szt az\u00e9rt, mert olyan m\u0171vek ker\u00fcltek el\u0151t\u00e9rbe, amelyekben az antropoc\u00e9n t\u00e9zis feldolgoz\u00e1sa nem er\u0151ltetetten r\u00e1h\u00fazott mell\u00e9ksz\u00e1l, hanem a munk\u00e1k k\u00f6z\u00e9ppontj\u00e1t k\u00e9pezi; m\u00e1sr\u00e9szt szinte mindegyik eset\u00e9ben nem puszt\u00e1n j\u00f3sz\u00e1nd\u00e9k\u00fa, \u00e1m propaganda- vagy pr\u00e9dik\u00e1ci\u00f3\u00edz\u0171 megk\u00f6zel\u00edt\u00e9sekr\u0151l van sz\u00f3, hanem k\u00f6zponti jelent\u0151s\u00e9get kap a terminus problematikuss\u00e1g\u00e1nak tematiz\u00e1l\u00e1sa is. Harmadr\u00e9szt \u2013 \u00e9s ezt tartom a legfontosabbnak \u2013 sz\u00e1momra is meglep\u0151 azoknak a val\u00f3di m\u0171alkot\u00e1soknak a sz\u00e1ma, amelyek e tematikai f\u00f3kusz ellen\u00e9re a fontos t\u00e1rsadalmi \u00fczenettel egyen\u00e9rt\u00e9k\u0171nek kezelik a formai k\u00e9rd\u00e9seket, az eszt\u00e9tikai strat\u00e9gi\u00e1k kidolgoz\u00e1s\u00e1t \u00e9s kiforrotts\u00e1g\u00e1t.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

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Anderson:<\/span> \u201eEthics, Ecology, and the Future\u201d, 339<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” vertically_center_columns=”true” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_spacing=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” el_class=”p-2-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”]

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