'Displacement' und/in Substitution: Figurationen des Gemeinschaftsbildes
| Autor: | Dasgupta, S., Büttner, E., Metschl, V. |
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| Přispěvatelé: | Cultural Transformations & Globalization, ASCA (FGw) |
| Jazyk: | němčina |
| Rok vydání: | 2019 |
| Zdroj: | Figurationen von Solidarität: Algerien, das Kino und die Rhythmen das anti-kolonialen Internationalismus, 192-209 STARTPAGE=192;ENDPAGE=209;TITLE=Figurationen von Solidarität |
| Popis: | Figurations are aesthetically composed provocations for relating the sensorially registered to the cognitively understood dimensions of human experience. Aesthetic figurations of community, as one form of relationality, harbour the potential for provoking a dissensual politics. In cinematic experience, the relation of sensory to cognitive experience is produced through forms of relations and disconnections of sound and image for sensing and understanding community and solidarity. Cinematic experience, however, is marked by an inherent instability between sound and image, sensing and sense-making. As Adorno argues, the "obtuse reality" Rancière describes , can be counter-intuitively registered when the subject "convulsed by art" can have "real experiences" registered in the "aesthetic shudder" . How can cinematic experience intimate figurations of relations through disconnections? I identify two modes of aesthetic experience which help grapple with an obtuse reality often ideologically stabilized into competing and conflicting groups thus foreclosing the possibility of counter-intuitive relationalities. The first mode of figuration emphatically enables sensing presences and connecting extremes. At stake here is the sensorial apprehension of spaces Deleuze termed "any-space-whatevers" where the tension between "image as a cipher of history…and as obtuse reality, impeding history and meaning"( Rancière) produce disturbing forms of intermittent adjacencies. These forms outline a relational and sensorial mode of approaching the possibility of community where space is the location "of virtual conjunction, grasped as pure locus of the possible". The second mode of figuration concatenates apparently disconnected presences into counter-intuitive relationalities. Where the former figuration produces connections through minimal explanation and fleeting sensorial presencing in the construction of relational spaces, the second form of figuration is less indirect, explicitly constructing forms of community. At stake in this form of figuration is the refusal to accept the inherently separatist, conflictual forms of identity politics that stymie thinking alliances and solidarity. Instead, cinematic experience here deploys the power of sound (music, songs) to articulate specific political interests audiovisually by figuratively and politically connecting seemingly too different and necessarily opposed groups toward forms of being-together which construct dissensual figurations of solidarity. |
| Databáze: | OpenAIRE |
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