Solaris

როგორც ჰენრი ლეფებვრე ამბობდა, ისევე როგორც კაპიტალი, სივრცეც სოციალური პროცესია და სივრცეში, ისევე როგორც უშუალოდ სივრცის მეშვეობით ყოველთვის ხდება ძალაუფლების განხორციელება. ზუსტად სივრცის ათვისების შემდეგ ძალაუფლება იძენს კონკრეტულობას. სივრცის გამოკვლევით შეგვიძლია დავინახოთ თუ როგორ ხორციელდება ძალაუფლება. მოელვარე თაღის წარმოქმნის შემდეგ, მის მიღმა მოქცეულ სივრცეში გენეტიკური კოდის მუტაციების მთელი კასკადი იფეთქებს. ყველა ცოცხალი ორგანიზმი განიცდის სახეცვლილებას და რაც უფრო უახლოვდება ექსპედიცია შუქურას, ადგილს, სადაც ეს ყოველივე დაიწყო და ათვლის წერტილს წარმოადგენს, გენეტიკური კოდის მეტამორფოზები მით უფრო დაუნდობელი ხდება. თაღს მიღმა არსებული ზონა თავის ძალაუფლებას არა ნგრევის ან შენების მეშვეობით ახორციელებს, არამედ დაშლით, შეერთებით და მუდმივი ექსპერიმენტული გარდაქმნით. ზონაში არსებული ძალაუფლებრივი ლოგიკა პირდაპირ შესაბამისობაშია გარლენდის კონცეპტუალურ მიდგომასთან. ის იღებს ფილმს სხვადასხვა არსებული ფრაგმენტების შეკოწიწებით, გადაადგილებით და მუდმივი გადახალისებით.

ჟან ბოდრიარის წიგნში „ტერორიზმის არსი“ ვხვდებით მის ერთ-ერთ მოხსენებას „რექვიემი ტყუპი-კოშკისთვის“, რომელიც 9/11 ტერაქტისადმი მიძღვნილი დებატების ნაწილია. როგორც ბოდრიარი ამტკიცებს, მანჰეტენი მსოფლიო სავაჭრო ცენტრის მშენებლობამდე წარმოადგენდა მაღალი შენობების ასიმეტრიულ ერთობლიობას, რომლებიც ერთმანეთს შორის კონფრონტაციაში შედიოდნენ კონკურენტულ ვერტიკალურობის პრინციპზე დაყრდნობით. ამ დაპირისპირების პროდუქტი იყო არქიტექტურული პანორამა, რომელიც კაპიტალისტურ სისტემას ისარკავდა თავისი ერთ-ერთი მთავარი ელემენტით - კონკურენციით. „პირამიდალური ჯუნგლები“, როგორც ბოდრიარი მოიხსენიებს იმ ვიზუალურ პანორამას, რასაც მანჰეტენზე აღმოცენებული კონსტრუქციები განასახიერებდნენ, შეიცვალა მას შემდეგ, რაც მსოფლიო სავაჭრო ცენტრი აშენდა. სისტემის გრაფიკული გამოსახულება შეიცვალა და ობელისკური კონკურენცია ჩანაცვლდა „კალოდიდან“ ამოვარდნილი კარტის გრაფიზმით, რომელიც სიმბოლურად განასახიერებდა სისტემას, საიდანაც კონკურენტულობა გაქრა მონოპოლიური ქსელის და კავშირების სასარგებლოდ.

In Solaris, within the limits of heterotopic experience, several theoretical and ontological questions are examined through approaches on each character. Berton declares one of the main philosophical themes of the movie when he tells Kelvin: "You want to destroy that which we are presently incapable of understanding? Forgive me, but I am not an advocate of knowledge at any price. Knowledge is only valid when it's based on morality." The ocean does not mean anything as an object, it simply exists. The ocean is not found in any of the human experimental approaches.
DOI: 10.13140/RG.2.2.15910.68169

Głównym zadaniem pracy jest wyodrębnienie nowego motywu w  pisarstwie Stanisława Lema, który opierałby się na wzięciu pod uwagę punktu widzenia sztucznych, myślących istot. Jak dotąd były one przez badaczy traktowane jako lustro, w którym przeglądać się mogła ludzkość – szkic skupia się na rozpoznaniu problemów tożsamościowych, z jakimi borykają się bohaterowie niektórych utworów Lema. Środkiem do osiągnięcia celu jest analiza między innymi tekstów Solaris, Non serviam oraz Maski, która zresztą wydaje się najpełniejszym przedstawieniem omawianego w pracy motywu. Dzięki temu udaje się dojść do wniosku, że zarówno omówione dzieła Lema, jak i sam wyróżniony motyw to ostrzeżenia przed konsekwencjami obdarzania (umyślnego bądź nie) sztucznych istot świadomością, inteligencją i osobowością.

