{"title":"Imágenes operativas y montaje blando: historicidad de la función social de la imagen en la obra de Harun Farocki","authors":"C. C. Bueno","doi":"10.4067/S0718-71812016000200005","DOIUrl":null,"url":null,"abstract":"El presente texto examina las nociones de imagenes operativas y de montaje blando en las video-instalaciones de Harun Farocki para proponer que el valor critico de su obra consiste en el despliegue de una reflexion sistematica sobre la historicidad de la funcion social de la imagen. Por lo tanto, la obra de Farocki propone que en el mundo contemporaneo la funcion de social de la representacion visual esta marcada por el transito desde un regimen de la imagena lo que ha sido denominado como regimen de la visualidad.","PeriodicalId":43414,"journal":{"name":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","volume":"67 1","pages":"91-109"},"PeriodicalIF":0.3000,"publicationDate":"2016-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Aisthesis-Pratiche Linguaggi e Saperi dell Estetico","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4067/S0718-71812016000200005","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"PHILOSOPHY","Score":null,"Total":0}
引用次数: 1
Abstract
El presente texto examina las nociones de imagenes operativas y de montaje blando en las video-instalaciones de Harun Farocki para proponer que el valor critico de su obra consiste en el despliegue de una reflexion sistematica sobre la historicidad de la funcion social de la imagen. Por lo tanto, la obra de Farocki propone que en el mundo contemporaneo la funcion de social de la representacion visual esta marcada por el transito desde un regimen de la imagena lo que ha sido denominado como regimen de la visualidad.
期刊介绍：
The choice of the name of the journal represents a farewell from the identification of aesthetics with hermeneutics and speculative philosophy of art. It also shows our strong commitment to the irreducibility of aesthetics to a mere psychological fact. The subtitle of the journal “practices, languages and knowledge concerning aesthetics” indicates the present, fertile pluralism of aesthetics. This is a pluralism of views and methods, often connected with the different ways in which contemporary arts and aesthetic abilities present and structure themselves. Also, it is a pluralism of thoughts and formulas, which induces to relativize the western tradition within which the discipline of aesthetics was born. Finally, it is a pluralism of epistemic landscapes, which also trespasses into the sphere of sensibility and art. These various, epistemic landscapes have recently experienced a revolutionary enlargement through the rise of some new or radically renewed disciplines (from neurosciences to anthropology, from cognitive sciences to psychobiology). Indeed, we conceive Aisthesis as a public space where those different approaches and disciplines can interact.
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