Stanford Humanities Lab: 2/24/08 - 3/2/08

 

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The Stanford Humanities Lab is a Center for Transdiciplinary/Post-Disciplinary Study. We discover fascinating futures to be explored in ignoring and crossing disciplinary borders.

SHL believes that some crucial questions — about what it is to be human, about experience in a connected world, about the boundaries of culture and nature — transcend old divisions between the arts, sciences and humanities; between the academy, industry and the cultural sphere.

We engage in experimental projects with a "laboratory" ethos — collaborative, co-creative, team-based — involving a triangulation of arts practice, commentary/critique, and outreach, merging research, pedagogy, publication and practice. Beyond commentary and discussion, we build: new media, interactive archives, predictive models of social change, collaborative research workshops, art exhibitions.

The SHL agenda encompasses

animating archives - regenerating, bringing to life, and fostering new modes of interaction with the storehouses of human, cultural, artistic, scientific achievement - our focus is on the question of the relationship of the human past to efforts at conservation and preservation
 
building bigger pictures - putting specialized in-depth research into the context of big human questions; questions, for example, of rapid social change and innovation, the ethical implications of information technology, the character of distributed digital communities, the politics of digital citizenship, the past, present, and future of intellectual property
 
enabling co-creative collaboration - developing successful models of teamwork, learner-centered models of training (thinking through doing), and collaborative authoring tools and processes
 
building bridges - establishing innovative partnerships between industry, museums, foundations, and high-level university-based research

 

The Factory of Gestures: Body Language in Film






An audio-visual research project by Oksana Bulgakowa

 

Realized at the Stanford Humanities Lab
 

(in collaboration with Dietmar Hochmuth and Gregor Hochmuth)


The moment when the new technologies of photography, film, and the mass distribution of images upset the social and cultural practices of the 20th century is especially striking in Russia, where artistic experiments coincided with great social cataclysms and the search for a new expressivity of the body produced sometimes unparalleled results. As the Revolution disrupted social norms and traditions, Soviet society experienced a radical change in the gestural code. The abolition of gestural restraints was interpreted as the liberation of natural man: bad manners were re-evaluated as socially acceptable behavior, some body techniques that had been contained within the private space -- like washing or calisthenics -- were now accepted in the public sphere, and some gestures from the public sphere were transplanted to very private settings. The Soviet cinema, which had to reflect and invent a new social model, used very eclectic sources: the rhetorical gestures of political leaders, the symbolic gestures of the imperial code, the eloquent gestures of theatrical melodrama, the new gestures of decadent flamboyant hysterical bodies, the body language of American film stars, sports culture, and Taylorism.

Film proposed utopian, sometimes contradictory models of the new body behavior that should be imitated in reality. A new society striving to free itself from old rituals was developing a new design of clothing and living spaces, new standards of perception, and a new body language for a new anthropological type: homo soveticus, a specific version of a man of modernity.

When: Wednesday February 27: 12 - 2 pm
Where: The Learning Theater on the ground floor of Wallenberg Hall (Bldg. 160)

This event is co-sponsored by the Division of Languages, Cultures and Literatures,
and the Department of Slavic Studies. Please join us!