With the ampliation of the dialogic potential of the new brasilien
interactive digital television... more With the ampliation of the dialogic potential of the new brasilien interactive digital television, the articulation of collaborative production practices of transmedia cibertexts with a wide participation of the public and a distributed difusion, horizonts are opened for the inovation in documentary practices. The challenge for the development of communicative and poetic potential of interactive digital TV should be understood as the demand for developing a new stylistic, congruent with new ethical parameters of relations performed through documentary images.
O artigo explora as possibilidades e condições de ampliação de práticas de promoção do aprendizad... more O artigo explora as possibilidades e condições de ampliação de práticas de promoção do aprendizado em expressão em artes mediáticas, relatando como o repertório de experimentos de teatro improvisacional, proposições artísticas e jogos com equipamento audiovisual foi utilizado em oficinas de vídeo, rádio e jornalismo para crianças e adolescentes da periferia de Belo Horizonte, pela Associação Imagem Comunitária, nos anos 1990.
A new cathegory is proposed, as an extension of
Habermas Theory of Communicative Action, for the ... more A new cathegory is proposed, as an extension of Habermas Theory of Communicative Action, for the sake of understanding the pre-reflexive expressive phaenomena, mostly about those stemmed from the usage of perception artifacs which may conduct to non-individualized subjectivation states. Some cases are pointed as prone to be clarified through that approach: intercultural first contacts experiences; performatic artistic installations; and the utterances of ciber-cinematic documentaries.
Operacionalização das categorias dramatoscópicas de E. Soriau para discernir as configurações age... more Operacionalização das categorias dramatoscópicas de E. Soriau para discernir as configurações agenciais das categorias de coordenação de ações de Habermas. A reinterpretação deramatoscópica da Teoria do Agir comunicativo permite observar as propriedades estratégicas e comunicativas das diferentes classes da retórica documentária audiovisual.
Interview with David Thomas, with introductory notes about his work on transcultural beings and t... more Interview with David Thomas, with introductory notes about his work on transcultural beings and transcultural spaces, and about the introduction of perception devices as triggers for transcultural, meta-ethical environments.
Discussion of the poetic dimensions of open source and libre licencing practices and of the usage... more Discussion of the poetic dimensions of open source and libre licencing practices and of the usage of cyberactivist platfomrs
Prefiguration of counterpublics in
Brad – One more night in the barricades – Inspired by
hacker
c... more Prefiguration of counterpublics in Brad – One more night in the barricades – Inspired by hacker culture, cyberactivism emerged as a political movement whose main issue is freedom of communication and information. For this reason, it has become the main vantage point of the movements against domination by diffused forms of control. Notwithstanding the harsh circumstances brought about by the “war on terror”, cyberactivism has managed to produce an expression in documentary cinema that bends the tendency of subjective documentary rhetoric towards collective practices of counterpublic autopoiesis. To demonstrate some of the key features of this new strategy of resistance, this paper scrutinizes the cyberdocumen - tary Brad – One more night in the barricades in terms of its interpretability and conditions of ethical validity: intentional sincerity, propositional veracity and relational correctness.
The contemporary public scene’s prevailing fascination by one class of logical
machines, to which... more The contemporary public scene’s prevailing fascination by one class of logical machines, to which digital computers belong, can hide how archaic and multifarious the concept of “machine” is. Yet, the political implications of the social use of logical machines are far from being exhausted. This article aims to demonstrate the heuristic advantages of comprehending “image machines” such as cameras, microphones, scanners et alii, as logical machines. Its argumentation locates logical machines as a “natural class” of machines, along with the energetic and cybernetic machines. Its purpose is to supply elements that allow us to understand why, through audiovisual documentary rhetoric assemblies, image machines have become key to the production processes of today’s public discourse. Finally, its proposals can help reinterpret the many theses formulated by various cinema studies scholars in the past ten to fifteen years about the supposed loss of indexicality or referentiality of moving images.
This essay examines the adverse conditions of archival documentary
filmmaking, yielding from the... more This essay examines the adverse conditions of archival documentary
filmmaking, yielding from the proliferation of indexical images, the pluralization of the
validity claims of ethical discourse, the dispersion of the institutional indexation processes
of documentaries. Taking evidence from cyberactivist documentaries and non-linear
documentaries, produced with the intense participation of the public, ethical issues of the
interface documentary are addressed.
