Parallel II, III, IV by Harun Farocki + Lecture

Parallel II,III,IV + Lecture


It’s surely interesting to listen to the lecture of Harun Farocki, but the more interesting part begins at minute 34, when he shows his last productions of 2014 „Parallel 2,3,4“ wherein he explores the boundaries of interaction between the first person hero in gameplay environments and its architecture. He miss leads on purpose the skills of of the game heroes and the rules of freedom of movement within the gaming-architecture. Nothing new for gamers but for sure for people who have never tried a video game and see themselves confronted with this (seemingly insignificant phenomenon), in an art or theoretical visual-media context for the first time. It has always been a common thing in gaming communities and on video platforms, to share montages of glitches or other funny side-effects and mistakes in the gaming-environment. Even if there has never been any purpose in doing certain actions (like falling off the gaming ground into the endless space) it has always been fun to share and copy some of these mistakes. They gain no forthcoming for the purpose of the game-play and the story, but it’s like finding a secret (that’s also why it’s called easter eggs). I remember in GTA San Andreas where you could have a jet pack through cheating and fly in between the game-levels (like here:
Harun Farocki seems to share the same fascination for the glitches, only that he tries to show something that goes beyond the simple technical mistake. There might also be a mistake, but it’s rather a question of perception: asking if the mistake is a technical one, rather than the representation of nature, i.e. an interpretation of reality, in form of avatars and other coded servo-mechanisms, that are part of our daily routine and therefore have almost become natural in an undefinable environment that combines reality and the effects of the simulation on reality. (e.m.)

HKW (Kuratorin: Hila Peleg)
„Parallele I-IV enthält außer den zweckentfremdeten Exzerpten auch Aufnahmen von Trickzeichnern bei der Arbeit und macht so die zur Herstellung der algorithmischen Simulakren nötige Arbeit sichtbar. Farocki setzt den Schwerpunkt nicht so sehr auf der Neuheit dieser Darstellungsform, sondern er reiht das Videospiel in die lange Geschichte des Bildersehens ein und erkundet seine Verwandtschaft mit Weltvorstellungen aus vorhellenischer Zeit. Implizit nimmt er Bezug auf klassische Texte der Filmtheorie und erstellt mit ihrer Hilfe einen Vergleichsrahmen, der teleologischen Fortschrittserzählungen der Filmgeschichte entgegentritt.“…/…/programm_29/harun_farocki_parallel.php