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PERCEPTION OF MACHINE AND TECHNO - IMAGINATION

100%
Paluch M.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 2
133-138
EN
AThe study deals with a technical perception of a device (a camera) in whose center is as an end product a technical picture and its analogical codes. We indicate them analogical in that sense, since they can develop an ancient experience of humanity with a mirror. A photography and film substitute properties of the mirror and establish a new relationship between 'mirror' as a supercode and its reporter. They create codes, which record the reporter in the status where 'here and now' (reality) the reporter 'was' (photographic and film picturing). We distinguish two-dimensional flat codes in case of photograph, and three-dimensional flat codes in case of film. We speak first of all about the flat configurations. The influence of techno - perception on our natural perception can be shown on the various manipulation forms, and on the arranging of pre-aparatus reality (for a camera or film camera) for the purpose of its shooting, since only in the status of a technical picture, the reality reaches an intentional meaning, or on the contrary, the omnipresence of technical pictures retroactively determines our behaviour in the natural reality.
2
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FOUR VIEWS ON THE ORIGINAL SLOVAK DOCUMENT

100%
Paluch M.
Slovenské divadlo (Slovak Theatre)
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2008
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vol. 56
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issue 4
402-410
EN
The study occupies by analysis four documentary movies, which have been created in the last three years.'Other worlds' of Marko Skop, 'Angles cries' of Zuzana Piussi, 'The city of flying words' of Tina Diosi and 'Sightless loves' of Juraj Lehotsky are taking place for selection of production young Slovak authors, mostly graduated in Department of Documentaries of 'Vysoka skola muzickych umeni' (Academy of Performing Art) in Bratislava. The study analyzes four original authorial projects. Marko Skop devotes the problems of identification population from the East - Slovak region called Saris. Their identity follows in particular regional context and worldwide connections. He concretely pays attention to wholesale influence commercial TV production on destiny of six protagonists. The document criticizes superficial messages television production. 'Angels cries' of Zuzana Piussi set the target on point out of the position of homosexual minority on catholically Slovakia. The poetic document of Tina Diosi 'The city of flying words' is opening theme of meaning of writing poetry for creativeness. It is critical stand up to consume views. 'Sightless loves' of Juraj Lehotsky are showing the portraits of four blind protagonists. The movie aptly points out especially on handicaps relate with blindness of sighted.
3
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ABOUT TECHNICAL REPRODUCTION

100%
Paluch M.
Slovenské divadlo (Slovak Theatre)
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2006
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vol. 54
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issue 2
313-318
EN
The author deals with the technical aspects of a creation which make use of the technical possibilities of a picture transformation by a camera lens. He is stating that by entering these technical media, upheaval in the history of human communication and culture has been caused. It is perpetrated by a change of a communication policy, by an irruption of the new visual codes and media into the spheres of social life. New visual codes result in dehumanization of the society and in origin of a crowd due to their ability to spread the simply understandable ideas. A comparable shift of culture towards diachronically outliving the history was caused in the past by distributing of a written cultural code via Guttenberg's invention of the letterpress. The communication leaves a confidential and intimate sphere of the interior, represented by a language and utterance, and treads through the form of an effigy, an icon represented by the iconic codes of a vision built up on grasping the things, affairs and events via the sphere of the exterior iconic features of the things and the subjects, which - changed into a two-dimensional symbol-picture - produce a new, conditioned by culture, meaning. At the same time a traditional understanding of the notions such as memory, history, experience is changing, too.
4
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PHOTOGRAPHY AND 'CADEM' VERSUS FILM AND 'EDEM'

100%
Paluch M.
Slovenské divadlo (Slovak Theatre)
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2007
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vol. 55
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issue 4
576-581
EN
A filmologist Jan Bernard is distinguishing a camera shot (cadem), a shot edited by a cutting/clipping (edem) and a shot specified by its semantic function and a building boundary (semem). A method of handling the gadget (camera, film camera) decides upon a character of the resulting technical - iconic code. Camera shots (cadems) closely follow creative procedures related to photographic technique. Into this group belong films which consider photographic properties of camera shots determining for the method of creation of non-fiction films based on authenticity of the moment. Into this category are included films marked as found footage. There are singular cases of one- shot films in a staged production which prove this rule, for example the film by Alexander Sokurov 'Russian Ark'. The principle of photographicity of a camera shot is not possible to generalize and apply on the whole area of non- fiction creation. A specific film value is reached by shots only after having overcome a higher instance of organization. Shots are cut into the resulting shape of cut shots (edem) which are a specific material of a film 'language' on a higher level of organization. Edem changes traditional traits of cadem and leaves identity of a photography, because it is forcefully cut off from the machine and its direct functionary. The institute of an editor or clipper was originated alongside with film and a decisive revolution occured in the era of silent film. All three stages of shot (cadem, edem , semem) diffuse similarly like three kinds of iconic signs (icons, indexes, symbols) declared by Ch. S. Pierce. In digital worlds the problematization of the third type of shot is happening. The loss of 'ontological' reporter takes place, camera, editor as well as a horizon are disappearing. Shape similarities lose traditionally by senses recognizable form, and consciousness is confronted with a virtual world functioning by a real impression based on a numerical calculation of a computer.
5
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TYPOLOGICAL IMAGE MEDIA

100%
Paluch M.
Slovenské divadlo (Slovak Theatre)
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2005
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vol. 53
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issue 3
184-191
EN
The study called Typology of Technical Image Media is dedicated to type analysis of technical images. From the point of view of subject ontogeny it is explaining in detail three development phases which affect the semiotic process in creation and reception of three image types. It deals with the phase of a mirror and mirror pictures, the phase of a photography and photographic pictures, and the phase of a film and film pictures. Subsequently and based on the mentioned three development phases, the study defines three spectator categories - author's , actor's and a general one. The study is focused on revealing the principles affecting the subject identification in conjunction with contents of various types of technical images. The chapter called Notes on Reality Show describes present trends in the area of television production and their impact on cinematography. The final chapter called Assembly -Mechanism, Language and Symbol analyses the project film code constitution, and the possibility of creation and reception of its symbols. At the same time the author introduces his conviction that technical - iconic codes of technical images based on analogy are not capable of creating a language system as they do not contain a definite articulation unit. The complexity of technical iconic codes opens up a way for further sciences.
6
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PAPER HEADS

100%
Paluch M.
Slovenské divadlo (Slovak Theatre)
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2005
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vol. 53
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issue 4
337-343
EN
The last film by the Slovak director Dusan Hanák named 'Paper Heads' (1995) represents a singular and particularly courageous penetration into the historical period marked by the communist totality in former Czechoslovakia. A multinational co-production project depicts the problem of freedom and restriction or compulsion, relation between a national a totalitarian regime. The film was produced for several years and Hanák concentrated on the emotional author's testimony constructed on the basis of an edited document. The final form of the documentary film is composed of declassified archive materials and produced parts, which are overlapping into the post-socialist presence. Hanák is working with the archive material using the principle of its transformation into author's testimony. He is focusing on an audiovisual counterpoint, on a contradicting effect of picture and sound. He is using the principles of a dialectic assembly, when two consequent pictures create a new independent picture. It originates mainly from the contrast between propagandistic archive material and authentic testimony of communist regime victims.
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