Since Pitkin’s “The Concept of Representation” and Habermas’ “Theory of Communicative Action”, po... more Since Pitkin’s “The Concept of Representation” and Habermas’ “Theory of Communicative Action”, political normative theory has been flirting with the philosophy of language in order to clarify the trans-historical emancipatory meaning of the “unfinished project of the modernity”. Still, both approaches kept their focuses mainly on verbally grounded, propositional utterances, conversational interaction situations. All presupposed the continuity of the centralised (or decentralised) topologies both for electoral and non-electoral political representations. These conceptual toolbox became growingly insufficient, as public communications - civic non-electoral representations and the legitimising of formal representatives’ actions - underwent a second “structural transformation”..
This was brought on, beginning in the 1970s, by the expansion of the access to audiovisual expression through electronic “amateur” (or, rather, activist) imaging; afterwards, at the turn of the century, by cyberactivism: the already effective political results of peer-to-peer address of amateur electronic communications was boosted by the coupling with activism in other distributed communication technologies (from street protests to mobile computing).
Taking a process-pragmatic vantage point, we propose to interpret the many contemporary theories of political representation as cryptosemiotic, as they stress their processual and triadic character of the action of political representatives - as seen in Rehfeld, Runciman, Saward, Dryzek, Disch and Montanaro. Our purpose is to understand the ethical implicaitons of the design of online interaction enviroments, recognizing them as overly crucial stance to be dealt with by normative political theory. Currently, many researchers point the design features of the main corporate social networking sites as responsible for the fragmentation of the public visibility, the sectarian radicalisation and the progressive loss of the universality of the political discourse. We suggest new perspectives for tackling the normative challenges of the democratic reflexivity affordances of on-line interaction environments through the experimental operationalisation of the semiotic concepts of “diagramatic reasoning” (Hoffmann) “distributed morality” (Bardone and Magnani) and “moral agency without moral agents” (deBrock).
Neste trabalho, faz-se a reconstrução de um “escândalo” mediático desencadeado a partir da divulg... more Neste trabalho, faz-se a reconstrução de um “escândalo” mediático desencadeado a partir da divulgação, pelos telejornais brasileiros, no início de 1997, de imagens em vídeo que documentavam brutalidades cometidas pela polícia militar na periferia da Grande São Paulo (na “Favela Naval” de Diadema). Este estudo aborda, numa perspectiva pragmática, algumas implicações do uso das vídeo-imagens para o funcionamento da esfera pública contemporânea. Essa esfera é concebida como uma rede na qual se interconectam diversos contextos comunicativos públicos (espaços públicos). Conforme essa concepção, pode-se dizer que o discurso público tende a assumir as feições de um “hipertexto”, que seria constituído pelo entrelaçamento entre as enunciações de atores sociais e políticos. A partir dos textos dos telejornais transmitidos nas duas semanas posteriores à primeira denúncia, investigou-se o modo pelo qual o uso público das vídeo-imagens ocasionou a formação de um contexto comunicativo nos espaços público-mediáticos e como as interações dos diversos atores foram “catalisadas” em torno de temas determinados. A análise dos textos foi feita mediante o agrupamento dos enunciados em três perspectivas de interpretação: a dos interlocutores associados aos telejornais (“ator-midiador”), a da corporação policial-militar paulista (“ator-polícia”) e a dos sujeitos pertinentes à sociedade civil, organizada e não organizada (“ator sociedade civil”). O exame dos procedimentos de aparição pública e das características narrativas das enunciações, emersas nos telejornais, permitiu discernir algumas tendências de interpretação e formas de intervenção pública peculiares a cada um desses “atores”. O progressivo entretecimento das suas interpretações mostra como o processo social de atribuição de sentido às vídeo-imagens conformou a discussão sobre temas como violência policial, Direitos Humanos e cidadania e conduziu à críticas ao funcionamento de diversas instituições oficiais brasileiras.
