IMAGE TECHNOLOGIES
LAURO LÓPEZ SANCHEZ

IMAGE TECHNOLOGIES

LAURO LÓPEZ SÁNCHEZ

 ONLINE WORKSHOP PRE RECORDED
COMBINED WITH LIVE SESSIONS

DATE TO BE CONFIRMED
The aim of this course is to trace an archaeology of technological media and their close ideological relationship in the development of reproduction media such as cinema, the camera and audiovisual media from their beginnings. 

On the one hand, we will look at concrete examples of how the gaze has gradually shifted and been supplanted by a complex system of military and police security surveillance. 

We now have a hybrid technological system deployed at all levels of life, where reality is associated, organised and determined. This leads to a whole ontological problematic, as it rethinks the place of the production of the gaze and the place of the spectator. 

Prose Leni Riefenstahl

Alvin Langdon Coburn - House of a Thousand Windows - Google Art Project 1

PROGRAM

AGENDA

 Technical approaches in the 20th century. From experimental photography to cinema. 
1.1- Emergence of the Vertical gaze.
1.2- Ideology and Technique. Swimming and aerial photography to the aerial photography of the First World War. 
1.3- The photographers of the vertical city. Paul Strand, Alfred Stieglitz. 
1.4- Kasimir Malevich, the new mechanical look from photography to painting.

2.- Dialectical Turns of the Image.

2.1- The cinematographic view of the great ideologies 

2.2- Kino Prada Manifesto. Dziga Vertov. 
2.3- Hitler the film-maker; the cinema of Leni Riefenstahl. 
2.4- Griffith and American parallel editing. 

3.- Media Democratisation and Cultural Micro-revolutions. 
3.1- Wearable camera technology and development. 
3.2- Micro visual revolution from the New American Cinema to the rise of video art. 
3.3- Collectors of ruined images. Lyricists and Situationists. 
3.4 - The emergence of the documentary as historical and political resistance. 

4.- The Historical Image of the Disaster 
4.1 Alexander Kluge's Dialectical Montage 
4.2 The Filmmaker as Historian. 
4.3 Harum Farocki the image in late capitalism. 
4.4. Shifting the gaze to the Eye-Machine. 

Image with text overlay

5.- The images of the Machinic Unconscious. 
5.1- Ballard and the colliding image-body factory. 
5.2- Reality as Science Fiction. 
5.3- Paul Virilio and vision technologies. 
5.4- Accelerated Aesthetics. 
6.- Images on Digital Platforms 
6.1- Synthetic identities 
6.2- Algorithms and the new social re-engineering. 
7.- New Reality Engines 
7.1 The Video Game as a producer of aesthetic categories. 
7.2 Mark Fisher: Nostalgia for the past that did not exist. 
7.2 General Artificial Intelligence 
Maya Deren
Our Trip to Africa C

registration and costs

C O M M I N G S O O N