1.0ARKIPELhttps://arkipel.orgArkipelhttps://arkipel.org/people/arkipel/The Tech-Poetry of Moving Image: in “Between”, “Relating”, and “Use” — ARKIPELrich600338<blockquote class="wp-embedded-content" data-secret="GVXXxACVJn"><a href="https://arkipel.org/tech-poetry-of-moving-image/">The Tech-Poetry of Moving Image: in “Between”, “Relating”, and “Use”</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://arkipel.org/tech-poetry-of-moving-image/embed/#?secret=GVXXxACVJn" width="600" height="338" title="“The Tech-Poetry of Moving Image: in “Between”, “Relating”, and “Use”” — ARKIPEL" data-secret="GVXXxACVJn" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript">
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https://i0.wp.com/arkipel.org/wp-content/uploads/2021/11/dont-know-what-1920x1080-1.jpg?fit=1920%2C1080&ssl=119201080In the discourse of ethnographic film, representing the subjects living in the periphery will bring forth the experimentation of cinema aesthetics. The experimentation is in parallel with the paradigm shifts in social science and ethics that follow it. The aesthetic explorations, which range from a dramatic construction with the romantic style of Flaherty up to how to perceive anthropological facts with the style of Sensory Ethnography Lab films, contribute to the discourse on the development of this genre. The latest tendency of this cinema is indeed observational and participatory. But these observation and participation bear their own problems.In representing peripheral subjects, especially those who are far or less exposed to media technology, there is a temptation to treat them as a "discovery”.