Encontra-se consolidada, como hipótese explicativa, que há convergência formal e teleológica entr... more Encontra-se consolidada, como hipótese explicativa, que há convergência formal e teleológica entre "pré-cinemas" e "pós-cinemas" ( Machado, 1997). A hipótese, surgida há mais de 25 anos a partir dos trabalhos de revisão historiográfica sobre relatos e documentos concernentes à origem da comunicação cinematográfica (Gunning, Burch, Gaudreault, Costa, 2005, Hansen, Negt e Kluge), merece reinterpretaçao como teoria consolidada. Pode-se demonstrar a consistência ampla do argumento pela convergência com argumentos de outras teorias contemporâneas e a partir da observação de fenômenos recentes da comunicação ciberaudiovisual. Longe de ser um modelo normativo, o "cinema clássico" deve ser visto como um interregno na história do audivisua. Demonstrá-lo é responsabilidade política de fornecer ferramentas para uma crítica sobre o potencial emancipatório das condições contemporêneas da comunicação audiovisual e dos recursos para persistir diante da pressão das estratégias governamentais e corporativas. Cabe à pesquisa politicamente responsável identificar e propiciar a persistência do seu caráter "proletário " ou " oposicionista".
Quadro sinóptico de conceitos de teoria da narrativa, com comentários associados a sua aplicados ... more Quadro sinóptico de conceitos de teoria da narrativa, com comentários associados a sua aplicados na análise do discurso de noticiários e documentários. provenientes de REIS & LOPES (1988) Dicionário de Teoria Narrativa. GREIMAS & COURTÉS (1989) Dicionário de Semiótica e MOUILLAUD (1997) "O sistema das citações".
Sincategoremática de Souriau para análise de discurso dramático, com correção da categoria de "ad... more Sincategoremática de Souriau para análise de discurso dramático, com correção da categoria de "adjutor", proposta por Ubersfeld e Greimas
About fifteen years ago, the emergence of the use of digital imaging led most cinema theoretician... more About fifteen years ago, the emergence of the use of digital imaging led most cinema theoreticians to chant the requiem for documentary cinema's truth-telling claims. At that same time, rebel voices rising up straight from Southern Mexican rainforest heralded a new kind of communicative political action. There is no better time than now to sum up the outcomes of the forecasts by both post-modern theories and by the prefigurative politics outlined in the anti-corporate globalisation “movement of movements”.
The scrutiny of the new conditions for public enunciation, mainly through video publication on world wide web platforms, points out to unexpected results for the skeptical post- modern academic forecasts and for the “Seattle” cyberactivists’ proposals alike: never before have so many people produced so many documentary movies. A few kernel questions remain as yet unanswered: for whom are these movies addressed? What kind of intersubjective relations do they aim to create? And what kind of public spaces are thus built?
This paper is built from the analysis of the enunciation processes by independent documentary films made about the 1999 Seattle protests. We argue that the impact of telematic dissemination of the video shots and narratives stemming from that event are far more significant than the supposed loss of indexical content resulting from the use of digital imaging, as opposed to the use of photochemical imaging. We argue that the distinctive effects of documentary cinema have never depended on either the supposed ontology of the photographic image or on large audience reception, but instead on rendering the addresees as members of a public. In the context of the so-called “late cinema”, an ethics of autonomous public prefiguration is being consolidated through the stylistics of web documentary filmmaking. This leads, on the one hand, to a new cross-media method defining both cinema and documentary; on the other, it points out to the acknowledgement of an emergent documentary rhetoric, the prefigurative documentary, by which the subjective documentary rhetoric becomes the catalyst of collective subjectivation processes.
With the ampliation of the dialogic potential of the new brasilien
interactive digital television... more With the ampliation of the dialogic potential of the new brasilien interactive digital television, the articulation of collaborative production practices of transmedia cibertexts with a wide participation of the public and a distributed difusion, horizonts are opened for the inovation in documentary practices. The challenge for the development of communicative and poetic potential of interactive digital TV should be understood as the demand for developing a new stylistic, congruent with new ethical parameters of relations performed through documentary images.
O artigo explora as possibilidades e condições de ampliação de práticas de promoção do aprendizad... more O artigo explora as possibilidades e condições de ampliação de práticas de promoção do aprendizado em expressão em artes mediáticas, relatando como o repertório de experimentos de teatro improvisacional, proposições artísticas e jogos com equipamento audiovisual foi utilizado em oficinas de vídeo, rádio e jornalismo para crianças e adolescentes da periferia de Belo Horizonte, pela Associação Imagem Comunitária, nos anos 1990.
