开端

06 Sep, 2022

原标题：Beginnings

作者：Hito Steyerl

翻译：小饰

*How to begin? The first sentence sets the scene. It is a building block for a world to emerge in between words, sounds, and images. The beginning of a text or film is a model of the whole—an anticipation.

如何开始？第一句话设置了场景。它是文字，声音和图像综合世界的一块砖石。一个文本或电影的开头是一个整体的模型——一种预期。

A good beginning holds a problem in its most basic form. It looks effortless, but rarely is. A good beginning requires the precision and skill to say things simply. Like the crafts of making bricks, weapons, or files on hard drives, there is an art of creating beginnings.

一个好开头可以将一个问题以其最基本的形式呈现出来。它看起来毫不费力，但很少是这样。一个好的开头需要精确和熟练地把事情说得简单。就像制造砖块、武器或硬盘上的文件的工艺一样，有一种创造开端的艺术。

One of Harun Farocki’s beginnings:

这是法罗基的一个开头：

We can drop right into the middle of events.1

"我们可以直接坠入事件的中心。"

Harun Farocki’s legendary works—as filmmaker, writer, and organizer—are full of exemplary beginnings. From agitprop shorts to film essays and beyond. From didactic fiction to cinema verité. From single channel to multi-screen. From Kodak to .avi, from Mao to mashup. From silent films to hyperventilating talkies. From close reading to distanced comment. From interview to intervention, from collaboration to corroboration. On July 30, Harun Farocki died.

哈伦-法罗基的传奇作品--作为电影制片人、作家和组织者--充满了模范的开端。从煽动性的短剧到电影散文，甚至更多。从说教式的小说到真实电影。从单通道到多屏幕。从柯达到.avi，从毛泽东到混搭。从无声片到喘息的有声片。从近距离阅读到远距离评论。从采访到干预，从合作到佐证。7月30日，哈伦-法罗基去世。

Over more than four decades, Farocki produced an extraordinary body of work that, for someone who continuously compared things, situations, and images to one another, is paradoxically incomparable. In all he did, he kept it simple, clear, and grounded. In cinematic terms: at eye level. His legacy spans generations, genres, and geographies. And the abundance of ideas and perspectives in his work does not cease to inspire. It trickles, disseminates, perseveres.

四十多年来，法罗基创作了大量非凡的作品，对于一个不断将事物、情况和图像相互比较的人来说，这些作品自相矛盾，无法比拟。在他所做的一切中，他保持了简单、清晰和接地气。用电影术语来说：与眼睛平齐。他的遗产跨越了几代人、各种流派和地理区域。他的作品中丰富的思想和观点并没有停止启发。它在涓涓细流中传播，锲而不舍。

Farocki’s practice was not about perfecting one craft—it was rather about perfecting the art of inventing and adding new ones. Even when he became a master of his craft he didn’t stop. He just kept going. He became an eternal beginner. Had he lived another 25 years he might have started making Theremin films with bare hands, by focusing his mind, paying attention to the glitches of a new technology most probably developed for a stunning form of consumer-oriented warfare.

法罗基的实践不是为了完善一种工艺，而是为了完善发明和增加新工艺的艺术。即使当他成为了自己技术的大师，他也没有停止。他只是继续前进。他成为一个永远的初学者。如果他再活25年，他可能已经开始徒手制作Theremin电影，通过集中注意力，注意一项新技术的故障，很可能是为一种令人惊叹的面向消费者的战争形式开发的。

How to begin, again?

如何再次开始？

In 1992, a title of one of Farocki’s texts makes a curious declaration: “Reality would have to begin.”2 It implies that reality hasn’t even started. It is a puzzling statement indeed; especially from someone already considered an influential documentary filmmaker. Farocki suggests that reality might have to be brought about by resisting military infrastructure, its tools of vision and knowledge. But the quote also clearly declares that reality does not yet exist; at least not in any form that deserves the name. And let’s face it: Aren’t we still confronted with the same wretched impositions trying to pass as reality these days? Just now it’s being sweated over at Foxconn and sedimented on secret Snapchat servers: a Netflix soap featuring ISIS as teenage Deleuzian war machine. In earlier decades, Facebook might have been called Springer Press (not least in West Germany), ISIS called SA, and the USAF, well, USAF. The names of war change just as as war itself does. Reality’s absence stays put.

