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Which clippings match 'Revisionism' keyword pg.1 of 1
31 DECEMBER 2014

Ultra low-fi Quake demake for analogue oscilloscope

"Programmer Pekka Väänänen has rendered a playable version of the classic first–person shooter Quake on an oscilloscope. Video game demakes – adaptations or ports that recreate a game in art styles or on hardware from before their time – have become trendy in recent years, but this demo is a particularly old–fashioned throwback. In 1958, physicist William Higinbotham created one of the first video games, a tennis simulation that ran on a Donner Model 30 analog computer and an oscilloscope display. That game used dots on a 2D plane; Väänänen's creation draws the shooter's 3D space in a style reminiscent of a high school student's sketch book."

(Chris Plante, 29 December 2014)

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TAGS

2014analogue correspondence • Audio Stream Input-Output (ASIO) • crafts technology • Darkplaces Quake • electronic analogues • electronic rendering • fan gameFinnishfirst-person shooterFPS (games) • graphic animation • Hitachi V-422 oscilloscope • Jed Margolin • line geometry • low-filow-techopen sourceoscilloscope • Pekka Vaananen • portingProcessing (software)Quakerealtime generated visuals • realtime rendered • recreate a game • recreate favourite video games • recreationreinterpretationremediationrendered on the screenretrogamingrevisionism • software porting • technology repurposingultra-low-techvector artvideo game • video game adaptation • video game demake • video game remake • visual translation

CONTRIBUTOR

Simon Perkins
01 MARCH 2013

Interpretation is reactionary, impertinent, cowardly and stifling

"Interpretation in our own time, however, is even more complex. For the contemporary zeal for the project of interpretation is often prompted not by piety toward the troublesome text (which may conceal an aggression), but by an open aggressiveness, an overt contempt for appearances. The old style of interpretation was insistent, but respectful; it erected another meaning on top of the literal one. The modern style of interpretation excavates, and as it excavates, destroys; it digs 'behind' the text, to find a sub–text which is the true one. The most celebrated and influential modern doctrines, those of Marx and Freud, actually amount to elaborate systems of hermeneutics, aggressive and impious theories of interpretation. All observable phenomena are bracketed, in Freud's phrase, as manifest content. This manifest content must be probed and pushed aside to find the true meaning –the latent content –beneath. For Marx, social events like revolutions and wars; for Freud, the events of individual lives (like neurotic symptoms and slips of the tongue) as well as texts (like a dream or a work of art) –all are treated as occasions for interpretation. According to Marx and Freud, these events only seem to be intelligible. Actually, they have no meaning without interpretation. To understand is to interpret. And to interpret is to restate the phenomenon, in effect to find an equivalent for it.

Thus, interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities. Interpretation must itself be evaluated, within a historical view of human consciousness. In some cultural contexts, interpretation is a liberating act. It is a means of revising, of transvaluing, of escaping the dead past. In other cultural contexts, it is reactionary, impertinent, cowardly, stifling."

(Susan Sontag, 1966)

Susan Sontag (1966). "Against Interpretation: And Other Essays". Farrar, Strauss & Giroux.

TAGS

1966 • aggressiveness • appearance • behind the text • contempt for appearances • cowardly • dead past • destroy • doctrine • dreamsexcavationhermeneuticshistorical interpretation • historical view • human consciousness • impertinent • individual lives • interpretationinterpretation of signsKarl Marx • latent content • liberating actmanifest contentmeaning • neurotic symptoms • observable phenomena • phenomenaphenomenon • philosophy and interpretation • reactionary • revising • revisionism • revolutions • Sigmund Freud • slips of the tongue • social events • stifling • subtext • Susan Sontag • textstheories of interpretation • transvaluing • troublesome text • true meaning • wars • women in cultural theorywork of art

CONTRIBUTOR

Simon Perkins
19 MAY 2008

Narrative is a fundamental means through which people live their lives

"Narrative is a fundamental means through which people experience their lives, or through which they actually live their lives. It is the narratives in which we situate our experience. Human experience is always narrated, and human knowledge and personal identities are constructed and revised through intersubjectively shared narratives. The narrative is a primary act of mind; "the primary scheme by which human existence is rendered meaningful" (Polkinghorne 1988, 11). The reflexive project of knowing and achieving an identity is to sustain a coherent, yet continuously revised, narrative about ourselves and the world we live in."
(H.L.T. Heikkinen, R. Huttunen & L. Kakkori)