Tarkovsky opposed to the movie editing and considered that the basis of the art of cinematography (movie art) is the internal rhythm of images. He considers cinema as a representation of distinctive currents or time waves, transmitted in the film through its internal rhythm. Rhythm is at the heart of the "poetic film". A rhythm like a movement inside the frame ("sculpting in time"), not as a sequence of images in time. Time within the frame expresses something significant and true that goes beyond the events itself, received differently by each spectator. The rhythm is not determined by the length of the sequences, but by the pressure of time passing through them.
DOI: 10.13140/RG.2.2.11136.48642

ITALIAN VERSION

Lo scopo principale di questa tesi di laurea è quello di confrontare due traduzioni italiane del romanzo ''Solaris'', scritto da Stanisław Lem, dal punto di vista della traduzione del lessico, della sintassi e dello stile. Nel primo capitolo si cercherà di descrivere brevemente la storia della traduzione dividendola in due periodi, prescientifico e scientifico. Verranno anche discussi vari problemi che incontra ogni traduttore nel suo percorso di carriera. Nell'ultimo sottocapitolo verranno presentati degli esempi della traduzione italiana dei neologismi creati da Stanisław Lem nei romanzi ''Fiabe del robot'' e ''Memorie di un viaggiatore spaziale''.
Nel secondo capitolo si cercherà di riassumere la storia della fantascienza in Italia dall'antichità ad oggi. Saranno discussi gli scrittori e i giornalisti più influenti nello sviluppo del genere. Verrà pure approfondito il tema del fandom italiano che svolge un ruolo importante nella divulgazione di questo brano letterario in Italia.
Nel terzo capitolo verranno discusse la vita di Stanisław Lem e la sua popolarità in Italia. Saranno pure presentante le due traduttrici italiane del romanzo "Solaris" di Stanisław Lem:, Eva Bolzoni e Vera Verdiani e la storia della traduzione del romanzo Solaris in Italia.
Il quarto capitolo è la parte principale della tesi. Verranno analizzati i singoli frammenti delle due traduzioni del romanzo come menzionato sopra, principalmente dal punto di vista del lessico, ma anche della grammatica. L'analisi tratterà di tre argomenti selezionati, ossia quelli che riguardano la traduzione di numerose descrizioni dell'oceano, dei colori e dei personaggi.

An analysis of Steven Soderbergh's cinematic remake of Andrei Tarkovsky's "Solaris" that makes use of Baudrillard's  theories of simulacra and postmodernity. The paper advances the thesis that Soderbergh's film, while following the outlines of Stanislav Lem's novel and Tarkovsky's earlier film, is itself a self-reflexive meditation on the forms of cinematic mediation and re-making that constitute postmodernity --- especially that associated with the New Hollywood.

In this thesis I analyse examples of intersubjectivity in five science fiction films, two books and one TV show, between humans, and with fictional aliens. I describe the visual and narrative forms these exchanges take – like speech, sign, movement and metamorphosis – and consider, by drawing on film phenomenology, how they affectively catch up the viewer. I also excavate their conceptualisations of intersubjective relations by comparing them to the relations between anthropologist and subject. I argue in favour of a valuation of alterity and the transformative experiences that occur on contact with an alien Other in fiction, but critique those figures who undergo a complete dissolution of self. I argue that in order to foster an interspecies ethics through watching science fiction cinema those fictions must narrate intersubjectivity in a way that does not flatten that Other into knowability. I ultimately then work towards uncovering the ways particular
visual exchanges can be supportive of a posthuman ethical strategy for better future interspecies relations.

Artykuł stara się sproblematyzować, w jaki sposób myślenie o czasie i jego doświadczenie zmieniło się w drugiej połowie XX wieku oraz odpowiedzieć na pytanie, czy współcześnie można wciąż posługiwać się kategorią przyszłości. W tym celu autor przywołuje koncepcję mitologii przyszłości włoskiego myśliciela Franco „Bifo” Berardiego, autora książki „After the Future”, przygląda się nihilistycznemu nurtowi „no future” obecnemu w latach 70. oraz analizuje nieodłącznie związany z przyszłością nurt fantastyki naukowej w literaturze.