A new cathegory is proposed, as an extension of
Habermas Theory of Communicative Action, for the ... more A new cathegory is proposed, as an extension of Habermas Theory of Communicative Action, for the sake of understanding the pre-reflexive expressive phaenomena, mostly about those stemmed from the usage of perception artifacs which may conduct to non-individualized subjectivation states. Some cases are pointed as prone to be clarified through that approach: intercultural first contacts experiences; performatic artistic installations; and the utterances of ciber-cinematic documentaries.
Operacionalização das categorias dramatoscópicas de E. Soriau para discernir as configurações age... more Operacionalização das categorias dramatoscópicas de E. Soriau para discernir as configurações agenciais das categorias de coordenação de ações de Habermas. A reinterpretação deramatoscópica da Teoria do Agir comunicativo permite observar as propriedades estratégicas e comunicativas das diferentes classes da retórica documentária audiovisual.
Interview with David Thomas, with introductory notes about his work on transcultural beings and t... more Interview with David Thomas, with introductory notes about his work on transcultural beings and transcultural spaces, and about the introduction of perception devices as triggers for transcultural, meta-ethical environments.
Discussion of the poetic dimensions of open source and libre licencing practices and of the usage... more Discussion of the poetic dimensions of open source and libre licencing practices and of the usage of cyberactivist platfomrs
Prefiguration of counterpublics in
Brad – One more night in the barricades – Inspired by
hacker
c... more Prefiguration of counterpublics in Brad – One more night in the barricades – Inspired by hacker culture, cyberactivism emerged as a political movement whose main issue is freedom of communication and information. For this reason, it has become the main vantage point of the movements against domination by diffused forms of control. Notwithstanding the harsh circumstances brought about by the “war on terror”, cyberactivism has managed to produce an expression in documentary cinema that bends the tendency of subjective documentary rhetoric towards collective practices of counterpublic autopoiesis. To demonstrate some of the key features of this new strategy of resistance, this paper scrutinizes the cyberdocumen - tary Brad – One more night in the barricades in terms of its interpretability and conditions of ethical validity: intentional sincerity, propositional veracity and relational correctness.
The contemporary public scene’s prevailing fascination by one class of logical
machines, to which... more The contemporary public scene’s prevailing fascination by one class of logical machines, to which digital computers belong, can hide how archaic and multifarious the concept of “machine” is. Yet, the political implications of the social use of logical machines are far from being exhausted. This article aims to demonstrate the heuristic advantages of comprehending “image machines” such as cameras, microphones, scanners et alii, as logical machines. Its argumentation locates logical machines as a “natural class” of machines, along with the energetic and cybernetic machines. Its purpose is to supply elements that allow us to understand why, through audiovisual documentary rhetoric assemblies, image machines have become key to the production processes of today’s public discourse. Finally, its proposals can help reinterpret the many theses formulated by various cinema studies scholars in the past ten to fifteen years about the supposed loss of indexicality or referentiality of moving images.
This essay examines the adverse conditions of archival documentary
filmmaking, yielding from the... more This essay examines the adverse conditions of archival documentary
filmmaking, yielding from the proliferation of indexical images, the pluralization of the
validity claims of ethical discourse, the dispersion of the institutional indexation processes
of documentaries. Taking evidence from cyberactivist documentaries and non-linear
documentaries, produced with the intense participation of the public, ethical issues of the
interface documentary are addressed.
Since Pitkin’s “The Concept of Representation” and Habermas’ “Theory of Communicative Action”, po... more Since Pitkin’s “The Concept of Representation” and Habermas’ “Theory of Communicative Action”, political normative theory has been flirting with the philosophy of language in order to clarify the trans-historical emancipatory meaning of the “unfinished project of the modernity”. Still, both approaches kept their focuses mainly on verbally grounded, propositional utterances, conversational interaction situations. All presupposed the continuity of the centralised (or decentralised) topologies both for electoral and non-electoral political representations. These conceptual toolbox became growingly insufficient, as public communications - civic non-electoral representations and the legitimising of formal representatives’ actions - underwent a second “structural transformation”..
