montage

brecht: breaking bad habits or spectator becomes critic

  ‘epic theatre proceeds by fits and starts, in the manner comparable to the images on a film strip’. here the principle of montage draws attention to the content of the work- its form is sublated. its technique is to

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brecht: breaking bad habits or spectator becomes critic

  ‘epic theatre proceeds by fits and starts, in the manner comparable to the images on a film strip’. here the principle of montage draws attention to the content of the work- its form is sublated. its technique is to

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joyce: sixth sense or city montage

joyce or sixth sense and the city, the destruction of the narrator marries montage to the city by a compression of its layers in time and space. the inhabitants of the city are in joyce, bedevilled by the paradox of oneness

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joyce: sixth sense or city montage

joyce or sixth sense and the city, the destruction of the narrator marries montage to the city by a compression of its layers in time and space. the inhabitants of the city are in joyce, bedevilled by the paradox of oneness

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eisenstein: negative dialectics or shock tactics

eisenstein or shock tactics, the art of decomposition/ reconstruction for eisenstein, his theory of montage was identified with dialectical materialism and hegelian philosophy, and is illustrated in the ‘collision’ of images it creates. this for him demonstrates the idea of negation and the negation of the negation and

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eisenstein: negative dialectics or shock tactics

eisenstein or shock tactics, the art of decomposition/ reconstruction for eisenstein, his theory of montage was identified with dialectical materialism and hegelian philosophy, and is illustrated in the ‘collision’ of images it creates. this for him demonstrates the idea of negation and the negation of the negation and

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trencrom tor enclosure

  trencrom. with evidence of it as a neolithic tor enclosure and a iron age hill fort, the long term occupation of trencrom hill underlines its importance in the cosmology of many generation of prehistoric peoples.  tor enclosures seem to have a

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trencrom tor enclosure

  trencrom. with evidence of it as a neolithic tor enclosure and a iron age hill fort, the long term occupation of trencrom hill underlines its importance in the cosmology of many generation of prehistoric peoples.  tor enclosures seem to have a

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roughtor paintworks

to the north-west of roughtor ridge, in open grassy moorland, is a settlement of over 120 hut circles, small enclosures and fragments of field systems. laid out in a broad north-south band, the majority of the round houses are linked

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roughtor paintworks

to the north-west of roughtor ridge, in open grassy moorland, is a settlement of over 120 hut circles, small enclosures and fragments of field systems. laid out in a broad north-south band, the majority of the round houses are linked

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[house] chambers- passages ground- sky sacred- profane

[house] chambers/ passages/ ground/ sky/ sacred/ profane west place house could be interpreted as an echo of the entrance carns to be found on the western perimeter of penwith with its subterranean passage and chambers, earth covered rooms and courts. the route through the house from

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[house] chambers- passages ground- sky sacred- profane

[house] chambers/ passages/ ground/ sky/ sacred/ profane west place house could be interpreted as an echo of the entrance carns to be found on the western perimeter of penwith with its subterranean passage and chambers, earth covered rooms and courts. the route through the house from

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montage-modernity-and the wild west

montage with its spatial origins in dublin (joyce), paris (surrealism), berlin (dada, brecht, hartmann)) and moscow (eisenstein vertov), the increasingly fragmented world gives rise to the the technique of fragment. benjamin sees the passagenwork as a lexicon of capitalist modernity, its

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montage-modernity-and the wild west

montage with its spatial origins in dublin (joyce), paris (surrealism), berlin (dada, brecht, hartmann)) and moscow (eisenstein vertov), the increasingly fragmented world gives rise to the the technique of fragment. benjamin sees the passagenwork as a lexicon of capitalist modernity, its

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thinking about aristotle

for marx as it is for aristotle, praxis is non-instrumental, non-predictive, and non-explanatory knowledge: a form of prudence, guiding one to act in concrete moral, ethical and historical situations according to principles that are both universal and concrete. revolutionary action is seen

