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Pikselizirana revolucija

(2014) IN MEDIA RES. 3(4). p.506-523
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Abstract
The text foregrounds the relationship between three main elements: gaze, image and violence. Framed by the theoretical propositions in the selected texts by Marie-José Mondzain and Jean-Luc Nancy, this relationship is considered in the context of the current socio-political realities in the Middle East (Syria) but also in the broader, global sense. I take contemporary visual practice as my starting point and consider “The Pixelated Revolution” (the project by the Lebanese artist Rabih Mroué) as exemplary in this context in order to engage with the following phenomenon - recording one’s own death in the revolutionary and wartime conditions, at a level that connects several key elements of the debate: the visual character of mobile (phone) technology, image-producing operations, the concept of self-sacrifice, and the mobilization of communities towards radical transformations. The purpose of this text is to encourage future reflections about the role images perform nowadays (in particular those created under the conditions of lethal threat and violence) and about the implications of an external observer in this process, when looking at such images in the exhibition context from a ‘lateral’ (i.e., supposedly safe and neutral) perspective.
Keywords
Rabih Mroué, gaze, image, death, self-sacrifice, contemporary art

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Citation

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Chicago
Stamenkovic, Marko. 2014. “Pikselizirana Revolucija.” In In Media Res, 3:506–523. Zagreb, Croatia: Centar za filozofiju medija i mediološka istraživanja (Zagreb), Sveučilište Sjever Sekcija za filozofiju medija Hrvatskog filozofskog društva (Zagreb), Udruženje građana “Mladi grašak” za umetnost, kulturu, medije i društvena pitanja (Beograd).
APA
Stamenkovic, M. (2014). Pikselizirana revolucija. IN MEDIA RES (Vol. 3, pp. 506–523). Presented at the III International Interdisciplinary Symposium PHILOSOPHY OF MEDIA (2013), Zagreb, Croatia: Centar za filozofiju medija i mediološka istraživanja (Zagreb), Sveučilište Sjever Sekcija za filozofiju medija Hrvatskog filozofskog društva (Zagreb), Udruženje građana “Mladi grašak” za umetnost, kulturu, medije i društvena pitanja (Beograd).
Vancouver
1.
Stamenkovic M. Pikselizirana revolucija. IN MEDIA RES. Zagreb, Croatia: Centar za filozofiju medija i mediološka istraživanja (Zagreb), Sveučilište Sjever Sekcija za filozofiju medija Hrvatskog filozofskog društva (Zagreb), Udruženje građana “Mladi grašak” za umetnost, kulturu, medije i društvena pitanja (Beograd); 2014. p. 506–23.
MLA
Stamenkovic, Marko. “Pikselizirana Revolucija.” In Media Res. Vol. 3. Zagreb, Croatia: Centar za filozofiju medija i mediološka istraživanja (Zagreb), Sveučilište Sjever Sekcija za filozofiju medija Hrvatskog filozofskog društva (Zagreb), Udruženje građana “Mladi grašak” za umetnost, kulturu, medije i društvena pitanja (Beograd), 2014. 506–523. Print.
@inproceedings{4443182,
  abstract     = {The text foregrounds the relationship between three main elements: gaze, image  and violence. Framed by the theoretical propositions in the selected texts by  Marie-Jos{\'e} Mondzain and Jean-Luc Nancy, this relationship is considered in the  context of the current socio-political realities in the Middle East (Syria) but also  in the broader, global sense. I take contemporary visual practice as my starting  point and consider {\textquotedblleft}The Pixelated Revolution{\textquotedblright} (the project by the Lebanese  artist Rabih Mrou{\'e}) as exemplary in this context in order to engage with the  following phenomenon - recording one{\textquoteright}s own death in the revolutionary and  wartime conditions, at a level that connects several key elements of the debate:  the visual character of mobile (phone) technology, image-producing operations,  the concept of self-sacrifice, and the mobilization of communities towards radical  transformations. The purpose of this text is to encourage future reflections  about the role images perform nowadays (in particular those created under  the conditions of lethal threat and violence) and about the implications of an  external observer in this process, when looking at such images in the exhibition  context from a {\textquoteleft}lateral{\textquoteright} (i.e., supposedly safe and neutral) perspective.},
  articleno    = {6},
  author       = {Stamenkovic, Marko},
  booktitle    = {IN MEDIA RES},
  issn         = {1848-6304},
  language     = {hrv},
  location     = {Dubrovnik, Croatia},
  number       = {4},
  pages        = {6:506--6:523},
  publisher    = {Centar za filozofiju medija i mediolo\v{s}ka istra\v{z}ivanja (Zagreb), Sveu\v{c}ili\v{s}te Sjever Sekcija za filozofiju medija Hrvatskog filozofskog dru\v{s}tva (Zagreb), Udru\v{z}enje gra\unmatched{0111}ana {\quotedblbase}Mladi gra\v{s}ak{\textquotedblleft} za umetnost, kulturu, medije i dru\v{s}tvena pitanja (Beograd)},
  title        = {Pikselizirana revolucija},
  url          = {http://www.centar-fm.org/inmediasres/images/pdf/4/Marko\%20Stamenkovic\%20-\%20Pikselizirana\%20revolucija.pdf},
  volume       = {3},
  year         = {2014},
}