THE SILENCE OF THE IMAGE, THE NOISE OF THE GAZE, THE POST-ANTHROPOCENTRIC SENSORIUM
DOI:
https://doi.org/10.18485/f_zsmu.2024.20.9Keywords:
image, digital technologies, depth (perspective), flatness (screen), scale, silence, post-anthropoceneAbstract
The paper discussed Vladimir Nikolić’s project Walking with Water (2022) as an example of new media art practice that investigates the basic and constitutive questions of the image and its relationship to reality within the context of contemporary digital and internet culture and the visual perception regimes shaped by this culture. The Walking with Water project was a challenging and ambitious installation of the monumental scale, juxtaposing two video artworks: 800 meters (2019) and Document (2022), conceived for the Serbian Pavilion at the Venice Biennale 2022. The procedure, techniques, and methods of image realization as well as the significance and the meaning of references to the history of abstract art and the modernist concept of self-referentiality, were the main topics of discussion. The effects and meanings of the relationship between the optical experience of physical reality and the immediate bodily experience of space on the one hand and the image as a “duplicate” of that experience on the other hand, as well as their different materialities, the gap between the image and the reality that the image represents/aspires to represent, were analyzed. Both video artworks are based on the exploration of an optical image that would rethink the relationship between senses and media and reassess Kittler’s assertion about media as tools that provide a model or metaphor for understanding our senses. Secondly, these two video artworks are an expression of the problematization of life as a function of images and imagination that, as Flusser says, “slide into hallucination” or, to put it more simply, into the “tyranny of choice” and consumption. The paper also discussed whether the video artworks in this project also entail new pictorial effects that can be realized with digital technology, but above all whether the procedures, the methods of image realization and the image itself speak for the articulation of a post-anthropocentric critical position and the re-evaluation of the image user into a post-anthropocentric observer and post-anthropocentric subject. It is concludes that the fact that the submitting the camera to what it looks at and not the other way around, especially when that gaze is directed at nature and its basic elements, water and air, which are captured and described by means of four dimensions (height, width, depth and time), consequently the dematerialization of the media in favour of the image, as well as the projection in scales related to physical experience, provide sufficient arguments for the posthumanist approach in the distribution of the sensible.
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