The article on the artistic work of the Algerian writer and film director Assia Djebar, co-authored by Lena Golub, Anya Litovskikh, Burghilde Wieneke-Toutaoui. The material was released on sygma in the "K!" collection.
The article provides a concise biography, highlighting the political underpinnings of Djebar's work and the linguistic complexities within her writing. It then delves into an analysis of her films, spotlighting her pioneering use of montage and sound in conjunction with archival footage and oral history. Central to the text is the assertion that Djebar's approach is inherently feminist and anti-colonial, as it unravels the instruments and methods she employs to subvert prevailing power narratives.
“Can it be simply by chance that most films created by women give as much importance to sound, to music, to the timbre of voices recorded or captured unawares, as they do to the image itself? It is as though the screen had to be approached cautiously and be populated, if need be, with images seen through a look, even a short-sighted, hazy look, but borne on a full, commanding voice, hard as stone but fragile and rich as the human heart.” — Assia Djebar.
#sygma_en #cinema #societyandpolitics #philosophy
https://syg.ma/@liena-golub/what-is-my-language-filming-after-independence-assia-djebar
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. We work through a VPN or the Ceno browser. Support us via Patreon.
The article provides a concise biography, highlighting the political underpinnings of Djebar's work and the linguistic complexities within her writing. It then delves into an analysis of her films, spotlighting her pioneering use of montage and sound in conjunction with archival footage and oral history. Central to the text is the assertion that Djebar's approach is inherently feminist and anti-colonial, as it unravels the instruments and methods she employs to subvert prevailing power narratives.
“Can it be simply by chance that most films created by women give as much importance to sound, to music, to the timbre of voices recorded or captured unawares, as they do to the image itself? It is as though the screen had to be approached cautiously and be populated, if need be, with images seen through a look, even a short-sighted, hazy look, but borne on a full, commanding voice, hard as stone but fragile and rich as the human heart.” — Assia Djebar.
#sygma_en #cinema #societyandpolitics #philosophy
https://syg.ma/@liena-golub/what-is-my-language-filming-after-independence-assia-djebar
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. We work through a VPN or the Ceno browser. Support us via Patreon.
syg.ma
What is My Language? Filming After Independence: Assia Djebar
The text argues that the approach Assia Djebar takes is a feminist and anti-colonial one, and looks into the instruments and methods she uses in order to subvert the power narrative
In the book "Communist Dissidents in Early Soviet Russia", Simon Pirani analyzes five archival documents written by Russian communists who participated in the 1917 revolution but found themselves at odds with the Communist party as it consolidated its rule in the early 1920s. One Red Army veteran demands action against corrupt officials; another mourns the dashed hopes of 1917 and the loss of friendship and solidarity. Other oppositionists denounce material inequalities, the return of workplace exploitation, and creeping state authoritarianism.
We are publishing the introduction to this book, in which the author provides a detailed description of the content of each letter and the context in which they were written.
«The group’s analysis of the soviet state’s class character challenged the RCP’s claim that the enemy was essentially external and the state essentially a “workers’ state”. Actually, the appeal asserted, workers are “disorganised” and their consciousness is muddled: “are they living under the ‘proletarian dictatorship’, as the Communist party repeats endlessly in speeches and articles, or in a country of arbitrary rule and exploitation, as life itself convinces them at every step?” Workers, who were “eking out a miserable existence” while the new bourgeoisie “wallows in luxury”, needed clarity and organisation in a new party. When arrested in November 1923, Polina Lass-Kozlova, one of the leaders of the Workers Truth group, told her interrogators that she and her comrades believed that, under the given historical conditions, the proletariat’s lack of experience of practical statecraft, and its lack of cultural preparation, meant that proletarian dictatorship was impossible. They acknowledged that soviet power was “the only possible” one in Russia, but that describing it as a worker-peasant government “did not correspond to the real content and nature of that power”.»
#sygma_en #books #societyandpolitics
https://syg.ma/@sygma/communist-dissidents-in-early-soviet-russia-an-introduction-to-simon-pirani-s-book
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
We are publishing the introduction to this book, in which the author provides a detailed description of the content of each letter and the context in which they were written.