1992年，法罗基的一篇文章的标题做了一个奇怪的声明。"现实将不得不开始。"2它暗示，现实甚至还没有开始。这确实是一个令人费解的声明；特别是来自一个已经被认为是有影响力的纪录片导演的人。法罗基表示，现实可能必须通过抵制军事基础设施、其视觉和知识的工具来实现。但这句话也清楚地宣布，现实还不存在；至少不以任何形式配得上这个名字。而且让我们面对现实吧。如今，我们不是仍然面临着试图冒充现实的同样可恶的强加物吗？现在，它正在富士康流汗，在Snapchat的秘密服务器上沉淀：Netflix的肥皂剧，以ISIS作为青少年的德勒兹式战争机器。在早期的几十年里，Facebook可能被称为Springer Press（尤其是在西德），ISIS被称为SA，美国空军，嗯，美国空军。战争的名称就像战争本身一样在变化。现实的缺失则保持不变。

This beginning takes the form of a statement:

这个开头使用了声明的形式：

The hero is thrown into his world. The hero has no parents and no teachers. He has to learn by himself which roles are valid.

英雄被扔进了他的世界。英雄没有父母，没有老师。他必须自己学习哪些角色是有效的。

Untitled

Harun Farocki, The Words of the Chairman [Die Worte des Vorsitzenden], 1967. 16mm, 3".

One of Farocki’s first films, The Words of the Chairman (Die Worte des Vorsitzenden), is a legendary agitprop short. A Mao bible is torn up, its pages folded into a paper airplane hurled at a Shah dummy.Words… argues that statements by authorities need to be messed with and set in motion. Texts and images must be used unexpectedly, tossed into the world—both commandeered and set free. Settings, views, and attitudes taken for granted have to be rigorously dissected, torn apart, reconfigured. There are no teachers or parents to lead the way. Throughout Farocki’s work, conflict will continue to manifest in mundane objects and situations.4 In this case, a simple sheet of paper. Conflict is not only part of the content, but also of the production setting. Worte des Vorsitzenden is made in collaboration with both Otto Schily—later to become German interior minister—and Holger Meins, who died in a prison hunger strike as a member of the Red Army Faction. One would become the face of the state, the other would die as its enemy. Production holds conflict. It is its most basic form.

法罗基的第一部电影之一《主席的话》（Die Worte des Vorsitzenden）是一部传奇的煽动性短片。一本毛泽东的圣经被撕毁，它的书页被折成纸飞机，扔向一个沙特的假人。《话说......》认为，当局的声明需要被打乱，需要被启动。文本和图像必须被出乎意料地使用，被扔到世界上--既被征用又被释放。被认为是理所当然的环境、观点和态度必须被严格地剖析、撕碎和重新配置。没有老师或家长来带路。在法罗基的整个作品中，冲突将继续体现在平凡的物体和情况中。4在这种情况下，一张简单的纸。冲突不仅是内容的一部分，也是制作环境的一部分。 Worte des Vorsitzenden是与Otto Schily（后来成为德国内政部长）和Holger Meins合作制作的，后者作为红军派的成员在监狱绝食中死亡。一个将成为国家的代言人，另一个将作为国家的敌人死去。生产包含着冲突。这是它最基本的形式。

Another beginning:

另外一个开头：

*Does the world exist, if I am not watching it?***5**

如果我不看它，这个世界还存在吗？

This beginning is among his last: it is part of the brilliant series Paralell I–IV dealing with computer generated game-imagery. This series reflects on elements of game worlds, on polygons, NPC’s, 8-bit graphics, arse physics and unilateral surfaces. Ok, I made up the arse physics, sorry. Paralell I–IV sketches the first draft of a history of computer-generated images that is still emerging as we speak. It skims the surfaces of virtual worlds and coolly scans their glitches. Paralell I–IV is so humble, so concise, so charming and bloody fantastic that I could go on about it for hours. You are so lucky it hasn’t got arse physics or else I would.