This was brought on, beginning in the 1970s, by the expansion of the access to audiovisual expression through electronic “amateur” (or, rather, activist) imaging; afterwards, at the turn of the century, by cyberactivism: the already effective political results of peer-to-peer address of amateur electronic communications was boosted by the coupling with activism in other distributed communication technologies (from street protests to mobile computing).
Taking a process-pragmatic vantage point, we propose to interpret the many contemporary theories of political representation as cryptosemiotic, as they stress their processual and triadic character of the action of political representatives - as seen in Rehfeld, Runciman, Saward, Dryzek, Disch and Montanaro. Our purpose is to understand the ethical implicaitons of the design of online interaction enviroments, recognizing them as overly crucial stance to be dealt with by normative political theory. Currently, many researchers point the design features of the main corporate social networking sites as responsible for the fragmentation of the public visibility, the sectarian radicalisation and the progressive loss of the universality of the political discourse. We suggest new perspectives for tackling the normative challenges of the democratic reflexivity affordances of on-line interaction environments through the experimental operationalisation of the semiotic concepts of “diagramatic reasoning” (Hoffmann) “distributed morality” (Bardone and Magnani) and “moral agency without moral agents” (deBrock).
Neste trabalho, faz-se a reconstrução de um “escândalo” mediático desencadeado a partir da divulg... more Neste trabalho, faz-se a reconstrução de um “escândalo” mediático desencadeado a partir da divulgação, pelos telejornais brasileiros, no início de 1997, de imagens em vídeo que documentavam brutalidades cometidas pela polícia militar na periferia da Grande São Paulo (na “Favela Naval” de Diadema). Este estudo aborda, numa perspectiva pragmática, algumas implicações do uso das vídeo-imagens para o funcionamento da esfera pública contemporânea. Essa esfera é concebida como uma rede na qual se interconectam diversos contextos comunicativos públicos (espaços públicos). Conforme essa concepção, pode-se dizer que o discurso público tende a assumir as feições de um “hipertexto”, que seria constituído pelo entrelaçamento entre as enunciações de atores sociais e políticos. A partir dos textos dos telejornais transmitidos nas duas semanas posteriores à primeira denúncia, investigou-se o modo pelo qual o uso público das vídeo-imagens ocasionou a formação de um contexto comunicativo nos espaços público-mediáticos e como as interações dos diversos atores foram “catalisadas” em torno de temas determinados. A análise dos textos foi feita mediante o agrupamento dos enunciados em três perspectivas de interpretação: a dos interlocutores associados aos telejornais (“ator-midiador”), a da corporação policial-militar paulista (“ator-polícia”) e a dos sujeitos pertinentes à sociedade civil, organizada e não organizada (“ator sociedade civil”). O exame dos procedimentos de aparição pública e das características narrativas das enunciações, emersas nos telejornais, permitiu discernir algumas tendências de interpretação e formas de intervenção pública peculiares a cada um desses “atores”. O progressivo entretecimento das suas interpretações mostra como o processo social de atribuição de sentido às vídeo-imagens conformou a discussão sobre temas como violência policial, Direitos Humanos e cidadania e conduziu à críticas ao funcionamento de diversas instituições oficiais brasileiras.
Encontra-se consolidada, como hipótese explicativa, que há convergência formal e teleológica entr... more Encontra-se consolidada, como hipótese explicativa, que há convergência formal e teleológica entre "pré-cinemas" e "pós-cinemas" ( Machado, 1997). A hipótese, surgida há mais de 25 anos a partir dos trabalhos de revisão historiográfica sobre relatos e documentos concernentes à origem da comunicação cinematográfica (Gunning, Burch, Gaudreault, Costa, 2005, Hansen, Negt e Kluge), merece reinterpretaçao como teoria consolidada. Pode-se demonstrar a consistência ampla do argumento pela convergência com argumentos de outras teorias contemporâneas e a partir da observação de fenômenos recentes da comunicação ciberaudiovisual. Longe de ser um modelo normativo, o "cinema clássico" deve ser visto como um interregno na história do audivisua. Demonstrá-lo é responsabilidade política de fornecer ferramentas para uma crítica sobre o potencial emancipatório das condições contemporêneas da comunicação audiovisual e dos recursos para persistir diante da pressão das estratégias governamentais e corporativas. Cabe à pesquisa politicamente responsável identificar e propiciar a persistência do seu caráter "proletário " ou " oposicionista".