This text examines and contrasts the 1971 science-fiction film Solaris by Andrei Tarkovsky with the 2002 film Solaris by Steven Soderbergh. Our text argues for the significance of simulation and simulacra in relation to the conceptual framework of Solaris, adapting as our primary model Jean Baudrillard’s concept of simulation and simulacra.

Les principaux aspects psychologiques et philosophiques détachés du film Solaris réalisé par Andrei Tarkovski, ainsi que les techniques cinématographiques utilisées par le réalisateur pour transmettre ses messages aux spectateurs.
Dans « Introduction », je présente brièvement les éléments pertinents de la biographie de Tarkovski et un aperçu du roman Solaris de Stanislav Lem et du film Solaris réalisé par Andrei Tarkovsky. Dans « Technique cinématographique », je parle du rythme spécifique des scènes, du mouvement radical déclenché par Tarkovski dans le cinéma moderne, du rôle des éléments symboliques et iconiques et des affinités avec le fantastique domaine de la littérature russe. Dans « Aspects psychologiques », j'analyse la question de la communication dans une société humaine de l'avenir considéré par Tarkovski comme rigide, de l'obsession de la maison et de l'évolution personnelle de Kris, Hari et de leurs relations. Dans « Aspects philosophiques », le film est analysé à travers la philosophie de l’esprit (dualisme cartésien, réductionnisme et fonctionnalisme), le problème de l’identité personnelle, la théorie des espaces hétérotopiques développée par Michel Foucault et les interprétations sémantiques pouvant être déduites du film. J'analyse également la question de l'identité personnelle à travers la philosophie de Locke. Les « Conclusions » montrent les idées générales de cet essai, à savoir que les tentatives de l'homme pour classer et maintenir des formes d'interaction avec des entités inconnues seront toujours condamnées à l'échec et refléteront une erreur majeure du monde panoptique dans lequel nous vivons. Dans ce cadre d'analyse de la philosophie de l'esprit, le fonctionnalisme semble être le plus intuitif.
Solaris est toutefois un film qui commence par une recherche de réponses et vient apporter à ces réponses toute une gamme de questions différentes.

SOMMAIRE:

Abstract
Introduction
1 Technique cinématographique
2. Aspects psychologiques
3. Aspects philosophiques
Conclusions
Bibliographie
Notes

DOI: 10.13140/RG.2.2.20367.53929

Tarkovski’s film is a drama of pain and partial recovery centered on the psychology of the Solaris station crew. Tarkovski wanted to address this way the deeply emotional and intellectual science-fantastic genre, considered by him to be superficial.
The film approaches a central phenomenon of Klaus Holzkamp’s critical-psychological analysis of human perception: the perceptions of the human world are significant to human beings. In perception, human beings are oriented towards an objective sense, which objects possess it in connection with the vital activity of the people. By virtue of this quality, the localization of meanings in objects is exclusively a characteristic of the human world.
DOI: 10.13140/RG.2.2.13456.05129

În acest eseu evidențiez principalele aspecte psihologice și filosofice desprinse din filmul Solaris regizat de Andrei Tarkovski, precum și tehnicile cinematografice utilizate de regizor pentru a-și transmite mesajele spectatorului. În ”Introducere” prezint pe scurt elementele relevante din biografia lui Tarkovski și o prezentare generală a romanului Solaris a lui Stanislav Lem și filmul Solaris în regia lui Andrei Tarkovsky. În ”Tehnica cinematografică” vorbesc despre ritmul specific al scenelor, mișcarea radicală declanșată de Tarkovsky în cinematografia modernă, rolul elementelor simbolice și iconice, , și afinitățile cu zona fantastică a literaturii ruse. În ”Aspecte psihologice” analizez problema comunicării într-o societate umană a viitorului considerată de Tarkovsky ca rigidă, obsesia casei, și evoluția personală a lui Kris, Hari, și a relațiilor dintre ei. În ”Aspecte filosofice” se analizează filmul prin prisma filosofiei minții (dualismul cartezian, reducționismul și funcționalismul), a problemei identității personale, a teoriei spațiilor heterotopice dezvoltată de Michel Foucault, și interpretările semantice care se pot deduce din film. De asemenea, se analizează problema identității personale prin prisma filosofiei lui Locke. ”Concluziile” expun ideile generale rezultate din acest eseu, respectiv că Tentativele omului de a clasifica și de a păstra forme de interacțiune cu entități necunoscute vor fi întotdeauna condamnate la eșec și vor reflecta o greșeală majoră în lumea panoptică în care trăim. În acest cadru de analiză a filosofiei minții, funcționalismul pare a fi cel mai intuitiv. Solaris este, totuși, un film care începe ca o căutare a răspunsurilor și ajunge să ofere aceste răspunsuri împreună cu o serie de întrebări cu totul diferite.