这个开头是他最后的作品之一：它是处理计算机生成游戏图像的辉煌系列Paralell I-IV的一部分。这个系列反映了游戏世界的元素，多边形、NPC、8位图形、屁股物理学和单边表面。好吧，我编造了屁股的物理学，对不起。 Paralell I-IV勾画了计算机生成的图像的历史的初稿，在我们说话的时候，这段历史仍在出现。它略过了虚拟世界的表面，冷静地扫描了它们的故障。 Paralell I-IV是如此谦逊，如此简明，如此迷人和血腥的梦幻，以至于我可以继续谈论它几个小时。你很幸运，它没有得到屁股的物理学，否则我会的。

In 1992, Videograms of a Revolution, codirected with Andrei Ujică, captured a similar moment of emergence. The seminal work compiles material from over 125 hours of TV broadcasts and amateur footage of the ’89 Romanian uprisings. It demonstrates how TV stops recording reality and starts creating it instead. Videograms asks: Why did insurgents not storm the presidential palace, but the TV station? At the very moment the social revolution of 1917 ended irrevocably, a new and equally ambivalent technological revolution took place. People ask for bread: they end up with camcorders. TV studios host revolts. Reality is created by representation6—Farocki, Flusser, and others were among the first to report this sea change as it happened. As things become visible, they also become real. Protesters jump through TV screens and spill out onto streets. This is because the surface of the screen is broken: content can no longer be contained when protest, rare animals, breakfast cereals, prime time, and TV test patterns escape the flatness of 2D representation.7 In 1989, protesters storm TV stations. In 1989, Tim Berners-Lee invents the World Wide Web. Twenty-five years later, oligarchs start to ask: If people don’t have bread, why don’t they eat their browsers instead?

1992年，与Andrei Ujică共同执导的《革命录像》（Videograms of a Revolution）记录了一个类似的出现时刻。这部开创性的作品汇编了超过125小时的电视广播和89年罗马尼亚起义的业余录像的材料。它展示了电视如何停止记录现实而开始创造现实。《录像》问道。为什么叛乱分子没有冲进总统府，而是冲进了电视台？就在1917年的社会革命不可逆转地结束时，一场新的、同样矛盾的技术革命发生了。人们要求得到面包：他们最终得到了摄像机。电视演播室主持起义。现实是由表象创造的6-Farocki、Flusser等人是最早报道这一巨变的人之一，因为它发生了。当事情变得可见时，它们也变得真实。抗议者跳过电视屏幕，涌向街头。这是因为屏幕的表面被打破了：当抗议、稀有动物、早餐麦片、黄金时段和电视测试模式摆脱了二维表现的平面性时，内容就无法再被容纳。1989年，Tim Berners-Lee发明了万维网。25年后，寡头们开始问：如果人们没有面包，为什么不吃他们的浏览器？

These works are building blocks. One can start building now. But what, exactly? Farocki starts building parallels. Shot on left monitor, countershot to the right. Montage arranged as solid bricks of spatialized narration. On the Construction of Griffith’s Films uses Hantarex cubes as construction material. Cinema is now rephrased as architecture.8

这些作品是砖头。人们现在就可以开始建造。但是，究竟是为什么呢？法罗基开始建立平行关系。在左边的显示器上拍摄，反拍到右边。蒙太奇作为空间化叙事的固体砖块排列。《论格里菲斯电影的建造》使用Hantarex立方体作为建筑材料。电影现在被重新表述为建筑。

