Serious Games: The Asymmetry of Images in Harun Farocki’s Work
The video installation Serious Games (2009-2010) by director, artist and image theorist Harun Farocki (1944-2014) investigates the relationship between virtual reality, augmented reality and war in the contemporary world. The question that guides Farocki’s research is: how have new technologies and...
Main Author: | |
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Format: | Electronic Article |
Language: | English |
Check availability: | HBZ Gateway |
Journals Online & Print: | |
Fernleihe: | Fernleihe für die Fachinformationsdienste |
Published: |
Institut f. Fundamentaltheologie
2022
|
In: |
Journal for religion, film and media
Year: 2022, Volume: 8, Issue: 1, Pages: 83-101 |
Standardized Subjects / Keyword chains: | B
Ernste Spiele
/ War
/ Depiction
/ Virtual reality
/ Desecration
|
IxTheo Classification: | NCD Political ethics TK Recent history ZD Psychology ZG Media studies; Digital media; Communication studies |
Further subjects: | B
Harun Farocki
B Species B Operational Images B Serious Games B Desecration |
Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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520 | |a The video installation Serious Games (2009-2010) by director, artist and image theorist Harun Farocki (1944-2014) investigates the relationship between virtual reality, augmented reality and war in the contemporary world. The question that guides Farocki’s research is: how have new technologies and new ways of producing images changed contemporary wars? Farocki’s analysis shows how the images themselves have become a part of war - not as propaganda, but as part of communication and part of the tactics of war, and how, within the way wars are conducted, images are becoming more and more «operational» and therefore entail an increasing asymmetry in both the materiality of conflicts and their perception. Farocki’s work on the relationship between images and wars is not only a genealogy of our view of wars, but also an attempt at "profanation" - to use Giorgio Agamben’s notion - that allows for a restitution of the testimonial capacity of images in relation to wars. | ||
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