En este trabajo se estudia el tema del doble en dos obras clásicas de la literatura de ciencia ficción: "Blade Runner", de Philip K. Dick y Solaris, de Stanislaw Lem. El marco utilizado para este estudio es el psicoanálisis.
Para ello, primero reviso las contribuciones teóricas al tema del doble a través de los autores que anteriormente lo trataron. Acto seguido, realizo una especie de glosario de términos psicoanalíticos donde trato de aclarar dichos términos, de forma que el lector no iniciado pueda comprenderlos con claridad.
Finalmente aplico este marco teórico a los casos prácticos mencionados.

The image motifs of Andrei Tarkovsky explicate the basic characteristics of his film aesthetics. Tarkovsky regards filmic image-mise en scène in general-as sculpting in time, that differentiates itself from the narrative continuity of the conventional montage of scene compositions and their sequences and consequently emerges as unique and autonomous time images. The sculpting in time refers to the embodiment of time, which should liberate the embodied existence in its temporality from a transcendental notion of time. However, the embodiment of time as temporality also applies to the transcendental time consciousness, although it is viewed in the traditional philosophical context as an inner and incorporeal form of consciousness. Tarkovsky's image motifs aesthetically realize a previously unknown form or morphosis of the existence of human beings and the world of objects within the framework of a prevailing transcendentalism. In his polemic against the montage cinema of Eisenstein, Tarkovsky opposes the transcendental temporalisation of the temporality of natural and domestic objects, living beings as well as human existence in both filming and editing processes. In the following treatise I am trying to show how the transcendental temporalisation and the existential temporality-despite their film-aesthetic dichotomization or polarization by Tarkovsky-bring about a dialectics between the transcendental and the embodied self. Some of the main features of Tarkovsky's image motifs, as depicted in aesthetic and film-technical mise en scène, such as slow motion, objects left over in the narrative continuity, overcoming of gravity and inertia, representation of the 'life' of natural and domestic objects, persistence of ruins, synthesis of music, poetry and painting in scene compositions, abysses, agile landscapes, untrodden zones, motifs of the materialisation of deep inner images and memories as well as the resurrection of the dead. In the portrayal of human figures, this dialectics shows itself in a diremption between an inescapable transcendental consciousness and the embodiment of the self, which-in its spatiality and temporality-belongs to the domain of all 'given' objects in the world. In his image motifs, the iconic retention of time which characterizes the temporality of the existence of objects and human beings-both in their givenness and their persistence as objects left behind-indicates the freedom of embodiment in their own temporality, as Tarkovsky observes in his seminal work 'Sculpting in Time.' However, this 'freedom in time' or in the temporality of the embodied self never remains free or unaffected by the inner-dialectical division between the transcendental self-consciousness and the embodied self, as this dialectics clearly surfaces in the portrayal of the intellectual protagonists in his films.

In one of his lectures which Slavoj Zizek gave in the recent past, he modestly explained Lacan’s vision regarding how to deal with oneself. He asserted that the Freudian formula and obsession to know oneself is in itself pathology. Slavoj claims that “his (Lacan’s) point is that instead of probing into yourself, dedicate yourself to an external cause”. Then he elaborates this idea in a much more understandable way, “you are not cured when you can say: Now I can tell a complete story about myself! The point is not to ease your suffering, but to move out of these categories… and, to discover things… that are more important than your suffering or pleasure.” In that respect, I suggest incorporating the work of Tarkovsky in the Lacanian zone of philosophy. Tarkovsky was not only evoking childhood memories, he went beyond his personality and tracked down something more. He disclosed the dimension where he was openly telling stories that were not just his personal stories anymore but turned into stories of everyone.

Almost all collaborations start with an invitation and an instigation. It
was after agreeing to work together on an exhibition that would rework,
reconfigure and reflect on two previous exhibitions at the Centro Pecci
around Soviet and Post-Soviet realities, with the addition of a third
chapter (or rather a first chapter) stitching today’s artistic positions
towards the imagined futures from the past that I got a text message from
Marco Scotini. He had sent me this film still from Tarkovksy’s Solaris
(1972), a scene from the space station, the empty, white, and round space
with circular windows.