There used to be one TV per flat. Now there are many. Political systems dwindle; screens multiply.Workers Leaving the Factory begins several times: a perfect grammar of cinema’s spatial turn.9 The first version of the work is single screen. The second version turns into twelve monitors simultaneously playing workers leaving the factory in different periods of twentieth century film history.10 Dialectics explodes into dodecalectics. Farocki multiplies the exits and the worlds of labor multiply in turn. Workers leave the factory to become actors—and to play themselves. Factories turn into theaters of operation. From 1987 on, Farocki also filmed how work puts on a show by way of exhibition. More than a dozen cinema verité films exhibit training, pitches, meetings, people striving to perform: The Appearance, The Interview, Nothing Ventured.***11** People pitch campaigns and projects as if their life depends on it. The staging of labor precedes commodity infatuation. *The Leading Role (Die Führende Rolle,1994) shows the design of GDR May Day parades while the Berlin wall was already crumbling. Think of a televised ballet performed by a fantasy military sports brigade.

过去，每个单位有一台电视。现在有很多了。工人离开工厂开始了好几次：这是电影空间转向的完美语法。第二个版本变成了十二个显示器，同时播放二十世纪电影史上不同时期的工人离开工厂。法罗基增加了出口，劳动的世界也随之增加。工人们离开工厂，成为演员，并扮演他们自己。工厂变成了行动的剧场。从1987年开始，法罗基还拍摄了工作如何通过展览的方式进行表演。十多部真实电影展示了培训、推销、会议和努力表演的人。 *外貌、采访、无所求11人们对运动和项目的推销，仿佛他们的生命依赖于此。劳动的舞台在商品的迷恋之前。 *《主角》(Die Führende Rolle*,1994)展示了东德五一游行的设计，当时柏林墙已经倒塌。想想看，这是一场由幻想中的军事体育大队表演的电视芭蕾舞。

Another group of works investigates how buildings train bodies, reflexes, and perception. A prison: how to lock up by looking; a shopping mall: how to choreograph clients; brick factories around the world: how to make bricks manually, by machine, and through 3D printing.12 This was the plan at least. The 3D printed bricks didn’t make it into the film after all—the technology was too slow to keep up with Farocki’s furious pace.

另一组作品研究了建筑物如何训练身体、反射和感知。一个监狱：如何通过观察来锁定；一个购物中心：如何编排客户；世界各地的砖厂：如何通过人工、机器和3D打印来制造砖块。12这至少是计划。3D打印的砖块终究没有进入影片--技术太慢，无法跟上法罗基的狂热步伐。

In its inception, parallel montage arose alongside conveyor belts—an industrial form of production across different locations arranged one after another. Its spatial turn arrived with major transformations: deindustrialization. Labor as spectacle. Factories turned museums. Conveyor belts dismantled and reinstalled in China, where mega-museums rise in parallel. Production persists in worlds split off by one-way mirrors. Surfaces glisten, spaces disconnect amongst commodity addiction, cheap airfare, and attention deficit: the new normal. Farocki looks, listens, demonstrates, aligns. At one point, he goes quiet. *Respite***13**has no soundtrack whatsoever. In the video, Farocki shows silent footage extorted from a detainee at Westerbork deportation camp for purposes of Nazi infotainment. He peels away the staging of normalcy covering genocide layer by layer. The absence of sound is the film’s most striking documentary layer; it records the silence of the audience that took Nazi stagecraft for reality.

在开始的时候，平行蒙太奇是和传送带一起出现的--一种跨越不同地点的工业生产形式，一个接一个地排列。它的空间转折伴随着重大的转变而到来：去工业化。劳动作为奇观。工厂变成了博物馆。在中国，传送带被拆除并重新安装，巨型博物馆也同时兴起。生产在被单向镜分割的世界中持续存在。表面熠熠生辉，空间在商品上瘾、廉价机票和注意力缺失之间脱节：新常态。法罗基看着、听着、演示着、对齐着。在一个点上，他沉默了。 *Respite***13**没有任何背景音乐。在视频中，法罗基展示了从威斯特博克驱逐营的一名被拘留者那里敲诈来的无声录像，目的是为了进行纳粹的宣传。他一层一层地剥去了覆盖在种族灭绝上的正常状态的舞台。没有声音是这部电影最引人注目的记录层；它记录了观众的沉默，他们把纳粹的舞台艺术当作现实。

Reality would have to begin.

