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Pedagogias do cinemático: transdução e exercício antropotécnico
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Abstract(s)
A longevidade do cinemático e o ocaso mediático do cinema enquanto popular medium industrial traz consigo um problema de transmissão e evolução técnica. Neste ensaio, a partir da lógica ontogénica do movimento cinemático, e da ambiguidade que remete para uma lógica de composição e articulação entre pólos — que Jacques Derrida define como central à noção de phármakon presente em Platão — procuramos refletir acerca da possibilidade de unir em composição e articulação os tradicionais dois eixos da consideração do cinemático, de acordo com as teses do que seria um cinema do objeto e sua evolução técnica, e um cinema do sujeito e particular atenção dada à relação entre o modo de funcionamento do cinema e do humano. O que se propõe é que essa articulação possa ser feita a partir de duas noções de movimento e ressonância: o conceito de transdução e a ideia de exercício antropotécnico. Estas seriam ponto de partida para uma dupla pedagogia sobre o cinemático, que se deposita sobre a herança do cinema.
The longevity of the cinematic and the media decline of cinema as a popular industrial medium brings with it a problem of transmission and technical evolution. In this essay, based on the ontogenic logic of cinematic movement, and the ambiguity that refers to a logic of composition and articulation between poles — which Jacques Derrida defines as central to the notion of phármakon present in Plato — we seek to reflect on the possibility of uniting in composition and articulation the traditional two axes of cinematic studies, in accordance with the theses of what would be a cinema of the object and its technical evolution, and a cinema of the subject and the particular attention given to the relationship between the way cinema and the human function. What is proposed is that this articulation can be based on two notions of movement and resonance: the concept of transduction and the idea of anthropotechnical exercise. These would be the starting point for a double pedagogy on the cinematic, as a sort of cinema’s inheritance.
The longevity of the cinematic and the media decline of cinema as a popular industrial medium brings with it a problem of transmission and technical evolution. In this essay, based on the ontogenic logic of cinematic movement, and the ambiguity that refers to a logic of composition and articulation between poles — which Jacques Derrida defines as central to the notion of phármakon present in Plato — we seek to reflect on the possibility of uniting in composition and articulation the traditional two axes of cinematic studies, in accordance with the theses of what would be a cinema of the object and its technical evolution, and a cinema of the subject and the particular attention given to the relationship between the way cinema and the human function. What is proposed is that this articulation can be based on two notions of movement and resonance: the concept of transduction and the idea of anthropotechnical exercise. These would be the starting point for a double pedagogy on the cinematic, as a sort of cinema’s inheritance.
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Cinemático Transdução Antropotécnica Montagem Phármakon Pedagogia Gilbert Simondon Cinematic Transduction Anthropotechnics Montage Pedagogy