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thinking about aristotle

for marx as it is for aristotle, praxis is non-instrumental, non-predictive, and non-explanatory knowledge: a form of prudence, guiding one to act in concrete moral, ethical and historical situations according to principles that are both universal and concrete. revolutionary action is seen

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pattersdale rock engravings

the complex includes five closely-spaced examples of prehistoric rock art in patterdale. they are all located on a low, tree-covered rock and gravel outcrop of close-grained igneous rock on low-lying ground a short distance east of goldrill beck 270m north west

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pattersdale rock engravings

the complex includes five closely-spaced examples of prehistoric rock art in patterdale. they are all located on a low, tree-covered rock and gravel outcrop of close-grained igneous rock on low-lying ground a short distance east of goldrill beck 270m north west

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benjamin. stones. menhir.

walter benjamin’s grave in portbou. the epitaph in german, repeated in catalan, quotes from section 7 of theses on the philosophy of history: //there is no document of civilization which is not at the same time a document of barbarism.//.

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benjamin. stones. menhir.

walter benjamin’s grave in portbou. the epitaph in german, repeated in catalan, quotes from section 7 of theses on the philosophy of history: //there is no document of civilization which is not at the same time a document of barbarism.//.

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the dialectical image.

the question is how montage can can aid perception, and in particular, for benjamin, the perceptibility of history — to add a ‘heightened graphicness’ to its understanding.  the method was to //carry over the principle of montage into history. that is, to assemble large-scale constructions

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the dialectical image.

the question is how montage can can aid perception, and in particular, for benjamin, the perceptibility of history — to add a ‘heightened graphicness’ to its understanding.  the method was to //carry over the principle of montage into history. that is, to assemble large-scale constructions

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city montage. moscow. vertov.

the kino-eye. our montage goes through a whole series of stages. it begins with observations on a definite theme. this theme includes a given number of phenomena in a given place. and this first editing is done with nothing in hand,

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city montage. moscow. vertov.

the kino-eye. our montage goes through a whole series of stages. it begins with observations on a definite theme. this theme includes a given number of phenomena in a given place. and this first editing is done with nothing in hand,

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city montage. berlin. brecht.

brecht. his ‘epic theatre proceeds by fits and starts, in the manner comparable to the images on a film strip’. here the principle of montage draws attention to the content of the work- its form is sublated (aufheben). its technique is

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city montage. berlin. brecht.

brecht. his ‘epic theatre proceeds by fits and starts, in the manner comparable to the images on a film strip’. here the principle of montage draws attention to the content of the work- its form is sublated (aufheben). its technique is

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city montage – dublin. joyce.

in ulysses, joyce constructs a montaged life of the city over the course of 24 hours. this process of decomposition and reconstruction relates it the cinematic montage of eisenstein and vertov that embraces the city’s discontinuity, conflict and contradiction. but he further differentiates his

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city montage – dublin. joyce.

in ulysses, joyce constructs a montaged life of the city over the course of 24 hours. this process of decomposition and reconstruction relates it the cinematic montage of eisenstein and vertov that embraces the city’s discontinuity, conflict and contradiction. but he further differentiates his

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ulysses. molly-moon

her antiquity in preceding and surviving succeeding tellurian generations: her nocturnal predominance: her satellitic dependence: her luminary reflection: her constancy under all her phases, rising and setting by her appointed times, waxing and waning: the forced invariability of her aspect: her indeterminate response to in-affirmative

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ulysses. molly-moon

her antiquity in preceding and surviving succeeding tellurian generations: her nocturnal predominance: her satellitic dependence: her luminary reflection: her constancy under all her phases, rising and setting by her appointed times, waxing and waning: the forced invariability of her aspect: her indeterminate response to in-affirmative

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gobekli tepe

göbekli tepe (turkish for ‘hill with a tummy’), which is a hilltop sanctuary built on the highest point of an elongated mountain ridge about 15km northeast of the town of şanlıurfa (urfa)in southeast turkey. it is said to have been