«The group’s analysis of the soviet state’s class character challenged the RCP’s claim that the enemy was essentially external and the state essentially a “workers’ state”. Actually, the appeal asserted, workers are “disorganised” and their consciousness is muddled: “are they living under the ‘proletarian dictatorship’, as the Communist party repeats endlessly in speeches and articles, or in a country of arbitrary rule and exploitation, as life itself convinces them at every step?” Workers, who were “eking out a miserable existence” while the new bourgeoisie “wallows in luxury”, needed clarity and organisation in a new party. When arrested in November 1923, Polina Lass-Kozlova, one of the leaders of the Workers Truth group, told her interrogators that she and her comrades believed that, under the given historical conditions, the proletariat’s lack of experience of practical statecraft, and its lack of cultural preparation, meant that proletarian dictatorship was impossible. They acknowledged that soviet power was “the only possible” one in Russia, but that describing it as a worker-peasant government “did not correspond to the real content and nature of that power”.»
#sygma_en #books #societyandpolitics
https://syg.ma/@sygma/communist-dissidents-in-early-soviet-russia-an-introduction-to-simon-pirani-s-book
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
syg.ma
Communist Dissidents in Early Soviet Russia. An introduction to Simon Pirani's book
This book gives voice to Russian communists who participated in the 1917 revolution, but found themselves at odds with the Communist party as it consolidated its rule in the early 1920s
In the essay, Masha Kopylova explores the correlation between horticulture and gardening, particularly as practiced by queer people, and the new cosmologies that might emerge from this practice. This exploration draws on the theories of Marisol de la Cadena, Vandana Shiva, and Isabelle Stengers.
"Gardening as a practice opens up a wide array of potentials in which we as humans are able to form and reflect on our relationships with other species. Taking care of plants, cultivating them, helping them grow and flourish requires not only knowledge but also a special sensitivity, observance and participation. Intuitively following and being involved in such interaction may shed light on many diverse forms of relating and communicating with the non-human and contribute to the overcoming of anthropocentric perspective that has become expansively dominant in many spheres of life".
#sygma_en #architecture #art #self_organization
https://syg.ma/@mariekplv/queer-gardens-care-resistance-and-ferality
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
"Gardening as a practice opens up a wide array of potentials in which we as humans are able to form and reflect on our relationships with other species. Taking care of plants, cultivating them, helping them grow and flourish requires not only knowledge but also a special sensitivity, observance and participation. Intuitively following and being involved in such interaction may shed light on many diverse forms of relating and communicating with the non-human and contribute to the overcoming of anthropocentric perspective that has become expansively dominant in many spheres of life".
#sygma_en #architecture #art #self_organization
https://syg.ma/@mariekplv/queer-gardens-care-resistance-and-ferality
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
syg.ma
Queer Gardens: Care, Resistance and Ferality
Exploring queer theories and experiences brought me to realize that the strange way my grandmother took care of her kitchen garden was in fact an act of radical care and kinship with the non-human
We are relaunching the Карта/Map project with a new name, Атлас/Atlas. Our goal is to map complex systems of power, translocal entanglements, and tacit networks of solidarity.
We are shifting our focus to not only examine what is happening inside, but also to question what is happening in between. We will explore how borders are drawn, who they divide, and which dynamics are contained within imperialist and nationalist tendencies. We aspire to look at how communities define themselves and are identified by others, and learn more about alternative ways to coexist.
We welcome authors from all backgrounds and locations, working with different media and types of research and formats, including interviews, podcasts, video essays, and guides, to join us. They can publish materials in English and their native language.
Learn more about the project's changes, our principles, and our future aspirations.
#sygma_en #atlas
https://syg.ma/@sygma/atlas-manifesto
syg.ma is an open platform where everybody can publish. Support us via Patreon.
We are shifting our focus to not only examine what is happening inside, but also to question what is happening in between. We will explore how borders are drawn, who they divide, and which dynamics are contained within imperialist and nationalist tendencies. We aspire to look at how communities define themselves and are identified by others, and learn more about alternative ways to coexist.
We welcome authors from all backgrounds and locations, working with different media and types of research and formats, including interviews, podcasts, video essays, and guides, to join us. They can publish materials in English and their native language.
Learn more about the project's changes, our principles, and our future aspirations.
