Историческая реальность и политическая эстетика после Жака Дерриды и Бернара Стиглера
Журнал «KANT: Social Sciences & Humanities Series» №3(11) 2022 [стр. 004-015]
DOI: 10.24923/2305-8757.2022-11.1
Ключевые слова: политическое воображение; история; проверка; кинофильмы; технологии регистрации; монтаж; эстетическое/политическое суждение; телевидение; кинотеатр; онтология образов.
Цель статьи – показать, насколько технологии аудиовизуальной регистрации влияют не только на онтологию образов, но и на наше чувство реализма в политике и истории. Как утверждают Жак Деррида и Бернар Стиглер, исторические события стали "телесобытиями" после рождения этих технологий. Наше обращение с изображениями изменилось соответственно. Как утверждает Пьетро Монтани, мы рассматриваем их уже не как "копии" реальных объектов, а скорее как "поводы" для запуска процессов "валидации" истории. Поэтому необходимо вернуться к предложенному Ханной Арендт переосмыслению концепции истории, основанной на праксисе (praxis), и уходу от нее к современной концепции истории как "фабрикации" (poiesis) человечества. История – это скорее переговоры между этими двумя установками (praxis и poiesis, т.е. действием и творчеством): кино может быть одним из образцовых источников этих переговоров, что отражено в документальной работе в аудиовизуальных архивах, проведенной Эсфир Шуб (1927) и Харуном Фароки (1992). Репрезентация (Луи Мартен) становится, таким образом, динамической силой воображения, имеющей дело с исторической и политической реальностью; следовательно, на "идеального зрителя", как и на "идеального читателя" романов (Умберто Эко), возлагается новая задача актуализации смысла образов по отношению к их историческим и политическим отсылкам.
Cecchi, Dario. "Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler" Open Philosophy, vol. 3, no. 1, 2020, pp. 257-265. https://doi.org/10.1515/opphil-2020-0014
Cecchi, Dario. "Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler" Open Philosophy, vol. 3, no. 1, 2020, pp. 257-265. https://doi.org/10.1515/opphil-2020-0014
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Carbone, Mauro. Philosophy-Screens, trans. New York: SUNY Press, 2019.
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Arendt, Hannah. In The Life of the Mind, edited by M. McCarthy, New York: Harcourt & Brace, 1978.
Arendt, Hannah. In Lectures on Kant's Political Philosophy, edited by R. Beiner, Chicago: University of Chicago Press, 1982.10.7208/chicago/9780226231785.001.0001
Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." In Illuminations, edited by H. Arendt, trans., New York: Schocken, 1969.
Carbone, Mauro. Philosophy-Screens, trans. New York: SUNY Press, 2019.
Casetti, Francesco. The Lumiere Galaxy. New York: Columbia University Press, 2015.10.7312/case17242
Cecchi, Dario. Immagini mancanti. Cosenza: Pellegrini, 2016.
Cecchi, Dario. "Cinegrams of Premediation." In Yearbook of Moving Images Studies 2018, edited by L. C. Grabbe, P. Rupert-Kruse, & N. M. Schmitz, 123-42. Bamberg: Buchner Verlag, 2019.
D'Angelo, Paolo. Estetica. Roma-Bari: Laterza, 2011.
Danto, Arthur Coleman. The Transfiguration of the Commonplace. Cambridge (Mass.): Harvard University Press, 1981.
Derrida, Jacques & Stiegler, Bernard. Echographies of Television, trans. Cambridge: Polity, 2002.
Didi-Huberman, Georges. Images in Spite of All, trans. Chicago: University of Chicago Press, 2012.
Eco, Umberto. The Role of the Reader, trans. Bloomington: Indiana University Press, 1979.
Ferraris, Maurizio. Documentality, trans. New York: Fordham University Press, 2012.
Garroni, Emilio. Immagine Linguaggio Figura. Roma-Bari: Laterza, 2005.
Grusin, Richard. "Radical Mediation." Critical Inquiry 42:1 (2015), 124-48.10.1086/682998
Kant, Immanuel. In Critique of Power of Judgment, edited by P. Guyer, trans. Cambridge: Cambridge University Press, 2000 (1790).10.1017/CBO9780511804656
Kittler, Friedrich. Grammophone, Film, Typewriter, trans. Palo Alto: Stanford University Press, 1999.
Lyotard, Jean-Franсois. "Philosophy and Painting in the Era of Their Experimentation," trans. In The Lyotard Reader, edited by A. Benjamin, 181-95, Oxford: Blackwell, 1989.
Marin, Louis. On Representation, trans. Palo Alto: Stanford University Press, 2002.10.1515/9781503619401
Montani, Pietro. L'immaginazione intermediale. Roma-Bari: Laterza, 2010.
Montani, Pietro. Tre forme di creativita. Napoli Cronopio, 2017.
Ricoeur, Paul. Memory, History, Forgetting, trans. Chicago: University of Chicago Press, 2006.
Stiegler, Bernard. La technique et le temps, vol. 3. Paris: Galil?e, 2001.
Velotti, Stefano. La filosofia e le arti. Roma-Bari: Laterza, 2012.
Historical Reality and Political Aesthetics after Jacques Derrida and Bernard Stiegler
Keywords: political imagination; history; validation; motion pictures; technologies of registration; montage; aesthetic/political judgment; television; cinema; ontology of images.
The article aims at showing how far the technologies of audiovisual registration affect not only the ontology of images but also our sense of realism in politics and history. As argue Jacques Derrida and Bernard Stiegler, historical events have become "tele-events" after the birth of these technologies. Our handling with images has changed accordingly. As argues Pietro Montani, we no longer consider them as "copies" of real objects but rather as "occasions" for initiating processes of "validation" of history. Hannah Arendt's opposition between the ancient concept of history being based on praxis and the modern concept of history as "fabrication" (poiesis) of the humankind must be therefore reconsidered. History is rather the negotiation between these two attitudes (praxis and poiesis): cinema might be one of the exemplary sources of this negotiation, as epitomized by the documentary work in the audiovisual archives conducted by Esfir Shub (1927) and Harun Farocki (1992). Representation (Louis Martin) becomes thus a dynamical power of imagination dealing with historical and political reality; consequently, the "ideal spectator", just as the "ideal reader" for novels (Umberto Eco), is charged with a new task of actualizing the sense of images with regard to their historical and political references.