Hitting Where It Hurts: Absurdity as an Artistic Method
نویسندگان
چکیده
This article frames absurdity as an artistic method related to the context of artwork’s making. The artworks introduced here are (very broadly) situated at interface between animation and documentary. Their is not a matter their content, but deeply inscribed in process Though they do explicitly address political questions, strike heart given power systems or established hierarchies thus hit where it hurts. “Make absurd!” way transgressing standards norms undermining relations. offers close-readings small number contemporary that can be apprehended stimulating examples how deploys its critical potential. As demonstrate, disrupting achieved many ways: By “inflating” formal devices order subvert typical elements televisual language from inside-out (House by Andy Birtwistle, Great Britain 2013); rendering source text (and just any text!) literally unreadable investing enormous amount time dismantling (‘On Road’ Jack Kerouac Jorge Lorenzo, Mexico hijacking male masterpiece placing “copy” well female appropriator same level “master” (A Movie Jen Proctor Proctor, USA 2010); demonstrating technique itself bears mark absurd (Anna Vasof’s series works, gathered under headings Non-stop Stop-motion Muybridge’s Disobedient Horses, Austria, 2017–); finally, via called “slapstick avant-garde,” launching attack on purist self-restraint (Dont Know What Thomas Renoldner, Austria 2019).
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متن کاملPREHOSPITAL CARE Hitting them where it hurts? Low dose nalbuphine therapy
Objective: To determine if low dose nalbuphine provides an adequate reduction in pain with minimal side effects. Methods: Prospective cohort of 115 patients given nalbuphine by paramedics in Wales and the English borders. Outcome measures: (1) Mean total dose of nalbuphine administered, change in pain score, time to adequate pain relief (score below four), and change in respiratory rate and sys...
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ژورنال
عنوان ژورنال: International Journal of Film and Media Arts
سال: 2021
ISSN: ['2183-9271']
DOI: https://doi.org/10.24140/ijfma.v6.n3.02