#sygma_en #atlas
https://syg.ma/@sygma/atlas-manifesto
syg.ma is an open platform where everybody can publish. Support us via Patreon.
syg.ma
What is Atlas?
On the relaunch of the project that explores the interconnections between different perspectives, networks, and regions, aiming to find new ways of coexistence
An interview with the artist Miyuki Oka about the project called "Borrowed sleep / Taking photos (000000-235959, 20210224 — 20230224)," which was exhibited in Tokyo in 2023. The project consists of documentary testimonies depicting people from Ukraine and Russia whose lives were changed by the war. Viktor Belozerov (@GendaiEye) asked the artist about the project's peculiarities, its creation and implementation, and its further development.
The material is published in English and Russian languages in the "Sign of the Times" collection, which focuses on Japanese art, memory, and related trauma.
“GE: Where did the name ‘borrowed sleep’, ‘biological rhythm’ in the description come from and what does it mean in the context of the work you created?
MO: ‘Borrowed Sleep’ is a phrase from an essay style text 'Tabi no e (Picture of a Journey)’ by Tatsuo Hori. He describes how when he woke up while travelling, surrounded by unfamiliar things in a hotel, he felt he had borrowed someone else’s sleep. When I see some random photos taken by someone, I sometimes feel like I’ve forgotten who took them. Was it me or someone else? It seems to me that this confusion of recording and memory is consistent with his text. As for ‘biological rhythm’, when I was making this format, I was neither a student nor an office worker, I was nobody at all. And at that time I lost my sense of belonging to time, dates and weeks seemed like nothing to me and only the morning and night cycles felt real. I was reading a book about time, and it said that sleep is the sister of death, and there is a correspondence between life and death, wakefulness and sleep. This work shows life, the way we live the day and our lives”.
#sygma_en #art
https://syg.ma/@gendaieye/borrowed-sleep
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
The material is published in English and Russian languages in the "Sign of the Times" collection, which focuses on Japanese art, memory, and related trauma.
“GE: Where did the name ‘borrowed sleep’, ‘biological rhythm’ in the description come from and what does it mean in the context of the work you created?
MO: ‘Borrowed Sleep’ is a phrase from an essay style text 'Tabi no e (Picture of a Journey)’ by Tatsuo Hori. He describes how when he woke up while travelling, surrounded by unfamiliar things in a hotel, he felt he had borrowed someone else’s sleep. When I see some random photos taken by someone, I sometimes feel like I’ve forgotten who took them. Was it me or someone else? It seems to me that this confusion of recording and memory is consistent with his text. As for ‘biological rhythm’, when I was making this format, I was neither a student nor an office worker, I was nobody at all. And at that time I lost my sense of belonging to time, dates and weeks seemed like nothing to me and only the morning and night cycles felt real. I was reading a book about time, and it said that sleep is the sister of death, and there is a correspondence between life and death, wakefulness and sleep. This work shows life, the way we live the day and our lives”.
#sygma_en #art
https://syg.ma/@gendaieye/borrowed-sleep
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
syg.ma
Borrowed Sleep
Interview with Miyuki Oka. An unusual day in the background of life
В прошлом году во второй раз прошла международная лаборатория Pause/Play: Culture under Pressure для художников и деятелей культуры, заинтересованных в использовании технологий блокчейна, ИИ и VR в своей практике. По ее итогам в Ереване прошла выставка Translating Transition. Куратор и ментор выставки Анна Титовец рассказала о том, как художники использовали полученные знания для анализа и отражения новой реальности, опыта войны и миграции.
Curator and mentor of the exhibition «Translating Transition» Anna Titovets spoke about tools that helped artists to analyze and reflect the new reality, how the project participants "translated" their experiences into the language of another culture, and why it is impossible to draw a line between those who left and those who stayed.
«Это, конечно, задача каждого из художников, а также тех, кто работает в культурном поле — понять, как применять этот инструментарий так, чтобы их высказывание получило какое-то преимущество от применения технологий. Я всегда говорю это своим студентам — очень важно помнить, что если ваше высказывание не требует применения всех этих прекрасных новых технологий, не мучайте себя, потому что технология — это всего лишь инструмент. Действительно, в этом есть двойная история — мы живем в современном мире, где все применяют новые технологии, и эти технологии дают возможности, которых до этого не было. Однако далеко не для каждого культурного проекта эти технологии могут сыграть какую-то позитивную роль с точки зрения оформления идеи и донесения ее до конечного потребителя».
