Language as Articulate Contact: Toward a Post-Semiotic Philosophy of Communication

This article approaches the reflection on excellence in writing both philosophically and practically, through philosophy of communication and media ecology. It argues that the way to excellence in writing is through, first, learning and acquiring knowledge about the art and forms of good writing and appropriate media. The next stage is to perform the act of writing using appropriate forms and channels of dissemination. If done wisely, with care and reflection, the understanding and use of theoria and praxis can result in producing excellence in writing, or poiesis. Philosophical reflection on theoria, praxis, and poiesis, thus, enables one to understand a deeper sense of the why and how of the art and craft of writing. The specific form of writing considered in this article is public relations writing in a classroom setting; however, understanding the philosophical and media ecological underpinnings of rhetoric can also be useful in other forms of writing and communication.

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Komunikacinė meditacija, arba kinas kaip filosofinė struktūra. Kino režisieriaus A. Tarkovskio ir filosofo G. Deleuze'o sankirta

Informacijos mokslai ◽

10.15388/im.2009.0.3209 ◽

2009 ◽

Vol 51 ◽

pp. 9-23

Author(s):

Andrius Gudauskas

Keyword(s):

Gilles Deleuze ◽

Philosophy Of Communication ◽

Flow Of Time ◽

Theoretical Conception ◽

Cinematic Time ◽

Modern Mass ◽

Time Image ◽

Philosophical Questions ◽

Philosophical Structure

Modernios komunikacijos priemonės imasi ryžtingai dalyvauti filosofijos mokslo diskurse. Šiame kontekste filosofas Gilles Deleuze ypač išskiria kino filmų vaidmenį, nes dažnai būtent šiuolaikiniai kino režisieriai ryžtingai tiesia tiltą tarp kino meno ir filosofijos. Moderniame kine, pasitelkus kinematografinę techniką, keliami ir formuojami nauji aktualūs filosofiniai klausimai. Matome, kad A. Tarkovskio filmuose rutuliojama esminė filosofinė idėja yra fundamentali amžinojo laiko idėja. Šiame straipsnyje kinematografinio laiko ir jo tėkmės pristatymo problema aptariama sąlytyje su filosofine Deleuze kino teorija ir komunikacijos filosofija apskritai. Tarkovskio kinematografinė mintis evoliucionuoja kuriant tam tikrą oponavimo poziciją materialistinei dialektinei S. Eizenšteino kino teorijai. Sampratai, redukuojančiai laiką kine į faktologinį ir mechanistinį ritmą, Tarkovskis priešpriešina tikroviškos ir nenutrūkstamos laiko tėkmės užfiksavimo ilgame plane (plan-séquence) praktinę bei teorinę koncepciją. Ilgi ir paskiri planai suardo racionalią klasikinę kino filmo struktūrą ir įgyvendina jame „iracionalų trūkį“. Analizuojama, kaip pavieniai ilgi kino planai, išsilaisvinę iš racionalių tarpusavio saitų, įgyvendina laikiškumo šukių: praeities,sapnų, atsiminimų ir pan. ontologinę bei konvergencinę jungtį nenutrūkstamo laiko tėkmėje.Pagrindiniai žodžiai: kinematografinis planas, kino montažas, komunikacija, filosofinė kino teorija, realus laikas, abstraktus laikas, vaizdas-judesys (image-mouvement), vaizdas-laikas (image-temps), ilgas planas (plan-séquence), trukmė (durée), laiko „presavimas“.Communicational meditation or cinema as a philosophical structure. Confrontation between a film director (Tarkovsky) and a philosopher (Deleuze)Andrius Gudauskas SummaryThe modern mass media are trying to take an active part in the philosophical scientific discourse. In this context, philosopher Gilles Deleuze makes a special emphasis on the role of films, because contemporary cinema directors are truly resolute in building bridges between cinema as an art and philosophy. Due to cinematic technologies, philosophical questions of new importance are being raised in modern cinema. The essential philosophical idea found in Tarkovsky’s films is the fundamental idea of eternal time. This article discusses the problem of representing cinematic time and its flow in relationship with Deleuze’s philosophical theory of cinema as well as with the general philosophy of communication. Tarkovsky’s cinematic thought evolves while creating a certain kind of opposotion to Eizenstein’s dialectically materealistic theory of cinema. Installing the true and continuous flow of time in a long plan-séquence, Tarkovsky opposes his practical and theoretical conception which reduces cinematic time to the factological and mechanistic rhythm alone. Thus, his prolonged separate planes destroy the rational classical structure of the film and introduces an “irrational break” into it. We analyze the ways how separate long plan-sequences liberated from their rational mutual ties, can present in the course of continuos flow of time the ontological and convergent links between such pieces of temporality as past reminiscences and dreams. Key words: cinematic plan, cinema montage, communication, philosophy of cinema, real time, abstract time, image-mouvement, image-temps, planséquence, duration (durée), pressing of time.

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