Serious Games: The Asymmetry of Images in Harun Farocki’s Work
The video installation Serious Games (2009-2010) by director, artist and image theorist Harun Farocki (1944-2014) investigates the relationship between virtual reality, augmented reality and war in the contemporary world. The question that guides Farocki’s research is: how have new technologies and...
| Publié dans: | Journal for religion, film and media |
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| Auteur principal: | |
| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Institut f. Fundamentaltheologie
2022
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| Dans: |
Journal for religion, film and media
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| Sujets / Chaînes de mots-clés standardisés: | B
Ernste Spiele
/ Guerre
/ Représentation
/ Réalité virtuelle
/ Déconsécration
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| RelBib Classification: | NCD Éthique et politique TK Époque contemporaine ZD Psychologie ZG Sociologie des médias; médias numériques; Sciences de l'information et de la communication |
| Sujets non-standardisés: | B
Déconsécration
B Espèce B Harun Farocki B Operational Images B Serious Games |
| Accès en ligne: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Résumé: | The video installation Serious Games (2009-2010) by director, artist and image theorist Harun Farocki (1944-2014) investigates the relationship between virtual reality, augmented reality and war in the contemporary world. The question that guides Farocki’s research is: how have new technologies and new ways of producing images changed contemporary wars? Farocki’s analysis shows how the images themselves have become a part of war - not as propaganda, but as part of communication and part of the tactics of war, and how, within the way wars are conducted, images are becoming more and more «operational» and therefore entail an increasing asymmetry in both the materiality of conflicts and their perception. Farocki’s work on the relationship between images and wars is not only a genealogy of our view of wars, but also an attempt at "profanation" - to use Giorgio Agamben’s notion - that allows for a restitution of the testimonial capacity of images in relation to wars. |
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| ISSN: | 2617-3697 |
| Contient: | Enthalten in: Journal for religion, film and media
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| Persistent identifiers: | DOI: 10.25364/05.8:2022.1.5 |