About the main psychological and philosophical aspects detached from the film Solaris directed by Andrei Tarkovski, as well as the cinema techniques used by the director to convey his messages to the spectator. In the "Introduction" I briefly present the relevant elements of Tarkovski's biography and an overview of Stanislav Lem's Solaris novel and the film Solaris directed by Andrei Tarkovsky. In "Cinema Technique" I talk about the specific rhythm of the scenes, the radical movement triggered by Tarkovsky in modern cinema, the role of symbolic and iconic elements, and affinities with the fantastic area of Russian literature. In Psychological Aspects I analyze the issue of communication in a human society of the future considered by Tarkovsky as rigid, the obsession of the house, and the personal evolution of Kris, Hari, and the relationships between them. In Philosophical Aspects, the film is analyzed through the philosophy of the mind (Cartesian dualism, reductionism and functionalism), the problem of personal identity, the theory of heterotopic spaces developed by Michel Foucault, and the semantic interpretations that can be deduced from the film. It also analyzes the issue of personal identity through Locke's philosophy. "Conclusions" show the general ideas of this essay, namely that Man's attempts to classify and maintain forms of interaction with unknown entities will always be condemned to failure and will reflect a major mistake in the panoptic world in which we live. In this framework of analysis of the philosophy of mind, functionalism seems to be the most intuitive. Solaris is, however, a movie that begins as a search for answers and comes to provide these answers with a whole range of different questions.

CONTENTS:

Abstract
Introduction
1 Cinema technique
2 Psychological Aspects
3 Philosophical aspects
Conclusions
Bibliography
Notes

DOI: 10.13140/RG.2.2.28635.82723

Colección Signo e imagen/Cineastas. Ed. Cátedra, Madrid, 2010.
ISBN: 978-84-376-2666-6
408 páginas.

· Ficha de la editorial: https://catedra.com/libro.php?codigo_comercial=195082

Quizá Andrei Tarkovski haya sido uno de los últimos románticos. Sus películas son representaciones del hombre frente a la inmensidad de la naturaleza. Como en las del pintor Caspar David Friedrich. Reflejos de un humanista que quiso o sintió la necesidad de ahondar en el enigma de la existencia y que se materializaron en siete exploraciones sobre la conciencia humana. Y al mismo tiempo títulos con los que trató de elevar el cine a la categoría de arte. Siete recorridos físicos, pero también psíquicos. El de unos individuos en estado de crisis que adquieren la condición de seres errantes. Porque el itinerario es el único medio para hallar alguna certeza, si es que la hay, que alivie sus conflictos internos. De ahí la estructura de este estudio, a modo de crónica de viaje, de una espiral concebida desde la sugerencia, desde la insinuación, incluso desde el juego, sin pretender establecer verdades categóricas. Porque en el arte sólo existe la verdad del creador que, después, cada uno interpretará a su manera. Como lo hará con este libro.

· Contenido PDF: Cubiertas e índice del libro.

Based on the Deleuzean engagement with Lem’s Solaris as the issue of contact with what goes beyond
the anthropocentric finitude, the article formulates a category
of “solarism”, useful in diagnosing the problems of contemporary philosophy and allowing to capture specific configurations
of selected phenomena of culture and art. The article makes
a preliminary recognition of the capital-centric contemporaneity and then follows Lem’s reception in the science of media and culture.
These deliberations become a context for the analysis of Solaris, which leads to capturing material traits of solarism, understood as a-humanism and inhumanism. In turn, this specific understanding of logic behind Solaris sets the direction for the analysis of the phenomena of contemporary cinema, using David Lynch’s Twin Peaks The Return and Alex Garland’s Annihilation as an example.