#sygma_ru #sygma_en #art #technology
Русский:
https://syg.ma/@cultureunderpressure/postoyannyy-perevod-realnosti-kak-hudozhniki-v-izgnanii-ishchut-novuyu-identichnost
English:
https://syg.ma/@cultureunderpressure/constant-translation-of-reality-how-artists-in-exile-seek-a-new-identity
syg.ma — открытая платформа, где все могут что-либо опубликовать. Мнение редакции может не совпадать с точкой зрения автор:ок. Мы работаем через VPN или через браузер Ceno. Поддержите нас через Patreon.
Curator and mentor of the exhibition «Translating Transition» Anna Titovets spoke about tools that helped artists to analyze and reflect the new reality, how the project participants "translated" their experiences into the language of another culture, and why it is impossible to draw a line between those who left and those who stayed.
«Это, конечно, задача каждого из художников, а также тех, кто работает в культурном поле — понять, как применять этот инструментарий так, чтобы их высказывание получило какое-то преимущество от применения технологий. Я всегда говорю это своим студентам — очень важно помнить, что если ваше высказывание не требует применения всех этих прекрасных новых технологий, не мучайте себя, потому что технология — это всего лишь инструмент. Действительно, в этом есть двойная история — мы живем в современном мире, где все применяют новые технологии, и эти технологии дают возможности, которых до этого не было. Однако далеко не для каждого культурного проекта эти технологии могут сыграть какую-то позитивную роль с точки зрения оформления идеи и донесения ее до конечного потребителя».
#sygma_ru #sygma_en #art #technology
Русский:
https://syg.ma/@cultureunderpressure/postoyannyy-perevod-realnosti-kak-hudozhniki-v-izgnanii-ishchut-novuyu-identichnost
English:
https://syg.ma/@cultureunderpressure/constant-translation-of-reality-how-artists-in-exile-seek-a-new-identity
syg.ma — открытая платформа, где все могут что-либо опубликовать. Мнение редакции может не совпадать с точкой зрения автор:ок. Мы работаем через VPN или через браузер Ceno. Поддержите нас через Patreon.
syg.ma
Постоянный перевод реальности: как художники в изгнании ищут новую идентичность
Интервью с куратором выставки Translating Transition Анной Титовец, прошедшей в Ереване в рамках международной лаборатории Pause/Play: Culture under Pressure
Maxim Spivakov on how lung ventilators ‘Aventa-M’, which self-ignited as a result of a short circuit or powerline overload in COVID-19 hospitals in Russia, and dozens of 5G telecom towers, which were set on fire by the proponents of a conspiracy theory that links 5G network operation with COVID-19 symptoms, redefine the borders between the inner and the outer, disclosing the novel strategies of control of the corporeal order and disorder.
«With a burning technical device, the general history of technology completes a full cycle. The becoming of technics depends on fire, its extraction, sustainment and reclamation. The gift of Prometheus, which compensates for the initial imperfection of human corporal capacities and launches the development of technology, takes possession of the melting-away results of its evolution. As Gaston Bachelard notices, the first knowledge a person acquires about fire is not the knowledge of the nature of burning but a strict taboo passed from a parent to a child, which resonates in the myth of Prometheus who was punished for breaking the will of his father Zeus. “If the child brings his hand close to the fire his father raps him over the knuckles with a ruler. Fire, then, can strike without having to burn". Fire is what is prohibited and what removes all prohibitions and constraints as it moves from one object to another, transforming them into an indiscrete mass».
#sygma_en #philosophy
https://syg.ma/@maxim-spivakov/fire-avl-5g
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
«With a burning technical device, the general history of technology completes a full cycle. The becoming of technics depends on fire, its extraction, sustainment and reclamation. The gift of Prometheus, which compensates for the initial imperfection of human corporal capacities and launches the development of technology, takes possession of the melting-away results of its evolution. As Gaston Bachelard notices, the first knowledge a person acquires about fire is not the knowledge of the nature of burning but a strict taboo passed from a parent to a child, which resonates in the myth of Prometheus who was punished for breaking the will of his father Zeus. “If the child brings his hand close to the fire his father raps him over the knuckles with a ruler. Fire, then, can strike without having to burn". Fire is what is prohibited and what removes all prohibitions and constraints as it moves from one object to another, transforming them into an indiscrete mass».
