Group 5
“Environment Control”
Our concept of "real-time" has changed over time. Even more so with the advent of technology controlling every bit of our lives. One example of this is our time-span.
Caveman example:
Hundreds of years ago, they didn’t have as much occupations, games, entertainments. Whereas, nowadays, it is harder to keep our attention with all the things we have. If someone from long ago somehow lived in our world, they would not be able to capture everything going on, because our perception of “real-time” has changed.
Also, we want to be omnipresent everywhere and control everything but without any physical movements involved. Technology is going too far in certain ways and it is agaisnt our physical nature. For example, humans need to exercise, they need fresh air, the outdoors, and natural foods to stay healthy. This is not saying that all technology is bad, since much of it has aided us.
"Mechanical Eye"
Trinh T. Minh-Ha speaks of the "mechanical eye" which is really our cameras, and film. Since the camera is mechanical in nature, it's bound to be objective and neutral in whatever its showing to the world.
She gives an important point that over-worked shots in film are indeed beautiful, but are "fake" and represent a false reality. As for the rough, uncut shots with natural sounds, are the ones who are true and stick to reality. Is it really necessary to capture life down to the slightest detail?
"The world as foreign land"
Trinh T. Minh-ha refers to post-colonialism, feminism, and minorities. Western culture has it's stereotypes and constantly tries to know it all, despite not being in the "other"s shoes.
The post-colonial other is here caught in the regime of visibility as deployed by the west in a wide range of humanistic and anti humanistic discourses to its leading position as subject of knowledge.
"The place of otherness is fixed in the west as a subversion of western metaphysics and is finally appreciated by west as its limit-text, anti-west… colonial fantasy is the continual dramatization of emergence as the beginning of history which is repetitively denied” ( HOMI K. Bhabha)." Minh-ha writes about the constant repetition of the white race's stubborness in dominating minorities. A stubborness which is simply that, a fantasy. Again there is the need to see "the light".
Our concept of "real-time" has changed over time. Even more so with the advent of technology controlling every bit of our lives. One example of this is our time-span.
Caveman example:
Hundreds of years ago, they didn’t have as much occupations, games, entertainments. Whereas, nowadays, it is harder to keep our attention with all the things we have. If someone from long ago somehow lived in our world, they would not be able to capture everything going on, because our perception of “real-time” has changed.
Also, we want to be omnipresent everywhere and control everything but without any physical movements involved. Technology is going too far in certain ways and it is agaisnt our physical nature. For example, humans need to exercise, they need fresh air, the outdoors, and natural foods to stay healthy. This is not saying that all technology is bad, since much of it has aided us.
"Mechanical Eye"
Trinh T. Minh-Ha speaks of the "mechanical eye" which is really our cameras, and film. Since the camera is mechanical in nature, it's bound to be objective and neutral in whatever its showing to the world.
She gives an important point that over-worked shots in film are indeed beautiful, but are "fake" and represent a false reality. As for the rough, uncut shots with natural sounds, are the ones who are true and stick to reality. Is it really necessary to capture life down to the slightest detail?
"The world as foreign land"
Trinh T. Minh-ha refers to post-colonialism, feminism, and minorities. Western culture has it's stereotypes and constantly tries to know it all, despite not being in the "other"s shoes.
The post-colonial other is here caught in the regime of visibility as deployed by the west in a wide range of humanistic and anti humanistic discourses to its leading position as subject of knowledge.
"The place of otherness is fixed in the west as a subversion of western metaphysics and is finally appreciated by west as its limit-text, anti-west… colonial fantasy is the continual dramatization of emergence as the beginning of history which is repetitively denied” ( HOMI K. Bhabha)." Minh-ha writes about the constant repetition of the white race's stubborness in dominating minorities. A stubborness which is simply that, a fantasy. Again there is the need to see "the light".
posted by Dora at 8:19 PM
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