El concepto de dispositivo en la obra de Harum Farocki e Hito Steyerl. Una perspectiva desde las artes escénicas
[EN] The aim of this paper is to analyse the image as a result of some forms of production, which we call devices. This perspective emphasizes the performative and operational dimension that involves an image as part of an aesthetic machinery. We will discuss from a theoretical perspective, differen...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | España |
| Institución: | Consejo Superior de Investigaciones Científicas (CSIC) |
| Repositorio: | DIGITAL.CSIC. Repositorio Institucional del CSIC |
| OAI Identifier: | oai:digital.csic.es:10261/191483 |
| Acceso en línea: | http://hdl.handle.net/10261/191483 |
| Access Level: | acceso abierto |
| Palabra clave: | Hito Steyerl Teoría escénica Imagen Harum Farocki Dispositivo Image Performing theory Machine |
| Sumario: | [EN] The aim of this paper is to analyse the image as a result of some forms of production, which we call devices. This perspective emphasizes the performative and operational dimension that involves an image as part of an aesthetic machinery. We will discuss from a theoretical perspective, different approaches to the idea of an artifact (Flusser), a machine (Raunig) and a device (Deleuze, Agamben, Tiqqun), relating these concepts to the work of Harun Farocki and Hito Steyerl. |
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