[December 18th 2020]
films themselves are challenging, conceptual, weird. The filmmaker enters the frame and you see his camera. The “actors” break “character”, and the whole thing seems to deconstruct itself, showing its processes. It could be argued that, in taking place in front of a green screen that is yet to have a CGI background projected onto it in post-production (as green screens normally do) the entire film itself exists ‘as process’, in a zone of endless and endlessly unrealised potential, ‘any space whatever’ and also decidedly ‘no-space’. Because of these facts, and because they will be broadcast in such a high-profile
Bruno Latour, Reassembling the Social, 2005
Reassembling the Social is a fundamental challenge from one of the world's leading social theorists to how we understand society and the 'social'. Bruno Latour's contention is that the word 'social', as used by Social Scientists, has become laden with assumptions to the point where it has become misnomer. When the adjective is applied to a phenomenon, it is used to indicate a stablilized state of affairs, a bundle of ties that in due course may be used to account for another phenomenon. But Latour also finds the word used as if it described a type of material, in a comparable way to an adjective such as 'wooden' or 'steely'. Rather than simply indicating what is already assembled together, it is now used in a way that makes assumptions about the nature of what is assembled. It has become a word that designates two distinct things: a process of assembling; and a type of material, distinct from others. Latour shows why 'the social' cannot be thought of as a kind of material or domain, and disputes attempts to provide a 'social explanations' of other states of affairs. While these attempts have been productive (and probably necessary) in the past, the very success of the social sciences mean that they are largely no longer so. At the present stage it is no longer possible to inspect the precise constituents entering the social domain.
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