| dc.description.abstract | This paper aims at contrasting the traditional field of “screen and film studies” with an investigative approach inspired
by practices of projection, more attentive to the heterogeneous character of media technology, and therefore more
able to analyse the particularities of images enacted and distributed by digital networks. Specifically, it will present
curating as an empirical methodology that both highlights the materiality underpinning academic work and allows for
an actual engagement with the contradictions inherent to research objects. My proposal is based on similar
methodological efforts made by Matthew Kirschenbaum and Lisa Parks, respectively for the study of the inscription of
data in computer hard drives and of the transmission of signal via satellites. Inspired by their work with digital
forensics and information visualisation, I appropriate Siegfried Zielinski’s idea of projection as “a media strategy
located between proof of truth and illusioning” as a selfreflexive model for understanding the processes
simultaneously involved in the constitution and operation of audiovisual systems. I mean to exemplify this approach
by the means of projects such as the video exhibition Tape Deck Solos, commissioned and presented during the 29th
São Paulo Biennial (2010), which allowed for a sort of “immediate media archaeology” that underscored the character
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of videomaking as performance. In this context, the exhibition created an opportunity for video to reflect upon itself
and its history. By doing so, I hope to demonstrate the advantages of the making of the exhibition as a research
strategy. | |
