Las exposiciones de El Lissitzky a través del Cine-ojo

[EN] The Avant-Garde movements of the twentieth century explored the creative possibilities of new types of media in architecture, such as the photographic camera or cinema. In a series of experimental projects, authors such as El Lissitzky based their work on assimilating the human eye with a mechanical lens, making it possible to create new concepts of space. A simultaneous consideration of the resources of Vertov’s Cine-Eye in relation to the exhibition projects of El Lissitzky reveals some of his proposals as paradigmatic examples of the perceptive experimentation of the viewer in relation to art, and in a wider sense, to architecture. By analysing the cinematic resources of the film Man with a Movie Camera (1929), architectural aspects are analysed in the exhibition spaces of the Abstract Cabinet and PRESSA, identifying connections that break down the boundaries between the different disciplines.[ES] Las Vanguardias de principios del siglo XX exploran la capacidad creativa de los nuevos medios en la arquitectura, como la cámara fotográfica o el cine. En proyectos propicios para la experimentación, autores como El Lissitzky parten de la asimilación del ojo humano a un objetivo mecánico que permite la formulación de nuevos conceptos espaciales. Una lectura en paralelo de recursos del Cine-ojo de Vertov sobre proyectos expositivos de El Lissitzky, sitúa algunas de sus propuestas como ejemplos paradigmáticos de la experimentación perceptiva del espectador sobre el objeto artístico y, en un sentido más amplio, sobre la arquitectura. A través del análisis de recursos cinematográficos de la película El Hombre con la cámara se interpretan aspectos arquitectónicos en los espacios expositivos del Gabinete de los Abstractos y PRESSA, trazando vínculos que disuelven los límites disciplinares .Paz-Agras, L. (2017). The exhibitions of El Lissitzky through Cine-Eye. VLC arquitectura. Research Journal. 4(1):151-174. doi:10.4995/vlc.2017.6987.SWORD15117441Arnheim, Rudolf. Arte y percepción visual. Madrid: Alianza Forma, 1984.Aynsley, Jeremy. "" PRESSA", Cologne, 1928. Dise-o de exposiciones y publicaciones en la época de Weimar", in Espacios fotográficos públicos. Exposiciones de propaganda, de Pressa a The Family of Man, 1928-1955, edited by Jorge Ribalta. Barcelona: Musei d'Art Contemporari, 2008.Bayer, H. (1961). Aspects of Design of Exhibitions and Museums. Curator: The Museum Journal, 4(3), 257-288. doi:10.1111/j.2151-6952.1961.tb01561.xBuchloh, Benjamin H. D. "De la "Faktura" a la "Faktografía"", in Espacios fotográficos públicos. Exposiciones de propaganda, de Pressa a The Family of Man, 1928-1955, edited by Jorge Ribalta. Barcelona: Musei d'Art Contemporari, 2008.Cauman, Samuel. Living Museum: Experiences of an Art Historian – Alexander Dorner. New York: New York University Press, 1958.Gouch, Maria. "Constructivism Disoriented: El Lissitzky's Dresden and Hannover Demostrationsraüme", in Situating El Lissitzky. Vitebsk, Berlin, Moscow, edited by Nancy Perloff and Brian Reed. Los Angeles: Getty Research Institute, 2003.Lissitzky-Küppers, Sophie. El Lissitzky. Life-letters-texts. London, New York: Thames and Hudson, 1967.Moholy-Nagy, László. "Cómo la fotografía revoluciona la visión", in László Moholy-Nagy. Fotogramas 1922-1943, edited by Herbert Molderings et al. Barcelona: Fundació Antoni Tápies, Madrid: Museo Nacional Centro de Arte Reina Sofía, 1997 (original: 1933).Pevsner, N. (1971). The Lissitzky Room. Art Journal, 31(1), 128. doi:10.2307/775658Pohlman, Ulrick. "Los dise-os de exposiciones de El Lissitzky. La influencia de su obra en Alemania, Italia y los Estados Unidos, 1923-1943", in Espacios fotográficos públicos. Exposiciones de propaganda, de Pressa a The Family of Man, 1928-1955, edited by Jorge Ribalta. Barcelona: Musei d'Art Contemporari, 2008.Ribalta, Jorge (ed). Espacios fotográficos públicos. Exposiciones de propaganda, de Pressa a The Family of Man, 1928-1955. Barcelona: Musei d'Art Contemporari, 2008.Stam, Mart. "El Lissitzky's conception of architecture 1966", in El Lissitzky. Life-letters-texts, edited by Sophie Lissitzky-Küppers. London, New York: Thames and Hudson, 1967.Tupytsin, Margarita. "From Abstract to Cinematic Cabinet", in Malevich and Film, edited by Margarita Tupitsin. New Haven, London: Yale University Press, Barcelona: Fundación "la Caixa", 2002.Tupytsin, Margarita. "Back to Moscow", in El Lissitzky. Beyond the Abstract Cabinet, edited by Margarita Tupytsin. New Haven, London: Yale University Press, 1999.Vertov, Dziga. Memorias de un cineasta bolchevique. Madrid: Capitán Swing Libros SL, 2011

Listen to Nice

In describing Humphrey Jennings’ wartime documentary propaganda film, 'Listen to Britain' (1942), a film with an overtly poetic sensibility and dominantly musical soundtrack, John Corner asserts that ‘through listening to Britain, we are enabled to properly look at it'. This idea of sound leading our attention to the images has underpinned much of the collaborative work between composer and sound designer, Geoffrey Cox, and documentary filmmaker, Keith Marley. It is in this context that the article will analyse an extract of A Film About Nice (Marley and Cox 2010), a contemporary re-imagining of Jean Vigo’s silent documentary, 'A propos de Nice' (1930). Reference will be made throughout to the historical context, and the filmic and theoretical influences that have informed the way music and creative sound design have been used to place emphasis on hearing a place, as much as seeing it

Editorial introduction

This article frames the journal special issue by offering a broad reflection on the historical development of ideas that have informed debates concerning intermediality and its pedagogical contexts. It opens with a brief articulation of media and intermedial theory to inform the debate. The challenges of contemporary media hybridity are then set within an historical context by tracing the origins of current (perceived) knowledge dichotomies and hierarchies into the philosophical canons of western antiquity. In examining distinctions between the different types of knowledge and expression that form the constituent parts of contemporary intermedial theatres, the article considers philosophical debates, traces historical trajectories and probes social dynamics from Aristotle to the present. Moving on to the current historical and social context of intermedial practice and pedagogy, the article examines specific challenges and opportunities that emerge from our own intermedial age. This multifaceted and trans-historical approach leads the authors to suggest that old hierarchical and divisional structures impact upon contemporary practices, affecting how those are perceived, received and valued

L'occhio della rivoluzione

Edizione italiana dei principali scritti teorici sul cinema di Dziga Vertov. Introduzione del curatore, pp.9-25; Note ai testi, pp.253-69Italian edition of the major theoretical writings on cinema Dziga Vertov. Introduction by the editor, pp.9-2