#sygma_en #philosophy
https://syg.ma/@maxim-spivakov/fire-avl-5g
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
syg.ma
Fire: AVL-5G
The burning technical objects redefine the borders between the inner and the outer, disclosing the novel strategies of control of the corporeal order and disorder
Интервью со-основателя коллектива «Что Делать» Дмитрия Виленского независимому журналу ЭББ о функционировании искусства в условиях чрезвычайной ситуации.
An interview with Chto Delat’ collective co-founder Dmitry Vilensky for EBB zine about the function of art during indefinite periods of emergency.
«ДВ: Искусство связано и с политикой, и с полицией, как нас научил Рансьер. Как показывает состояние современного мира, оно справляется с прогрессивными политическими задачами совершенно неэффективно. То есть на фоне всестороннего наступления политической реакции и прямого насилия в форме войн, фундаментализма, клерикализма мы видим, что хрупкая гегемония лево-либеральных идей на западе (деколониальность, ЛГБТ+, феминизм, идентичность, права мигрантов и прочее), оторванная от классовой повестки, сейчас оказывается везде под вопросом, несмотря на десятилетия культурного доминирования на Западе. Легко в этом винить провальных, коррупционных политиков, но может быть стоит пересмотреть какую-то сложившуюся доксу и сделать работу над ошибками и несколько изменить видение политических задач искусства?»
#sygma_ru #sygma_en #art #societyandpolitics #selforganization
https://syg.ma/@dmitry-vilensky/chto-delat-hudozhestvennye-soobshchestva-vnutri-chrezvychaynoy-situacii
syg.ma — открытая платформа, где все могут что-либо опубликовать. Мнение редакции может не совпадать с точкой зрения автор:ок. Мы работаем через VPN или через браузер Ceno.
Поддержите нас через Patreon и подпишитесь на наш телеграм.
An interview with Chto Delat’ collective co-founder Dmitry Vilensky for EBB zine about the function of art during indefinite periods of emergency.
«ДВ: Искусство связано и с политикой, и с полицией, как нас научил Рансьер. Как показывает состояние современного мира, оно справляется с прогрессивными политическими задачами совершенно неэффективно. То есть на фоне всестороннего наступления политической реакции и прямого насилия в форме войн, фундаментализма, клерикализма мы видим, что хрупкая гегемония лево-либеральных идей на западе (деколониальность, ЛГБТ+, феминизм, идентичность, права мигрантов и прочее), оторванная от классовой повестки, сейчас оказывается везде под вопросом, несмотря на десятилетия культурного доминирования на Западе. Легко в этом винить провальных, коррупционных политиков, но может быть стоит пересмотреть какую-то сложившуюся доксу и сделать работу над ошибками и несколько изменить видение политических задач искусства?»
#sygma_ru #sygma_en #art #societyandpolitics #selforganization
https://syg.ma/@dmitry-vilensky/chto-delat-hudozhestvennye-soobshchestva-vnutri-chrezvychaynoy-situacii
syg.ma — открытая платформа, где все могут что-либо опубликовать. Мнение редакции может не совпадать с точкой зрения автор:ок. Мы работаем через VPN или через браузер Ceno.
Поддержите нас через Patreon и подпишитесь на наш телеграм.
syg.ma
Дмитрий Виленский. Художественные сообщества внутри чрезвычайной ситуации. Что Делать?
Интервью со-основателя коллектива «Что Делать» Дмитрия Виленского независимому журналу ЭББ о функционировании искусства в условиях чрезвычайной ситуации
Два года с начала полномасштабного российского вторжения в Украину. Нет войне и российскому империализму!
В этот день напоминаем читателям о двух редакторских коллекциях, в которых мы собрали заметки, дневники, манифесты, статьи, карточки, переводы и гайды, которые различные антивоенные инициативы, самоорганизованные сообщества, деятели искусства и культуры, отдельные авторы, переводчики и исследователи опубликовали на syg.ma за это время. Фото: Володимир Бенедичук.
