Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/504
Type of publication: research article
Type of publication (PDB): Straipsnis kitose duomenų bazėse / Article in other databases (S4)
Field of Science: Menotyra / History and theory of arts (H003)
Author(s): Venckus, Remigijus
Title: Dekonstrukcinis metafizinio archyvo konceptas ir jo taikymas : Deimanto Narkevičiaus videofilmo His-story atvejo analizė
Other Title: Deconstructional concept of metaphysical archive and its application : case study of Deimantas Narkevičius’ video film His-story
Is part of: Meno istorija ir kritika = Art history & criticism. Kaunas : Vytauto Didžiojo universitetas, 2014, [T.] 10(2) : Kultūros paveldas : medžiagiškumo ir simbolinių prasmių sąveika
Extent: p. 193-203
Date: 2014
Note: E-ISSN 2335-8769 klaidingas, E-ISSN 1822-4547 teisingas
Keywords: Metafizinis archyvas;Filmas-archyvas;Narkevičius, Deimantas;videomenas;Metaphysical archive;Film-archive;Narkevičius, Deimantas;Video art
Abstract: The article is based on the philosophy of poststructural thinker Jacques Derrida. According to Derrida, author involves concepts of metaphysical and physical archives. In metaphysical archive it is possible to find different suggestions of general human experience. These suggestions are related to non-theological concept of sacredness shown by the study. Sacredness is based on individual and intuitive perceives related to respected metaphysical space. The sacredness is ensured by protector, who is a new concept created and justified by author of the article. Different concepts of archives are related to different Derrida notions – trace, play, writing, cultural text, spectre, etc. The idea of film archive and physical archive also draws to date base of Lev Manovich and the problems of film editing. The concept of metaphysical archives is motivated by the study of Deimantas Narkevičius video film His-Story. The biggest part of the article is the consideration of the possibilities of metaphysical archive existence in the movie as a substance of traces which determined intertextual understanding (or reading) of the film
Internet: https://www.vdu.lt/cris/bitstream/20.500.12259/504/1/ISSN2335-8769_2014_N_10_2.PG_193-203.pdf
https://hdl.handle.net/20.500.12259/504
Affiliation(s): Vytauto Didžiojo universitetas
Šiuolaikinių menų katedra
Appears in Collections:Art History & Criticism / Meno istorija ir kritika 2014, nr. 10(2)
Universiteto mokslo publikacijos / University Research Publications

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