现实就会开始。

Another of Farocki’s beginnings:

另外一个法罗基的开头：

*Looks like it might have just been a glitch.***14**

看上去发生了一个小故障。

A soldier drives a tank through a virtual landscape. After asymmetrical US warfare in Vietnam, the ongoing Cold War of the ’80s has given way to a permanent asymmetrical war against “Terror.” War has changed. It also remains the same. In the twentieth century, Farocki suggests resisting a military reconnaissance that uses analog aerial photography. In the twenty-first century, Farocki observes armies that rely on simulations. Photography records a present situation. Simulations rehearse a future to be. They push out representations and make worlds, pixel by pixel, bit by bit—building by destruction and subtraction. Cameras do not only record, they also track and guide. They scan and project. They seek and destroy. War has changed. It also has remained the same: complicit with business interests, deeply entrenched within the most mundane details of everyday reality—now generated by images.

一名士兵驾驶坦克穿越虚拟景观。继美国在越南的不对称战争之后，80年代的持续冷战已经让位于一场针对 "恐怖 "的永久性不对称战争。战争已经改变。它也仍然是一样的。在二十世纪，法罗基建议抵制使用模拟航空摄影的军事侦察。在二十一世纪，法罗基观察到依靠模拟的军队。摄影记录了现在的情况。模拟排练了一个未来。它们推开表象，创造世界，一个像素一个像素，一个比特一个比特地通过破坏和减法建立。摄影机不仅仅是记录，它们还跟踪和引导。它们扫描和投射。它们寻找和摧毁。战争已经改变。它也保持不变：与商业利益沆瀣一气，深深扎根于日常现实的最平凡的细节中--现在由图像生成。

Like warfare, Farocki’s work has changed. Like warfare, it has remained the same. Harun’s latest works were always the most advanced, pushing the edge of analysis and vision. One can’t afford nostalgia when dealing with the tools of permanent workfare: transmission, rephrasing, modeling. Like in Words of the Chairman when a page of paper is folded to become a weapon. The printed page has turned into a set of polygons. It can be folded into fighter jets, runway handbags, or furry Disney creatures. They could be part of education, games, or military operations. Just like the paper airplane, by the way.

就像战争一样，法罗基的作品已经发生了变化。像战争一样，它一直保持不变。哈伦的最新作品总是最先进的，推动了分析和视觉的边缘。在处理永久性工作战的工具时，人们不能怀旧：传输、重新措辞、建模。就像在《主席的话》中，当一页纸被折叠成武器时。印刷的页面变成了一组多边形。它可以被折叠成战斗机、T台手袋或毛茸茸的迪士尼生物。它们可以成为教育、游戏或军事行动的一部分。顺便说一下，就像纸飞机一样。

In an interview published after his death, Farocki says of Words of the Chairman:

在他死后发表的一篇采访中，法罗基谈到《主席的话》：

It was about a utopian moment suddenly projected into the world. One couldn’t see it in the outside world; at least one couldn’t record it with a camera. And in this case—and I still feel this way—I was able to produce an entirely artificial world, something like a 3D animation.15

这是关于一个突然投射到世界上的乌托邦时刻。人们无法在外部世界看到它；至少人们无法用相机记录它。在这种情况下--我仍然这样认为--我能够产生一个完全人造的世界，就像一个三维动画。

Filmmakers have hitherto only represented the world in various ways; the point is to generate worlds differently.

迄今为止，电影人只是以各种方式表现世界；而重点是以不同的方式生成世界。

Paradoxically the beginning is also often the last part to be created, since it has to anticipate everything. But Farocki’s late works are not just new versions of old beginnings. They started smiling. The late works radiated playfulness not in spite of their profoundness or seriousness but precisely because of it: from Serious Games to just games. From Deep Play to play proper. They also became more relevant and exciting by the minute. Farocki got closer to the beginner’s spirit day by day.