#sygma_ru #sygma_en #societyandpolitics #selforganization
Антивоенный выбор редакции (первый): https://syg.ma/antiwar
Антивоенный выбор редакции (второй): https://syg.ma/antiwar2
syg.ma — открытая платформа, где все могут что-либо опубликовать. Мнение редакции может не совпадать с точкой зрения автор:ок. Мы работаем через VPN или через браузер Ceno.
Поддержите нас через Patreon и подпишитесь на наш телеграм.
В этот день напоминаем читателям о двух редакторских коллекциях, в которых мы собрали заметки, дневники, манифесты, статьи, карточки, переводы и гайды, которые различные антивоенные инициативы, самоорганизованные сообщества, деятели искусства и культуры, отдельные авторы, переводчики и исследователи опубликовали на syg.ma за это время. Фото: Володимир Бенедичук.
#sygma_ru #sygma_en #societyandpolitics #selforganization
Антивоенный выбор редакции (первый): https://syg.ma/antiwar
Антивоенный выбор редакции (второй): https://syg.ma/antiwar2
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Антивоенный выбор редакции
Важные тексты, опубликованные на syg.ma за четыре месяца, прошедших с начала российского вторжения в Украину
Two years ago, Russia started its full-scale invasion of Ukraine. It devastated civilian infrastructure, killed tens of thousands of innocent people, and forced hundreds of thousands more to flee their homes. In her manifesto, professor of philosophy at Kharkiv National University and researcher-at-risk at LSE Irina Zherebkina presents a vision of a post-war Ukraine that rejects ethnonationalism.
The real victory of Ukraine over Putin’s Russia will lie in the ability of the Ukrainian people to preserve and restore the remnants not of “radical democracy” (Ernesto Laclau and Chantal Mouffe), but of liberal democracy in their country, and to prevent it from turning into an analogue of Putin’s dictatorship, where all the democratic rights and civil liberties are destroyed. The main Ukrainian victory in this war will not be the destruction of the Crimean Bridge or, for example, the successful cancellation of Russian culture throughout the world, but the preservation of a “fragile democracy” (Judith Butler) and the prevention of the advance of authoritarianism in Ukraine. This would be a victory achieved in the interests of not only those in power but also all of the citizens of Ukraine.
https://syg.ma/@sygma/what-kind-of-victory-do-we-need
#sygma_en #ukraine #politics
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The real victory of Ukraine over Putin’s Russia will lie in the ability of the Ukrainian people to preserve and restore the remnants not of “radical democracy” (Ernesto Laclau and Chantal Mouffe), but of liberal democracy in their country, and to prevent it from turning into an analogue of Putin’s dictatorship, where all the democratic rights and civil liberties are destroyed. The main Ukrainian victory in this war will not be the destruction of the Crimean Bridge or, for example, the successful cancellation of Russian culture throughout the world, but the preservation of a “fragile democracy” (Judith Butler) and the prevention of the advance of authoritarianism in Ukraine. This would be a victory achieved in the interests of not only those in power but also all of the citizens of Ukraine.
https://syg.ma/@sygma/what-kind-of-victory-do-we-need
#sygma_en #ukraine #politics
syg.ma is an open platform where everybody can publish their material. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon and subscribe to our Telegram.
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Irina Zherebkina. What Kind of Victory Do We Need?
Towards a future that transcends ethnonationalism and champions principles of hospitality and inclusion
🗺The Atlas project has published a new text by Maxim Sher, an artist who shifts the direction of the photographic gaze from outward to inward—from exploration to reflection. This excerpt is part of an ongoing photographic research of internal colonization within European territories, with a particular emphasis on Germany's colonial history.
What expectations did German colonizers have of the 'Wild East' and Africa? How did the term and the practice of 'internal colonization' emerge? How did the German imperial imagination permanently reshape a part of the Polish territories? What strategies did Polish peasants devise to resist discriminatory laws? And how is Germany's colonial relationship with Africa reflected in contemporary Germany? And how is Germany's colonial attitude towards Africa reflected in contemporary Germany?
#sygma_en #atlas #art #politics
https://syg.ma/@sygma/max-sher-internal-colonization
🗺В проекте Atlas вышел новый текст Максима Шера — художника, который обращает фотографический взгляд внутрь и использует фотографию как инструмент рефлексии. В этом фрагменте исследования внутренней колонизации на европейской территории художник обращается к колониальной истории Германии.
