Imo, audiovisual como arqueologia da mídia

Abstract

Foucault (1969, p.173) I point out that archeology should not serve to affirm that objects and concepts, enunciations or theoretical choices disappear, but that the study of the past must serve to be able to “describe and analyze phenomena of continuity, return and repetition ”. The definition presented by Thomas Elseasser, in “Cinema as Archeology of the Media”, is that an archaeological approach reconnects and describes historical phenomena in different conceptual spaces, using dialogue with the past and dialogue with the “new”, from the point view of the present. With these theoretical contributions, and produced from different media and obsolete devices, drawing a parallel of evolution and use of the “old in the new” and the “new in the old”, this product brought to the sensitive world, through an audiovisual installation , the ideals of obsolescence poetics, presenting audiovisual as Media Archeology, through the fragmentation of the previously audiovisual work in the individual media that compose it. In order to question the idea of programmed obsolescence - created in 1920 by Alfred P. Sloan, then president of General Motors -, in addition to investigating the ramifications reached by audiovisual within the broad scope of the media and presenting in a playful and aesthetically elaborated way constituent fragments of an audiovisual production. imo was created using obsolete devices, from video capture, montage and exposure