矛盾的是，开头往往也是最后被创造的部分，因为它必须预见到一切。但法罗基的晚期作品不只是旧的开始的新版本。他们开始笑了。晚期作品散发着游戏性，并不是因为它们的深刻性或严肃性，而恰恰是因为它们的深刻性或严肃性：从严肃的游戏到只是游戏。从 "深度游戏 "到适当的游戏。它们也变得更加相关和令人兴奋。法罗基每天都离初学者的精神更近。

Today, workers are leaving the factory to play Metal Gear Solid in the parking lot. They got confused because the disco grid installed for office raves was hacked and now shows ISIS fashion week ads.16 Today workers are players, proxies, pitchers, soldiers, dancers, spammers, bots, and refugees. Ballistics is upgraded with arse physics. TVs are built with Minecraft blocks. Reality is still missing in action. Harun’s work is more necessary than ever and I am gutted that he is no longer here.

今天，工人们正离开工厂，在停车场玩《合金装备》。他们感到困惑，因为为办公室狂欢安装的迪斯科格子被黑了，现在显示的是ISIS时装周的广告。16今天，工人是球员、代理、投手、士兵、舞者、垃圾邮件发送者、机器人和难民。弹道学用屁股的物理学进行了升级。电视机是用Minecraft积木建造的。现实在行动中仍然缺失。哈伦的工作比以往任何时候都更有必要，我对他的离去感到痛心。

I know I am not alone in this. From Berlin to Beirut to Kolkata, Mexico, Gwangju, and wherever airlines and wi-fi travel, Harun’s work struck a chord and brought people together: from Straub and Huillet nerds to Tumblr impressionists and drone opponents. From West Berlin to the West Bank. From salon bolsheviks, dialup activists, and SketchUp gallerinas. From portable film clubs to mobile phone browsers. I personally know at least one militia member who was floored by his work. Harun was his own UN smoking lounge in an imaginary corridor shared by the offices of the technology, Security Council, soccer, and moving image subcommittees. His work lives on invincible; his convertible is killing it still. People faint every time it comes down Karl-Marx-Allee.17

我知道我并不孤单。从柏林到贝鲁特，再到加尔各答、墨西哥、光州，以及所有航空公司和Wi-Fi旅行的地方，哈伦的作品引起了人们的共鸣，并将人们聚集在一起：从斯特劳布和惠勒的书呆子到Tumblr印象派和无人机反对者。从西柏林到西岸。从沙龙布尔什维克，拨号活动家，到SketchUp画廊的人。从便携式电影俱乐部到移动电话浏览器。我个人知道至少有一个民兵成员被他的作品所震撼。哈伦是他自己的联合国吸烟室，在一个由技术、安全理事会、足球和移动图像小组委员会的办公室共享的想象的走廊里。他的作品生生不息，所向披靡；他的敞篷车依然杀气腾腾。每次它从卡尔-马克思大街下来，人们都会晕倒。

All of us are now in a position to answer your question:

我们所有人现在都有资格回答你的问题了。

*Does the world exist, if I am not watching it?***18**

如果我不看它，这个世界还存在吗？

Reality would first have to begin. And perhaps, by beginning over and over again, reality can finally be brought about.

现实首先必须开始。也许，通过一次又一次的开始，现实终于可以得到实现了。

Notes

Parallel II, 2014. One-channel video installation, color, sound, 9 minutes.

Harun Farocki, “Reality Would Have to Begin,” Imprint: Writings / Nachdruck: Texte, ed. Susanne Gaensheimer and Nicolaus Schafhausen (New York: Lukas & Sternberg; Berlin: Vorwerk 8, 2001), 186–213→

Parallel IV, 2014. One-channel video installation, color, sound, 11 minutes.

There is a strong parallel to Martha Rosler’s work Bringing The War Home, made in the same year, which also insists on the domesticity and ubiquity of warfare.

From Parallel I, 2012.Two-channel video installation, color, sound, 16 minutes.