Что немецкие колонизаторы ждали от покорения «Дикого Востока» и как возникло само понятие «внутренней колонизации»? Как немецкое имперское воображение навсегда изменило внешний вид некоторых польских деревень и городов? Какие инструменты сопротивления дискриминационным законам изобретали польские крестьяне? И как колониальное отношения Германии к странам Африки обнаруживает себя в современном немецком контексте?
#sygma_ru #atlas #art #politics
https://syg.ma/@sygma/maksim-sher-vnutrennyaya-kolonizaciya
What expectations did German colonizers have of the 'Wild East' and Africa? How did the term and the practice of 'internal colonization' emerge? How did the German imperial imagination permanently reshape a part of the Polish territories? What strategies did Polish peasants devise to resist discriminatory laws? And how is Germany's colonial relationship with Africa reflected in contemporary Germany? And how is Germany's colonial attitude towards Africa reflected in contemporary Germany?
#sygma_en #atlas #art #politics
https://syg.ma/@sygma/max-sher-internal-colonization
🗺В проекте Atlas вышел новый текст Максима Шера — художника, который обращает фотографический взгляд внутрь и использует фотографию как инструмент рефлексии. В этом фрагменте исследования внутренней колонизации на европейской территории художник обращается к колониальной истории Германии.
Что немецкие колонизаторы ждали от покорения «Дикого Востока» и как возникло само понятие «внутренней колонизации»? Как немецкое имперское воображение навсегда изменило внешний вид некоторых польских деревень и городов? Какие инструменты сопротивления дискриминационным законам изобретали польские крестьяне? И как колониальное отношения Германии к странам Африки обнаруживает себя в современном немецком контексте?
#sygma_ru #atlas #art #politics
https://syg.ma/@sygma/maksim-sher-vnutrennyaya-kolonizaciya
syg.ma
Max Sher. Internal Colonization
Part of an ongoing research project that examines the internal colonization that took place in Europe
Employing specific techniques and narrative decisions, like fragmented stroytelling with unresolved endings, these films strive to engross the viewer in the narrative. This engagement creates politic potential for dialogues on traumatic experiences, such as childhood traumas in dysfunctional families, gendered and racial violence, and other personal and societal challenges.
Hereditary by Ari Aster is one of the first experimental horror films that delves into the theme of dysfunctional families and captures the psychological complexities and characters upon which they are built.
Annie is a talented artist who creates dollhouses. The very first shot from a distance frames her son Peter’s room as part of a dollhouse. In experimental trauma horrors, visual elements are always more important than in typical horror films. They help to construct the narrative piece by piece, gradually revealing an open ending that can be understood on a subjective and emotional level.
Subjectivity and open interpretation are crucial freedoms that the genre offers. There is no single correct explanation for any film, which is why the "experience" becomes personal, constructed from the viewer’s own interpretations and lived experiences that resonate with the characters. In Hereditary, many scenes serve as foreshadowing for the subsequent plot developments.
From the beginning of the film, we see frames of children’s drawings depicting decapitated figures and shortly after, Annie’s daughter Charlie picks up a dead dove and decapitates it to make a doll. These visual elements immediately contribute to the conclusion, appearing right from the first shot: the dollhouse, everyone as puppets in the hands of the master artist, trapped in an endless cycle of reincarnation, their fates predetermined. In one scene, Peter is sitting in a literature class at school, discussing ancient Greek tragedies and the stories of Iphigenia and Oedipus, whose fates were predetermined from the very beginning.
By addressing these themes and incorporating symbolic visuals, Hereditary explores the deep-rooted traumas that shape individuals and families, ultimately delivering a haunting and thought-provoking horror experience.
#sygma_en #cinema
https://syg.ma/@fleurstoxiques/encapsulating-internal-agony-trauma-in-modern-experimental-horror-movies
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Encapsulating internal agony: Trauma in modern experimental horror movies
Defining a subgenre in modern horror movies that explores traumatic experiences and provokes catharsis of the audience — how do they work structurally and why do we enjoy A24 so much?
The author explores how power relations are connected to the invention of perspective, and how the created imaginary distance contributes to the creation of oppressed identities and the invisibility of violence.
