ABSTRACT

In Harun Farocki’s lifelong study of the mute language of manual expressions, the human hand is explored not only as a versatile tool, but as a repository of social memory, a topos in the genealogy of the moving image, and a critical agent in the theory and practice of filmmaking itself. While cinema distinguished itself from previous artistic media through its capacity to salvage and store everyday gestures for later scrutiny, accruing a Bilderschatz for future anthropological and archaeological research, it was also integral to an ongoing process that spurred the progressive withdrawal of the human hand from the manufacturing of images. By adopting a double-pronged approach that considers the programming of bodies and images as integrally aligned, the article traces the gradual demise of craftsmanship and the increasing automation of imaging and perception as engaged across a wide range of Farocki’s essay films, found-footage compilations and observational documentaries. Taken together, this body of work at once proffers an encyclopedia of gesturing hands, a form of chiro-praxis in its own right, and a search for alternative or forgotten modes of manual communication and collective imagination.

摘要

在哈伦·法罗基（Harun Farocki）对手工表达的静音语言进行的终生研究中，人类的手不仅作为一种多功能工具而被探索，而且被作为社会记忆库，运动图像家谱中的主题以及理论中的关键因素进行了探索。和电影制作本身的实践。虽然电影本身区分从以前的艺术媒介，通过它的能力，以抢救和日常店铺手势后审查，累积了Bilderschatz对于将来的人类学和考古学研究，它也是正在进行的过程中不可或缺的一部分，该过程促使人的手从图像制造中逐渐退出。通过采用双管齐下的方法，将身体和图像的编程考虑为整体对齐，从而追溯了手工艺的逐渐消亡以及越来越多的Farocki散文电影和实物拍摄中涉及的成像和感知自动化和观察纪录片。综上所述，该作品集立即提供了一个手势手百科全书，一种本身就是手法实践的形式，以及寻找替代或被遗忘的手动交流和集体想象的模式。