Aika & Aine (Time and Matter): A Compilation of Short Films and Documentaries (review)
Notice bibliographique
Résumé
(ProQuest: ... denotes formula omitted.)Aika & Aine (Time and Matter): A Compilation of Short Films and Documentaries (Mika Taanila Finland 1998-2005). Reel 23. Original aspect ratio. PAL all regions. £24.99. Available from www.reel23.com.Roger LuckhurstThe Dutch company Reel 23 are dedicated to releasing experimental material that explores, as their website puts it, 'the twilight between fact and fiction' now that 'truth has become an over-rated commodity'. They declare war on 'objectivity', a familiar if rather rickety avant-garde rhetoric that celebrates the subversive potential of acts of the imagination. These two shorts and three longer documentaries by the Finnish musician, video-artist and filmmaker Mika Taanila join a list with a notably science-fictional tinge. The first release was Jonathan Weiss's uneven pseudo-documentary attempt at J. G. Ballard's The Atrocity Exhibition (US 2000). They have also put out David Cronenberg's early films, Stereo (Canada 1969) and Crimes of the Future (Canada 1970). Taanila's work shares a similar aesthetic of found footage from public information films, science documentaries and news feeds, using documentary and pseudo-documentary modes alongside science-fictional and Gothic devices, all bound together by soundtracks of electronic bleeps and burbles. If this all sounds faintly dated, it is a conscious aesthetic choice, because nostalgia for the vanished futures of 1960s culture and counterculture is Taanila's central concern.Taanila's 'Director's Statement' presents the films as 'kind of speculative time travels to the type of future society we are inevitably headed for'. Yet both 'Futuro - A New Stance for Tomorrow' (1998, 25 mins) and 'Future Is Not What It Used to Be' (2002, 52 mins) explore symptomatic failures of the utopian potentials of technological breakthroughs in the 1960s. Futuro was a portable house designed by Finnish architect Matti Suuronen, made out of new fibreglass and plastic materials, light enough to be quickly constructed, flown by helicopter to new locations and instantly installed on its spindly legs. Crucially, it also looked exactly like a UFO: it was a shiny plastic oval with portholes, populated in publicity photos by Swedish beauties in Mary Quant mini-skirts. The design was presented in Le Corbusier's functionalist language - it was called a 'technical housing machine' - but actually offered a dash of that sexy plastic future coterminous with the camp eroticism of Barbarella (Vadim France/ Italy 1968) or American Pop Art. Futuro echoes the mobile cities designed by Archigram, the radical British architectural practice, or the revolution in cities propounded by the Situationists in their 'Formulary for a New Urbanism'. Yet it was also a commercial project, a capitalist utopianism that had more in common with Buckminster Fuller's plans to populate the world with his portable geodesic domes. Some of the news footage is glorious: Princess Margaret and Lord Snowdon looking glacially bored in a tour of 'World Plastics Fortnight' in London, where the shock of the new is domesticated as a 'Futuro Bungalow'. Indeed, the tour of Futuro around global expos in Buenos Aires, Yokohama and in Russia, and the extensive news footage that survives, invokes a world where manufacturing industry had a cultural centrality in the Cold War that has now largely vanished. Expos, for so long presented as slices of futurity inserted into the contemporary, are now closed specialist trade fairs, barely registering in the wider consciousness.Futuro was a post-scarcity design, less a housing solution than an emblem of conspicuous leisure consumption, and was soon marketed as a portable second home that could be lifted onto mountains as a private ski-lodge. With considerable subtlety, the film tracks the shift from democratic hopes to the marketing of Futuro as an object of exclusivity and desire. After the oil crisis and the end of America's uninterrupted years of post-war boom, Futuro went through life as a conceptual art space for happenings in Dusseldorf (wrapped by Christo, visited by Warhol), then a set for 70s futuristic porn shoots, and was also used as a grotto for Santa Claus in a Christmas theme park in America. …
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Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,002 | 0,008 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,002 | 0,001 |
| Bibliométrie | 0,008 | 0,011 |
| Études des sciences et des technologies | 0,001 | 0,000 |
| Communication savante | 0,003 | 0,003 |
| Science ouverte | 0,002 | 0,002 |
| Intégrité de la recherche | 0,002 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,089 | 0,034 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».