This work is preceded by “Ein Bild,” a conversation with Vilem Flusser about a cover of Bild Zeitung. Also, obviously reality has always been created by representations to an extent, but this period marks the emergence of reality being created by digital imagery.

At some point during the stampede cinema becomes a casualty too. It ceases to be a place where production condenses social conflict.

On the Construction of Griffith’s Films (Zur Bauweise des Films bei Griffith), 2006. Two-channel video installation, black and white, 8 minutes.

Workers Leaving the Factory (Arbeiter verlassen die Fabrik), 1995. Digital video, sound, 36 minutes. Workers Leaving the Factory in Eleven Decades (Arbeiter verlassen die Fabrik in elf Jahrzehnten), 2006. Twelve-channel video installation, 36 minutes.

Another version is installed in Essen right now, showing actual workers leaving factories in fifteen different countries, as part of the work Labour in a Single Shot codirected with Antje Ehmann. I haven’t seen it yet.

The Appearance (Der Auftritt), 1996. Video, sound, 40 minutes; The Interview (Die Bewerbung), 1997. Video, sound, 58 minutes; Nothing Ventured (Nicht ohne Risiko), 2004. Video, sound, 50 minutes.

I Thought I was Seeing Convicts (Ich glaubte Gefangene zu sehen),2000.Video, sound, 60 minutes; The Creators of Shopping Worlds (Die Schöpfer der Einkaufswelten), 2001. Video, sound, 72 minutes; In Comparison (Im Vergleich), 2009. Video, sound, 60 minutes.

Respite (Der Aufschub), 2007. Video, sound, 38 minutes.

From Serious Games I: Watson is Down. 2010. Two-channel video installation, color, sound, 8 minutes.

Philipp Goll, “Harun Farocki: Ein posthum erscheinendes Interview über Fußball, Mao und das Filmemachen,” Jungle World no. 32 (August 2014) →

A reference to recent conversations with Brian Kuan Wood and Andrew Norman Wilson’s work,Sone →

Harun’s Volvo cabrio might have singlehandedly saved the GDR if strategically deployed at May Day parades.

From Parallel I, 2012. Two-channel video installation, color, sound, 16 minutes.

Note: This text is written in the mode of fan prose. Of all Farocki’s 120 or so moving image works, I have seen only about two thirds. People who have written on his work with expertise, lucidity, and insight include Thomas Elsaesser, Christa Blümlinger, Tilman Baumgärtel, Nora Alter, Georges Didi-Huberman, Olaf Möller, Volker Pantenburg, Tom Keenan, and many others. Please read their writings for a comprehensive overview of Harun Farocki’s body of work spanning almost five decades. For biographical background please watch Anna Faroqhi’s outstanding short video that gives a most beautiful account: A Common Life (Ein gewöhnliches Leben) (2006–07, 26 minutes). Thank you to Harun Farocki’s longtime collaborator Matthias Rajmann for providing instant access to online downloads.

注：此文是以粉丝散文的方式写的。在法罗基的所有120部左右的影像作品中，我只看过三分之二左右。对他的作品有专业、清晰和深刻见解的人包括Thomas Elsaesser, Christa Blümlinger, Tilman Baumgärtel, Nora Alter, Georges Didi-Huberman, Olaf Möller, Volker Pantenburg, Tom Keenan等人。请阅读他们的著作，以全面了解哈伦-法罗基近五十年的作品。关于传记背景，请观看Anna Faroqhi杰出的短视频，它有对此最完善的描述。 A Common Life（Ein gewöhnliches Leben）（2006-07，26分钟）。感谢哈伦-法罗基的长期合作者马蒂亚斯-拉杰曼提供即时的在线下载服务。

Hito Steyerl is a filmmaker and writer. She teaches New Media Art at University of Arts Berlin and has recently participated in Documenta 12, Shanghai Biennial, and Rotterdam Film Festival.

Hito Steyerl是一位电影制片人和作家。她在柏林艺术大学教授新媒体艺术，最近参加了第十二届文献展、上海双年展和鹿特丹电影节。

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