Within this lecture, an introduction in how the concepts of reality and the representation of reality by observing and analysing a selection of artworks within art and film. This was compartmentalized into different sections on how reality is perceived and how we address the issues surrounding our memories and our exposure to the realms of the illusion.
Firstly, the lecture focuses the attention on Pierre Huyghe’s Third Memory video representation in 1962, in which the video portrays a bank heist in 1972. These two movies are played concurrently, whereby the left side of the video features, highlights from the 1975 film, Dog Day Afternoon, which starred Al Pacino and the video on the right is of an interview with a man called John Wojtowicz, who is poised in a fake bank.
On personally observing this disconnection between the two, it’s interesting to see the two videos being shown in this way. How reality and representation of an event is dictated through reality and illusion.
This was particularly insightful for myself, because some of my research reflects into the realities of the authentic and how that is translated.
Examining this video we can see the abutment of authenticity and concoction. John Wojtowicz substantiates the validation of his life, in which its translated into a imitation of perceptibility. The lines between representation and authenticity are blurred and this relationship remains solid between the visual observation and the amount of collective information that is supplied.
Within The Third Memory, the video accommodates a rather convoluted arrangement of the authentic and negotiates and employs gestures in exchanges for its collective synergy.
Pierre Huyghe takes substantive dramatization of John Wojtowicz for the bank heist and enables Wojtowicz to translate it to a significant occasion in his life. It’s interesting to observe how John Wojtowicz’s recollection of the event of the robbery has been amalgamated with the movie. It’s quite compelling to observe that John Wojtowicz’s initial memory has been distorted when you look at fact versus fiction.
The Third Memory emphasizes the marriage amidst the authentic and it’s portrayal as seemingly coming across as a separate entity. The film industry are recognised in employing this method to translate fabricated notions in order to establish it’s construction of augmentation substantiality.
Secondly, the lecture addresses how John Wojtowicz had observed Al Pacino in the film The Godfather to learn how to hold a gun in relation to becoming a master of this skill and obtaining a personality of a gangster.
The materialistic and controversial of disturbing acquisition between art and a video installation interposes a spatial analysis and injects a subjective response.
As someone who works in the entertainment industry, the awareness of the fundamental aspects that resonate between society and the saturated world of images and social interaction are quite significant. The real world isn’t communicated through personification, but gives the illusion of authenticity. To negotiate through this existence is very hard, because you have to represent to society something that is not as genuine and authentic as you initially believed.
The world of social media and society is very distorted, where it’s been mutated and represented in different forms. The representation in the digital world, whether it’s from television, film, commercial or advertising has led us to believe we live in this vacuum of materialistic ideologies whereby images blemishes the factors of reality. We are dominated, disciplined and controlled to some degree by this uninterrupted exchange of images and communications that are constantly and profoundly intervene our way of thinking about the world and the society we live in.
The constant need of validation is prescribed and dictated by the influx of this one sided version of what’s real and unreal and we as the audience consider the possibilities. However, we live in technological world of fast thinking ideologies whereby it’s relatively easy to persuade the audience that what they perceive is real. With the constant influx of fake news, false images, it’s easy to see why we are persuaded so quickly to see these representations as authentic. Pictures become isolated and form their own entity and unfold and manifest into different representations. They are used to inform us with one hand and abuse that right with another. The blurred lines from fact and fiction constantly finding its own boundaries, reassembling and generating into a unification of communication that is deceptive.
Lastly in regards to the logical distinctions between reality and representation, it’s interesting to see Debord’s theory of spectacle through the writings of French philosopher Jean Baudrillard. Baudrillard analyses how personification ceases to function and insinuate an authentic world. The dissimulation of the real world and the misconceptions that revolve around building an image that is easily misrepresented.
Within the lecture, an observation of relational aesthetics is discussed, which was recognized by French art critic Nicolas Bourriaud. Bourriaud examines the idea of relational aesthetics through relational art. Bourriaud outlines that relational aesthetics epitomizes all artistic methods, which compartmentalizes the observer from the art. Relational aesthetics umbrellas the structure of disciplines to interpret contemporary art and re-establishes social connections within society and bonds that have been formed.
And in closing, the lecture establishes the connection back to Guy Debord and The Society of the Spectacle. Understanding the spectacle becomes the objective and preeminent mechanics of construction. The spectacle embodies the prevalent representative of social intercourse. The spectacle is consolidated and segregated at the same time until it becomes its own entity.
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