Tarkovsky opposed to the movie editing and considered that the basis of the art of cinematography (movie art) is the internal rhythm of images. He considers cinema as a representation of distinctive currents or time waves, transmitted in the film through its internal rhythm. Rhythm is at the heart of the "poetic film". A rhythm like a movement inside the frame ("sculpting in time"), not as a sequence of images in time. Time within the frame expresses something significant and true that goes beyond the events itself, received differently by each spectator. The rhythm is not determined by the length of the sequences, but by the pressure of time passing through them. DOI: 10.13140/RG.2.2.11136.48642

Objects – from natural to domestic – constitute an essential element in various cinematic image motifs of Andrei Tarkovsky, as depicted in his films Solaris (1972), Mirror (1975), Stalker (1979), Nostalgia (1983) and Sacrifice (1986). In his polemic against Sergei Eisenstein's film theory of montage, Tarkovsky emphasises the temporality of objects that precludes the overpowering subjective temporalisation (which the theory of montage would presuppose). Time and the temporality of objects should, therefore, remain intact in the mise-en-scène. Most of these objects in Tarkovsky's image motifs have a characteristic in common; they are leftover objects - left over from the past, from the narrative continuity of the present, from dreams and mysterious incarnations, in ruins and uninhabited and abandoned terrains, from memory and oblivion. Tarkovsky's notion of mise-en-scène as sculpting in time suggests a mode of temporal existence which lingers on the leftover objects. The time that elapses in mise-en-scène is apparent in the creation of a film image, in which the present persists in the objects left behind. Therefore, in the scene compositions of image motifs, the camera does not necessarily follow the narration and its continuity, but often remains fixed on simple objects that are otherwise hardly regarded in the montage. In my paper I attempt to show how Tarkovsky's cinematic image motif, as displayed in slow motion, flight motif (overcoming the gravity), cinematic still life or constellations of painting, poetry and music, is mostly built on leftover objects. The accompanying music and recitation (of poems by his father, Arseniy Tarkovsky) creates a synthesis of verbal, auditory and visual metaphors that essentially characterises Tarkovsky's image motifs. The constant presence and perseverance of the leftover objects also points to an epistemic potential of Tarkovsky's image motifs, that the status of objects as remnants resists the prevailing subjective transcendentalism (to which the montage principle belongs within the framework of film aesthetics) and its reduction of objects to a merely given entity in perception.

Objects – from natural to domestic – constitute an essential element in various cinematic image motifs of Andrei Tarkovsky, as depicted in his films Solaris (1972), Mirror (1975), Stalker (1979), Nostalgia (1983) and Sacrifice (1986). In his polemic against Sergei Eisenstein's film theory of montage, Tarkovsky emphasises the temporality of objects that precludes the overpowering subjective temporalisation (which the theory of montage would presuppose). Time and the temporality of objects should, therefore, remain intact in the mise-en-scène. Most of these objects in Tarkovsky's image motifs have a characteristic in common; they are leftover objects - left over from the past, from the narrative continuity of the present, from dreams and mysterious incarnations, in ruins and uninhabited and abandoned terrains, from memory and oblivion. Tarkovsky's notion of mise-en-scène as sculpting in time suggests a mode of temporal existence which lingers on the leftover objects. The time that elapses in mise-en-scène is apparent in the creation of a film image, in which the present persists in the objects left behind. Therefore, in the scene compositions of image motifs, the camera does not necessarily follow the narration and its continuity, but often remains fixed on simple objects that are otherwise hardly regarded in the montage. In my paper I attempt to show how Tarkovsky's cinematic image motif, as displayed in slow motion, flight motif (overcoming the gravity), cinematic still life or constellations of painting, poetry and music, is mostly built on leftover objects. The accompanying music and recitation (of poems by his father, Arseniy Tarkovsky) creates a synthesis of verbal, auditory and visual metaphors that essentially characterises Tarkovsky's image motifs. The constant presence and perseverance of the leftover objects also points to an epistemic potential of Tarkovsky's image motifs, that the status of objects as remnants resists the prevailing subjective transcendentalism (to which the montage principle belongs within the framework of film aesthetics) and its reduction of objects to a merely given entity in perception.

Tarkovsky s’est opposé au montage et a considéré que la base de l’art cinématographique (l’art du film) est le rythme interne des images. Il a considèré le cinéma comme une représentation des courants distinctifs ou des ondes de temps, transmis dans le film par son rythme interne. Le rythme est au cœur du « film poétique ». Un rythme comme un mouvement dans le cadre (« la sculpture dans le temps »), pas comme une séquence d'images dans le temps. Le temps passé dans le cadre exprime quelque chose de significatif et de vrai, qui dépasse les événements eux-mêmes et est reçu différemment par chaque spectateur.
DOI: 10.13140/RG.2.2.30568.62727