Researcher Sven Lindqvist describes Herbert Wells’s Invisible Man as an image and method of white violence against people of another culture and nature. This man is invisible literally, because he is hidden behind the perspective, his body absent from the scene of his aggressive actions. Importantly, he is also invisible to himself. He is farsighted. His body is an obstacle to action at the other end of the perspective tube. The invisible man has abandoned his body, tempering it with the tools of control. And if the body refuses order, it is declared diseased. This is what happened to the woman’s body, sick with mysterious hysteria. A body that does not obey, that manifests itself in the zone of visibility, must be punished. Because in the future the limitations of the body will be discarded.
The invisible, untouchable, insensible human being is a container for ideology, lust for possession, aggression and excuses.
#sygma_en #art #politics
https://syg.ma/@denis_esakov/the-otherness-they-are-always-speaking-who-listens
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The Otherness. They are always speaking. Who listens?
colonial ways of dehumanization and the helplessness of psychoanalysis
Olga Bubich shared the essay dedicated to the relationship of memory and nature — how can the present be recorded and stored by non-human agents? Intertwining together personal family history of deportation and forced labor during World War II, megalomaniac terraforming projects of Nazi leadership, and criticism of Anthropocene, Olga sheds light on the often overlooked role that nature plays in wars and heinous crimes —as well as in keeping memory of them.
#sygma_en #philosophy #ecology
https://syg.ma/@olga-bubich/hmFxPRkVzoAomQ
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#sygma_en #philosophy #ecology
https://syg.ma/@olga-bubich/hmFxPRkVzoAomQ
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On Memory Landscapes
In which way does memory work? Who (or what) possesses the ability of forming and storing recollections? If nature can remember, what is it that we, humans, can learn from and about it?
On April 10th, 2024, the European Parliament adopted the Pact on Migration and Asylum, which has been criticized by many human rights activists. They point out potentially harmful elements of the pact, such as "sorting camps for refugees outside the EU", reminding remind them of the early 20th-century interrogation camps established by regimes infamous for human rights violations.
In a video interview, we asked several questions to Yan Matusevich, a Migration Researcher and PhD candidate in cultural anthropology at CUNY Graduate Center, regarding this pact. We inquired about his concerns with the document, how it could potentially affect the number of people trying to enter Europe, and what positive aspects he identifies in the document.
This is the first interview in the “Multiperspective” series, a joint project of syg.ma and The Dialogue Büro for Civil Society Cooperation. Follow the link to watch it on syg.ma.
#sygma_en #politics
https://syg.ma/@sygma/gnTzBFnnYl0pxg
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. We work through a VPN or the Ceno browser. Support us via Patreon.
In a video interview, we asked several questions to Yan Matusevich, a Migration Researcher and PhD candidate in cultural anthropology at CUNY Graduate Center, regarding this pact. We inquired about his concerns with the document, how it could potentially affect the number of people trying to enter Europe, and what positive aspects he identifies in the document.
This is the first interview in the “Multiperspective” series, a joint project of syg.ma and The Dialogue Büro for Civil Society Cooperation. Follow the link to watch it on syg.ma.
#sygma_en #politics
https://syg.ma/@sygma/gnTzBFnnYl0pxg
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. We work through a VPN or the Ceno browser. Support us via Patreon.
syg.ma
Multiperspective: the New Pact on Migration and Asylum of the EU
Migration Researcher, Yan Matusevich, discusses the influence of the pact on contemporary human rights and migration policy trends
A few days ago, Grisha Radchenko published his artistic project MEMORYLETTER on the platform. In it, he uses two images he took in Grozny, the capital of the Chechen Republic, as well as descriptions of several investigations and trials (murders of Yuri Budanov, Anna Politkovskaya, Stanislav Markelov and Anastasia Boburova) in order to offer an overview of state violence, corruption, and oppression that plagued last three decades of the Russian history.
#sygma_en #societyandpolitics #art
https://syg.ma/@grisharadchenko/memoryletter
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
#sygma_en #societyandpolitics #art
https://syg.ma/@grisharadchenko/memoryletter
syg.ma is an open platform where everybody can publish. The opinion of the editors may not coincide with the views of the authors. Support us via Patreon.
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MEMORYLETTER
The latest history of Russia described in two photos and a few court cases