论文部分内容阅读
电影以及其后发展(实际是同时发展的)的电视、录像、电脑和网络都是令观众进行参与性工作的可恶的/讨厌的工厂,也就是说,在里面,我们进行价值生产性劳动。正是如此,人们在电影影像里面,并通过影像的活动,从雾蒙蒙的游弋影像中,提出了一个结合社会-精神-物质的相互关系,我们也正是生活在这样的关系中。这一申明,指出在电影银幕面前,我们不仅面对着每场戏的影像,而且要面对这些影像的逻辑内涵,在这样的情形下,我们转变了,异化了。今天,形象思维作用,变成了形象感受自身。这种异化不仅仅把资本劳动变成我们为了维持自己的影像,而且我们就在这些影像中劳动。这种影像,曲解了所有的视觉呈现,是新作品的场景镜头。
Films, and later (actually simultaneous) television, video, computers, and the Internet are all abhorrent / nasty factories that enable viewers to engage in participatory work, that is, where we work productively on value. It is for this reason that in the images of cinema and through the activities of images, people propose a combination of social-spiritual-material relations from foggy images of crucifixion, and we also live in such relations. This affirmation states that before the movie screen, we not only face the images of each scene, but also the logical connotations of the images. Under such circumstances, we have transformed and alienated ourselves. Today, the role of the image of thinking, has become the image of their own feelings. This alienation does not just turn capitalist labor into our own image in order to sustain ourselves, and we labor in these images. This video, misinterpreting all visual representations, is a scene shot of a new work.