Quadro sinóptico de conceitos de teoria da narrativa, com comentários associados a sua aplicados ... more Quadro sinóptico de conceitos de teoria da narrativa, com comentários associados a sua aplicados na análise do discurso de noticiários e documentários. provenientes de REIS & LOPES (1988) Dicionário de Teoria Narrativa. GREIMAS & COURTÉS (1989) Dicionário de Semiótica e MOUILLAUD (1997) "O sistema das citações".
Sincategoremática de Souriau para análise de discurso dramático, com correção da categoria de "ad... more Sincategoremática de Souriau para análise de discurso dramático, com correção da categoria de "adjutor", proposta por Ubersfeld e Greimas
About fifteen years ago, the emergence of the use of digital imaging led most cinema theoretician... more About fifteen years ago, the emergence of the use of digital imaging led most cinema theoreticians to chant the requiem for documentary cinema's truth-telling claims. At that same time, rebel voices rising up straight from Southern Mexican rainforest heralded a new kind of communicative political action. There is no better time than now to sum up the outcomes of the forecasts by both post-modern theories and by the prefigurative politics outlined in the anti-corporate globalisation “movement of movements”.
The scrutiny of the new conditions for public enunciation, mainly through video publication on world wide web platforms, points out to unexpected results for the skeptical post- modern academic forecasts and for the “Seattle” cyberactivists’ proposals alike: never before have so many people produced so many documentary movies. A few kernel questions remain as yet unanswered: for whom are these movies addressed? What kind of intersubjective relations do they aim to create? And what kind of public spaces are thus built?
This paper is built from the analysis of the enunciation processes by independent documentary films made about the 1999 Seattle protests. We argue that the impact of telematic dissemination of the video shots and narratives stemming from that event are far more significant than the supposed loss of indexical content resulting from the use of digital imaging, as opposed to the use of photochemical imaging. We argue that the distinctive effects of documentary cinema have never depended on either the supposed ontology of the photographic image or on large audience reception, but instead on rendering the addresees as members of a public. In the context of the so-called “late cinema”, an ethics of autonomous public prefiguration is being consolidated through the stylistics of web documentary filmmaking. This leads, on the one hand, to a new cross-media method defining both cinema and documentary; on the other, it points out to the acknowledgement of an emergent documentary rhetoric, the prefigurative documentary, by which the subjective documentary rhetoric becomes the catalyst of collective subjectivation processes.
Uploads
interactive digital television, the articulation of collaborative production practices of transmedia cibertexts with a wide participation of the public and a distributed difusion, horizonts are opened for the inovation in documentary practices. The challenge for the development of communicative and poetic potential of interactive digital TV should be understood as the demand for developing a new stylistic, congruent with new ethical parameters of relations performed through documentary images.
Habermas Theory of Communicative Action, for the sake of
understanding the pre-reflexive expressive phaenomena,
mostly about those stemmed from the usage of perception
artifacs which may conduct to non-individualized
subjectivation states. Some cases are pointed as prone to
be clarified through that approach: intercultural first
contacts experiences; performatic artistic installations; and
the utterances of ciber-cinematic documentaries.
Brad – One more night in the barricades – Inspired by
hacker
culture, cyberactivism emerged as a political movement whose main issue is freedom
of communication and information. For this reason, it has become the main vantage point of
the movements against domination by diffused forms of control. Notwithstanding the harsh
circumstances brought about by the “war on terror”, cyberactivism has managed to produce
an expression in documentary cinema that bends the tendency of subjective documentary
rhetoric towards collective practices of counterpublic autopoiesis. To demonstrate some of
the key features of this new strategy of resistance, this paper scrutinizes the cyberdocumen
-
tary
Brad – One more night in the barricades
in terms of its interpretability and conditions of
ethical validity: intentional sincerity, propositional veracity and relational correctness.
machines, to which digital computers belong, can hide how archaic and
multifarious the concept of “machine” is. Yet, the political implications of the
social use of logical machines are far from being exhausted. This article aims to
demonstrate the heuristic advantages of comprehending “image machines” such
as cameras, microphones, scanners et alii, as logical machines. Its argumentation
locates logical machines as a “natural class” of machines, along with the
energetic and cybernetic machines. Its purpose is to supply elements that allow us
to understand why, through audiovisual documentary rhetoric assemblies, image
machines have become key to the production processes of today’s public discourse.