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TAGS

coherent • constructed realityexperiencefictionhistorynarrative • Polkinghorne • realityrevisionismstorytruth

CONTRIBUTOR

Simon Perkins
31 AUGUST 2007

Hitler's Hit Parade: Modernist Cultural Production of the Third Reich

"Hitler's Hit Parade is a composition of archival footage from movies, amateur–, animated–, and educational films, commercials and propaganda – accompanied by dance and popular music from the Third Reich.

The film is structured along thematic chapters, each accompanied by a song and introduced by a headline in the style of the period. In the form of an artistic collage, the film uses a musical thread, to lead the audience through experiences and ideas of the Nazi era.

In contrast to still images – from painter Otto Dix to the Bauhaus – this collage is composed of living pictures. From a wealth of situations in the original material, a portrait of a modern civilization slowly emerges, in which beauty and evil flourish side by side. The lyrics and melodies of the songs serve both as a complement and contrast to the footage.

By foregoing didactic narration, Hitler's Hit Parade addresses audiences, who are well versed in the historical facts of the time, on an emotional level. Open–minded viewers are thus offered a broad perspective on the problems inherent in passing judgment on the Nazi
era.

Rather than adopting a typical distanced approach, the film invites viewers to shed their usual safe distance looking back in time from the outside – and to allow a view from the inside on this journey through the Third Reich.

In witnessing numerous situations and examples of human behavior, the viewer is tempted to identify with the figures on screen, and is forced to ask himself what roles he could, would, or should have taken on during this period.

In a subtle manner, Hitler'S Hit Parade analyses the enticing components of highly progressive, extremely modern Nazi Germany, and how at the same time a cultivated people could be reduced to a moral and physical heap of rubble as a result of the Nazi madness."
(German Documentaries)

"This Franco–German [film] production explores the impact of Nazi propaganda on music and art during the regime.
When the Nazis rose to power, Germany was at the height of its intellectual and artistic brilliance, and boasted some of the most eminent poets, artists, musicians and scientists in the world. The propaganda model created by Hitler and his followers was confusingly imposed on this state of affairs. Accompanied by a vortex of contradictions, the outcome was a repertory of styles and world visions ranging for idolatry of the most brazen and monumental classicism to decidedly lightweight (or even low–brow) taste, at times with indiscriminate crossovers involving the artistic circles, life styles and kinds of tastes officially execrated by the regime: modernism, jazz and homo– and heterosexual insinuations verging on licentiousness."
(Giorgio Cini Foundation)

[This film was screened on the Arte channel (France TV) on Monday the 27 August 2007 at 11:55 (Lundi 27 août 2007 de 23h55).]

Fig. 1,2,3,4. Oliver Axer and Susanne Benze (2003). Les Refrains du Nazisme [English title: Hitler's Hit Parade], C. Cay Wesnigk Filmproduktion: 76 minutes.

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TAGS

2003amateurappropriation • archival footage • artartistic practiceBauhaus School • C. Cay Wesnigk Filmproduktion • cinemacollagecultural production • Deutsches Reich • filmfootageGerman cinemaGermany • Hitlers Hit Parade • Les Refrains du Nazisme • modernismmusicmusic videoNazi • Oliver Axer • Otto Dix • propagandare-purposeremix culturerevisionismsequence design • Susanne Benze • Third ReichWeimar Republic
28 JANUARY 2004

Historical Revisionism

"All revisionist history entails is a new interpretation of some period or topic in the past based on a changed environment and maybe the collection of new information. For example, certain French revisionist historians in the 1980s began challenging the traditional view of the French Revolution as a heroic struggle for liberty, fraternity, equality, and instead interpreted it as the harbinger of modern totalitarianisms.

Historical Revisionism describes the process of re–narrativising historical events; potentially causing a rift between accepted truths and contemporary interpretations."
(Gary Leupp)

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