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gobekli tepe

göbekli tepe (turkish for ‘hill with a tummy’), which is a hilltop sanctuary built on the highest point of an elongated mountain ridge about 15km northeast of the town of şanlıurfa (urfa)in southeast turkey. it is said to have been

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constructive montage

constructive montage — i chose this as the title of my phd, with the understanding that this corresponded most closely with the way which (my) practice (practice in general) contributed to praxis – that is the dialectic between theory,  practice or the practical, and

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constructive montage

constructive montage — i chose this as the title of my phd, with the understanding that this corresponded most closely with the way which (my) practice (practice in general) contributed to praxis – that is the dialectic between theory,  practice or the practical, and

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nicosia

nicosia has been in continuous habitation since the beginning of the bronze age 2500 years BC, when the first inhabitants settled in the fertile plain of mesaoria. nicosia later became a city state known as ledra or ledrae.  its present form dates from 1567 when

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nicosia

nicosia has been in continuous habitation since the beginning of the bronze age 2500 years BC, when the first inhabitants settled in the fertile plain of mesaoria. nicosia later became a city state known as ledra or ledrae.  its present form dates from 1567 when

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the present work

the work was intended to form part of the research for the phd and a way of translating the knowledge and experience gained in the ‘excavation’ of the west penwith ancient land-scape through irreducible observation and imaginative re-enactments – the forms the

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the present work

the work was intended to form part of the research for the phd and a way of translating the knowledge and experience gained in the ‘excavation’ of the west penwith ancient land-scape through irreducible observation and imaginative re-enactments – the forms the

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rosewall hill

rosewall hill sits just west of st ives and has three impressive groups of granite rock tors which are situated along its long crest in an east-west orientation. the eastern tor lies on its north eastern slope and deliniates its

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rosewall hill

rosewall hill sits just west of st ives and has three impressive groups of granite rock tors which are situated along its long crest in an east-west orientation. the eastern tor lies on its north eastern slope and deliniates its

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tregaseal

tregaseal stone circles. on the lower slopes of truthwall common stands a well preserved stone circle on virtually flat land. The site is also known as the nine maidens or the dancing stones. buller in 1842 records 21 stones, twelve of

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tregaseal

tregaseal stone circles. on the lower slopes of truthwall common stands a well preserved stone circle on virtually flat land. The site is also known as the nine maidens or the dancing stones. buller in 1842 records 21 stones, twelve of

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collective memory

collective memory — ancestors and death ritualised, first as act of collective memory then individual burials. death monumentalised. menhirs cromlechs, entrance grave, cairns, barrows — burning and cremation as acts of transition- deliberately burnt long house become long barrows. —

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collective memory

collective memory — ancestors and death ritualised, first as act of collective memory then individual burials. death monumentalised. menhirs cromlechs, entrance grave, cairns, barrows — burning and cremation as acts of transition- deliberately burnt long house become long barrows. —

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giants stone

carn stabba is the name given to this area in which significant arrangements of large stones are to be found, this giant stone is between 3.4-3.8m high , 8.4m long and around 4m wide at its largest point.  its side and

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giants stone

carn stabba is the name given to this area in which significant arrangements of large stones are to be found, this giant stone is between 3.4-3.8m high , 8.4m long and around 4m wide at its largest point.  its side and

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montage construction

montage with its spatial origins in dublin (joyce, ulysses), paris (breton, surrealism), berlin (brecht, dada) and moscow (eisenstein, vertov), the increasingly fragmented city gives rise to the technique of fragment. benjamin sees the passagenwork as a lexicon of capitalist modernity, its

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montage construction

montage with its spatial origins in dublin (joyce, ulysses), paris (breton, surrealism), berlin (brecht, dada) and moscow (eisenstein, vertov), the increasingly fragmented city gives rise to the technique of fragment. benjamin sees the passagenwork as a lexicon of capitalist modernity, its

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