Finally, its proposals can help reinterpret the many theses formulated by various
cinema studies scholars in the past ten to fifteen years about the supposed loss of
indexicality or referentiality of moving images.
filmmaking, yielding from the proliferation of indexical images, the pluralization of the
validity claims of ethical discourse, the dispersion of the institutional indexation processes
of documentaries. Taking evidence from cyberactivist documentaries and non-linear
documentaries, produced with the intense participation of the public, ethical issues of the
interface documentary are addressed.
This was brought on, beginning in the 1970s, by the expansion of the access to audiovisual expression through electronic “amateur” (or, rather, activist) imaging; afterwards, at the turn of the century, by cyberactivism: the already effective political results of peer-to-peer address of amateur electronic communications was boosted by the coupling with activism in other distributed communication technologies (from street protests to mobile computing).
Taking a process-pragmatic vantage point, we propose to interpret the many contemporary theories of political representation as cryptosemiotic, as they stress their processual and triadic character of the action of political representatives - as seen in Rehfeld, Runciman, Saward, Dryzek, Disch and Montanaro. Our purpose is to understand the ethical implicaitons of the design of online interaction enviroments, recognizing them as overly crucial stance to be dealt with by normative political theory. Currently, many researchers point the design features of the main corporate social networking sites as responsible for the fragmentation of the public visibility, the sectarian radicalisation and the progressive loss of the universality of the political discourse. We suggest new perspectives for tackling the normative challenges of the democratic reflexivity affordances of on-line interaction environments through the experimental operationalisation of the semiotic concepts of “diagramatic reasoning” (Hoffmann) “distributed morality” (Bardone and Magnani) and “moral agency without moral agents” (deBrock).
MOUILLAUD (1997) "O sistema das citações".
The scrutiny of the new conditions for public enunciation, mainly through video publication on world wide web platforms, points out to unexpected results for the skeptical post- modern academic forecasts and for the “Seattle” cyberactivists’ proposals alike: never before have so many people produced so many documentary movies. A few kernel questions remain as yet unanswered: for whom are these movies addressed? What kind of intersubjective relations do they aim to create? And what kind of public spaces are thus built?
This paper is built from the analysis of the enunciation processes by independent documentary films made about the 1999 Seattle protests. We argue that the impact of telematic dissemination of the video shots and narratives stemming from that event are far more significant than the supposed loss of indexical content resulting from the use of digital imaging, as opposed to the use of photochemical imaging. We argue that the distinctive effects of documentary cinema have never depended on either the supposed ontology of the photographic image or on large audience reception, but instead on rendering the addresees as members of a public. In the context of the so-called “late cinema”, an ethics of autonomous public prefiguration is being consolidated through the stylistics of web documentary filmmaking. This leads, on the one hand, to a new cross-media method defining both cinema and documentary; on the other, it points out to the acknowledgement of an emergent documentary rhetoric, the prefigurative documentary, by which the subjective documentary rhetoric becomes the catalyst of collective subjectivation processes.
interactive digital television, the articulation of collaborative production practices of transmedia cibertexts with a wide participation of the public and a distributed difusion, horizonts are opened for the inovation in documentary practices. The challenge for the development of communicative and poetic potential of interactive digital TV should be understood as the demand for developing a new stylistic, congruent with new ethical parameters of relations performed through documentary images.
Habermas Theory of Communicative Action, for the sake of
understanding the pre-reflexive expressive phaenomena,
mostly about those stemmed from the usage of perception
artifacs which may conduct to non-individualized
subjectivation states. Some cases are pointed as prone to
be clarified through that approach: intercultural first
contacts experiences; performatic artistic installations; and
the utterances of ciber-cinematic documentaries.
