1.0ARKIPELhttps://arkipel.orgArkipelhttps://arkipel.org/people/arkipel/rich600338<blockquote class="wp-embedded-content" data-secret="qbov61MZGJ"><a href="https://arkipel.org/nmt-ic1/">Noli Me Tangere – International Competition 1</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://arkipel.org/nmt-ic1/embed/#?secret=qbov61MZGJ" width="600" height="338" title="“Noli Me Tangere – International Competition 1” — ARKIPEL" data-secret="qbov61MZGJ" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /* <![CDATA[ */ /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); /* ]]> */ </script> In Jacques Ranciere’s perspective, the potential of documentary cinema is as an ‘aesthetics of knowledge’ as a description and reconfiguration of the world of common experience, through which knowledge and facts acquire their meaning. That is why there are always experimental possibilities that are always open from the facts that are given before the camera, where the motion along with the juxtaposition of the image itself is a kind of new arrangement of the ongoing construction of reality. This reconfiguration becomes political when documentary cinema is able to imply things that are not represented and not heard, to then present the affirmation of the implied subjects as then changing the sensible distribution order.https://i0.wp.com/arkipel.org/wp-content/uploads/2020/02/arkipel-logo-1080-x-564.png?fit=1080%2C564&ssl=11080564