From Wells’ greyish, tentacled Martians to the humanoid aliens of Star Trek, the extraterrestrials that have appeared in (especially Western) science fiction books, TV shows, and movies have usually had anthropomorphic features. Most of them can speak fluent English despite being non-human, and even the aliens that resemble more to animals or insects than humans have human-like aims such as conquering or colonizing the Earth. Whether they are friendly or hostile, these aliens can usually be analyzed and categorized with the help of human sciences. This anthropo- and logo-centric viewpoint which has pervaded popular science fiction for decades is challenged in Solaris and Roadside Picnic, which include non-traditional alien figures. In the former, the alien is a huge planet which is thought to be a sentient organism, and in the latter the aliens do not even appear, but they are assumed to have visited the Earth. The lack or certain knowledge about these aliens make them true “aliens” to humankind, and the failed attempts of scientists to explain their nature and aims can be read as a questioning of the authority of Western rational and scientific thinking. In the light of all these, it is argued in this paper that the inquiries concerning meaning and language in Solaris and Roadside Picnic stand in contrast with the naivety of most “first contact” narratives which suppose that there would be some kind of communication and understanding between human and alien life forms, and, by downplaying the ability of human mind and logic to name and categorize the unknown in human terms, these novels pose a challenge against anthropocentric thought.

Il saggio è parte dei contributi introduttivi al settimo seminario del ciclo “Idee per la rappresentazione” dedicato al tema "Visualitò".
Considerando l'architettura “in quanto immagine” il saggio da un lato si riferisce all'immagine intrinseca di una costruzione – la sua “iconicità” o fattura – e dall'altro lato alla sua immagine estrinseca, cioè al come essa “si dà socialmente a vedere” partecipando alla circolazione e ai generi delle immagini. Questi due lati di una medesima realtà sono generalmente colti in modo schizofrenico; teorie di tipo fenomenologico e morfologico guardano solo al volto intrinseco dell'architettura “in quanto immagine”, mentre il suo volto estrinseco è inquadrato da teorie storiche e antropologiche della cultura visuale. Questi due punti di vista sono ulteriormente dissociati e confusi nella letteratura nostrana sulla “rappresentazione” dove si confondono spesso tra loro le nozioni di “immagine” e di “rappresentazione”, per quanto i due termini siano sinonimi solo raramente. Si usano distintamente i termini “immagine” e “rappresentazione” per indicare due diversi “momenti” e due distinti “ambiti” della visualità, intendendola sia diacronicamente (come “processo”), sia sincronicamente (come ”sistema”). - Colta come “processo generativo” la visualità vi è intesa come un fenomeno che ha due momenti o stadi assai diversi: quello delle “immagini” e quello delle “rappresentazioni”, vale a dire, quello dell'esperienza sempre iconica e morfologica dell'immagine, e quello dell'esperienza simbolica e codificata, della rappresentazione. - Colta come “sistema” o “paradigma” la visualità vi è intesa come la rete di relazioni reciproche in un corpus d'immagini di una data cultura visiva; la si intende parzialmente modellizzata e analizzata attraverso la costruzione di atlanti iconologici (§6) e di altri impieghi delle tecniche di montaggio di immagini. Si dimostra che queste tecniche di montaggio non riguardano solo la produzione dei diversi media visuali, dal cinema (§1) al diagramma (§3), ma concernono anche la costruzione dell'architettura e dell'ambiente in quanto immagine (§§ 2, 4 e 5); di conseguenza, sostengo che il loro studio è motivo di rilevanza degli studi sulla rappresentazione condotti nelle scuole di progettazione.

LAS ARISTAS DEL DUELO DESDE UNA LECTURA PSICOANALÍTICA: SUEÑO, ALUCINACIÓN Y OBJETO. 
Una lectura clínica del duelo a partir de la película Solaris de A. Tarkovsky

El presente trabajo se enmarca en la práctica de investigación Cine y subjetividad: el método clínico analítico de lectura de películas y series televisivas, perteneciente a la Facultad de Psicología de la Universidad de Buenos Aires. En el mismo, se buscará articular la noción de duelo, entendida desde el enfoque psicoanalítico, con una lectura posible del material que aporta la película Solaris (1972) de A. Tarkovsky.

