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Weeks later, reading about cyborgs and posthumans, I was reminded of Dziga Vertov, an innovative Russian cinematographer who already in the 20’s pronounced himself ‘a mechanical eye, a machine’, who ‘freed from the boundaries of time and space, coordinate[s] any and all points of the universe, wherever [he] want[s] them to be. [His] way leads towards the creation of a fresh perception of the world. Thus [he] explain[s] in a new way the world unknown to you’.

His Man with a Movie Camera, which shows a day in the life, is innovative for various reasons one of them being the idea of a film within the film; the film itself becomes the subject (the relevant sequences showing Vertov in most impossible positions from the point of view of human anatomy and physical accessibility!).

Reading around Vertov, I found two contemporary projects echoing his ideas:

Man With a Movie Camera: The Global Remake – one of the most creative uses of the Internet according to Google. Users contribute their own interpretations of Vertov’s sequences which are then streamed alongside, thus adding a twist to the original version. A day of encountering significant objects back in the 20 together with their equivalents in the contemporary times, filtered and processed by the contributor’s and final viewer’s imaginations. A dialogue reaching beyond temporal and spatial boundaries. Could that be another example of posthuman pedagogy?

dearphotograph.com, explored in detail by Ian Bogost, allows us to see what a photograph looks like in a photograph. It’s not only about sentimentalised human experiences but the object itself as the photograph becomes a salient entity encountered by the viewer. Bogost refers to it as object-oriented ontology which basically asks us to see the world of things as things in a world, rather than our world, with things in it. Another boundary blurred, another domination democraticised. Through visual turn …