28 – 29 Oct 2021
In the 1955 manifesto ‘The Camera, a Pedagogical Tool’, Deligny emphasizes that the camera is a ‘dispositif’ (apparatus) mediating collective relationships. Later he uses the neologism ‘camering’: ‘I maintain that camering doesn’t come to an end and it’s perhaps here that it differs from filming’. He favours the tool over the finished object (the film) a non-subjective and endless action, cinema as process.
In his social, pedagogical, and clinical experimentations, the energy mobilized through the cinematographic practice does not exhaust itself in the effort of creating a film-object. Freed from the need to produce a finished film, it is the ‘film to come’ that is emphasized. The film projects in turn structure Deligny’s experimentations inasmuch as they emancipate them from their supposed aim — that of normalizing psychotic or re-educating deviant subjects.
This workshop proceeds from the idea that tools can establish new forms of mediation between the members of a group, installing a scene and a milieu. The presence of the tool — the camera in first place, even when used ‘without film’ (taking over thus the gesture of the Russian filmmaker Lev Kuleshov) — prepares and structures modes of action, it installs the milieu ‘there’, wherever it is wielded. Can Deligny’s practice, with all its implications, suggest new forms of social, political, clinical, and pedagogical interventions through mediation that construct or assemble milieus?
(Click for further documentation)
WithSandra Alvarez de Toledo
Bruno de Coninck
Organized byMarlon Miguel
In EnglishFirst published on: https://www.ici-berlin.org/events/assembling-milieus/
Rights: © ICI Berlin