Le film est un drame psychologique se déroulant à bord d'une station spatiale en orbite autour de la planète Solaris. Les trois membres de l'équipage ont des problèmes psychologiques. Le psychologue Kris Kelvin est envoyé là pour évaluer la situation, mais il fait face aux mêmes phénomènes mystérieux que les autres. Pour Tarkovsky, le conflit existentiel exposé par Lem n'était que le point de départ du développement de la vie intérieure des personnages.
DOI: 10.13140/RG.2.2.11405.49129

https://www.cambridgescholars.com/product/978-1-5275-6408-4

This book develops the so-called “solaristic ontology” of film by building a philosophical system based on an inquiry into the nature of film, being and reality. This “solaristic system” appropriates the aesthetic ideas and principles of thought present in the 1972 sci-fi movie Solaris by Andrei Tarkovsky. This movie is the main center of analysis here since it is highly symptomatic of the medium’s philosophical self-reflexivity and its intriguing correlation with reality and being. The “solaristic science” is a fictional science introduced in the movie’s diegesis and dedicated to the investigation of the planet Solaris, an unattainable challenge. In this sense, the solaristic system closes the film’s narrative by telling a philosophical story on the planet Solaris. The book thus details a philosophical form of concept art, and, at the same time, builds on previous results of film philosophy, as well as the speculative turn in contemporary philosophy.

ISBN: 1-5275-6408-8

Tarkovsky recognizes these differences, saying that there is a contradiction with Lem's initial idea, because he was interested in the problems of inner life, spiritual problems, so to speak, and Lem was interested in the collision between man and Cosmos. In an ontological sense of the word, in the sense of the problem of knowing and the limits of this knowledge - it is about that. Lem even said that mankind was in danger, that there was a crisis of knowledge when man did not feels ... This crisis is growing, a snowball, takes the form of various human tragedies, including scientists.

Indigenous communities  the world over  have  nurtured  trans generationally , homological values , based on a nondestructive covenant with nature and  a sense of nondual identity, underlying casual variations in natural forms, created in the stress of evolution. A section of humanity is pursuing a suicidal course of creating cognitive divides between nature and culture and destroying the diversity, harmony and solidarity of natural forms, in exclusive, parochial interests of self aggrandizement. Sciences dealing with internal and external nature endorse the universal community perception acknowledging an affective, nondual presence, both immanent and transcendent, animating interdependent patterns of natural relationships, replete with creative yearning and zest. It is necessary  to  unite communities across the world, for correcting the cognitive solipsism of a few, arresting  their  unscientific, destructive mission  ,and  restoring  the sacred concord of humanity with  nature , based on coexistence rather than co annihilation .

Solaris, de Andrei Tarkovsky (1972), ha sido reconocida ampliamente como una obra maestra del arte cinematográfico. Basada en la novela homónima de Stanislav Lem, las líneas que siguen querrán defender la profundidad del trato que la mirada de Tarkovsky otorga a la cuestión esencial de dicha novela: la relación con el Otro más radical. El siguiente ensayo pretende así investigar cómo Tarkovsky plantea la cuestión de la Alteridad en la Ciencia, teniendo en cuenta que ésta toma como sujeto de estudio a un Otro desconocido y no humano. Esto se hará a partir del análisis de la escena de la Biblioteca, punto culminante de la cuestión que aquí se discute, y comparándola con pequeños fragmentos que en Lem dan cuenta de la relevancia de dicha cuestión, teniendo como marco conceptual preliminar la teoría política desarrollada por Chantal Mouffe.

Die Filmkunst Andrej Tarkowskijs wird am ehesten durch sein Bildmotiv gekennzeichnet. Nach Tarkowskij manifestiert sich im filmischen Bild die "Beobachtung von Lebensfakten, die in der Zeit angesiedelt sind, die entsprechend den Formen des Lebens selbst und dessen Zeitgesetzen organisiert werden." Die Filmkunst ist demnach eine Bildhauerei aus Zeit. In der vorliegenden Abhandlung werden die wahrnehmungstheoretischen und historischen Grundlagen der verschiedenen Bildmotive bei Tarkowskij, dargestellt in den Filmen Andrej Rubljow, Solaris, Spiegel, Stalker, Nostalghia und Opfer, untersucht. Dabei handelt es sich um einen Versuch, zu veranschaulichen, wie das filmische Bild - als Gegenwarts- und Geschichtsbilder sowie als Erinnerungs- und Traumbilder - sich zu eigener zeitlicher und räumlicher Existenz entfaltet, und folglich der Wirklichkeit und seiner erzählerischen Kontinuität gegenüber Grenzen zieht. Die Untersuchung zielt auch darauf ab, die filmtechnische Eigenart der Bildmotive bei Tarkowskij, wie Zeitlupe, Überwindung der Trägheit sowie das Schweben bzw. die Überwindung der Gravitation, zu erörtern, und ihre epistemologischen und ästhetischen Implikationen zu deuten.