Pedagogies of the cinematic: Transduction and anthropotechnics exercise
DOI:
https://doi.org/10.34619/sf6c-xudhKeywords:
cinematic, transduction, anthropotechnics, montage, phármakon, pedagogy, Gilbert SimondonAbstract
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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