Brad – One more night in the barricades – Inspired by
hacker
culture, cyberactivism emerged as a political movement whose main issue is freedom
of communication and information. For this reason, it has become the main vantage point of
the movements against domination by diffused forms of control. Notwithstanding the harsh
circumstances brought about by the “war on terror”, cyberactivism has managed to produce
an expression in documentary cinema that bends the tendency of subjective documentary
rhetoric towards collective practices of counterpublic autopoiesis. To demonstrate some of
the key features of this new strategy of resistance, this paper scrutinizes the cyberdocumen
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tary
Brad – One more night in the barricades
in terms of its interpretability and conditions of
ethical validity: intentional sincerity, propositional veracity and relational correctness.
machines, to which digital computers belong, can hide how archaic and
multifarious the concept of “machine” is. Yet, the political implications of the
social use of logical machines are far from being exhausted. This article aims to
demonstrate the heuristic advantages of comprehending “image machines” such
as cameras, microphones, scanners et alii, as logical machines. Its argumentation
locates logical machines as a “natural class” of machines, along with the
energetic and cybernetic machines. Its purpose is to supply elements that allow us
to understand why, through audiovisual documentary rhetoric assemblies, image
machines have become key to the production processes of today’s public discourse.
Finally, its proposals can help reinterpret the many theses formulated by various
cinema studies scholars in the past ten to fifteen years about the supposed loss of
indexicality or referentiality of moving images.
filmmaking, yielding from the proliferation of indexical images, the pluralization of the
validity claims of ethical discourse, the dispersion of the institutional indexation processes
of documentaries. Taking evidence from cyberactivist documentaries and non-linear
documentaries, produced with the intense participation of the public, ethical issues of the
interface documentary are addressed.
This was brought on, beginning in the 1970s, by the expansion of the access to audiovisual expression through electronic “amateur” (or, rather, activist) imaging; afterwards, at the turn of the century, by cyberactivism: the already effective political results of peer-to-peer address of amateur electronic communications was boosted by the coupling with activism in other distributed communication technologies (from street protests to mobile computing).
Taking a process-pragmatic vantage point, we propose to interpret the many contemporary theories of political representation as cryptosemiotic, as they stress their processual and triadic character of the action of political representatives - as seen in Rehfeld, Runciman, Saward, Dryzek, Disch and Montanaro. Our purpose is to understand the ethical implicaitons of the design of online interaction enviroments, recognizing them as overly crucial stance to be dealt with by normative political theory. Currently, many researchers point the design features of the main corporate social networking sites as responsible for the fragmentation of the public visibility, the sectarian radicalisation and the progressive loss of the universality of the political discourse. We suggest new perspectives for tackling the normative challenges of the democratic reflexivity affordances of on-line interaction environments through the experimental operationalisation of the semiotic concepts of “diagramatic reasoning” (Hoffmann) “distributed morality” (Bardone and Magnani) and “moral agency without moral agents” (deBrock).
MOUILLAUD (1997) "O sistema das citações".
The scrutiny of the new conditions for public enunciation, mainly through video publication on world wide web platforms, points out to unexpected results for the skeptical post- modern academic forecasts and for the “Seattle” cyberactivists’ proposals alike: never before have so many people produced so many documentary movies. A few kernel questions remain as yet unanswered: for whom are these movies addressed? What kind of intersubjective relations do they aim to create? And what kind of public spaces are thus built?
This paper is built from the analysis of the enunciation processes by independent documentary films made about the 1999 Seattle protests. We argue that the impact of telematic dissemination of the video shots and narratives stemming from that event are far more significant than the supposed loss of indexical content resulting from the use of digital imaging, as opposed to the use of photochemical imaging. We argue that the distinctive effects of documentary cinema have never depended on either the supposed ontology of the photographic image or on large audience reception, but instead on rendering the addresees as members of a public. In the context of the so-called “late cinema”, an ethics of autonomous public prefiguration is being consolidated through the stylistics of web documentary filmmaking. This leads, on the one hand, to a new cross-media method defining both cinema and documentary; on the other, it points out to the acknowledgement of an emergent documentary rhetoric, the prefigurative documentary, by which the subjective documentary rhetoric becomes the catalyst of collective subjectivation processes.