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I. Archive(s)

CC BY 3. Where and how is asynchronicity constituted? And what are the effects of asynchronic time experiences? My inquiry started from personal experiences of stress and dealing with interiorized imperatives of pro-ductivity and efficiency. By looking into the discourses of acceleration including everyday concerns with speeding up and technological immediacy, I realized that such time conceptions remain in a spatial under-standing of time rationalization and lack the cultural dimension of temporal swiss shot putter anti aging.

Biography[ edit ] Origins and early activity[ edit ] Drăghici was born into a peasant family in the Tisău Commune, Buzău County.

Rather than an indi-vidualistic approach to time concerned with control and management, my artistic investigation aims to grasp through my filmic practice how time is differentially experienced in various, concrete situations and how rhythms are always relational. Therefore, the criteria of different age perspectives as well as body rhythms disobeying the imperatives of productivity and performance brought me to follow 1 a child and his family during a three-year period of his school enrolment; 2 the development of new care centers for persons with dementia; and 3 a start-up producing and promoting a cycle tracker for women encountering difficulties with fertility.

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By engaging with my writing and filmic practice in a narrative inquiry, serendipity and contingency play a crucial role in the development of the explorative process that constitutes material accounts of asynchronic experiences. Archive s When investigating the experience of time of different individual subjects or groups, the question arises as to how such an experience is constituted and by what means it can be collected.

And how could asynchronic experiences then be explored by filmic means? Still image from the filmic research journal.

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One card from the memory game, semi-staged shooting with the boy protagonist. The filmic footage I collect from the different case studies can mostly not directly picture asynchronic experiences.

  1. One moment, please
  2.  Да ну тебя, Чед, - засмеялась .

That means, I do not consider the camera itself an archival tool, as if it could capture and record the reality of such asynchronic experiences. In the evening of an intense day spent with the boy and his mother, I told myself what a silly idea it was doing an interview with a four-and-a-half year old child.

Slideshow 12 images Born inMichael ruled Romania twice, switched its alliance away from Nazi Germany to the Allied side during the war and was subsequently forced into exile by a Communist takeover in He died in Switzerland on Dec.

Already they do not like sitting still, and they rather prefer asking questions instead of answering them. I did not want him to answer questions, but hoped for moments that would speak for themselves. Interview - it was indeed mainly about our gazes meeting through the self-constructed medium format film camera.

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An attempt to open up this space between his perspective and mine. Similar to the school framework which obliged him to handle disciplinary rules, the filming framework confronted him with a setting where his attention and actions became significant in relation to particular time regimes.

The footage of these encounters therefore reveals in manifold detail various aspects of asynchronic experience by way of his withdrawing, resisting, interrupting, imagining and appropriating the concrete settings.

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At the same time it points my temporal perspective as the filming subject, conditioned by expectations and unanticipated surprises. In contrast, the camera turned out to swiss shot putter anti aging only indirectly a means for investigating asynchronic experience in a different, second case study.

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The more the cognitive capacities get lost in the advancing disease, the more the timely dimension of orienting oneself gets unstable and extended into the beyond- biographical past. My camera became an interface for looking at the facilities, the very places and environments where such asynchronic experiences supposedly take place — the current and planned care centers. At the same time, similar to a trace, the filmic sequence carries historicity within itself. The spectator is aware that the images were produced at a particular past moment.

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Both of these aspects of the filmic temporality are strongly related to contingency. By contingency, the footage accounts, like traces, for elements of concrete tuber uncinatum swiss anti aging. Calendar s Still image from the filmic research journal.

Day care center The Red Thread, March 21, Today is the beginning of spring.

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Anybody could claim that, replies another woman firmly. No, according to the calendar. The calendar - she would throw it out of the window.

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Observation location two, March 21,The Red Thread. Encounter s By introducing the looking-glass camera — a particular self-made camera — into the field research, I consciously introduced altered preconditions for encounters.

As a working tool, the camera differs from ordinary digital cameras by its handling as well as its aesthetics and thereby provokes a different relationship between filmer and filmed.

On the other hand, the low-res constraints relieved me from any sophisticated expectations and thereby helped me focus my attention on the actual situation thereby enhancing my receptivity for accidental and unforeseen happenings as and when they occurred.

Instead of the camera being a tool directed at the other as an object, it became an interface supporting the tentative stance of establishing an inter-subjective time of coevalness beyond a subject-object opposition.

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Such experience of coevalness is valued in ethnographic field research, says Fabian, but solely as an empiric experience which gets mostly erased in subsequent scientific writing through the conceptual and practical employment of measurable temporal concepts.

In contrast, in a narrative inquiry approach based on encounters where it is precisely the subjectivity of time experience that is at stake, inter-subjective time becomes constitutive of the thinking and writing process itself. On the playground with the boy and his mother after school.

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Gap sHole s In cinema, the black screen is an efficient signifier activated for purposes as different as arousing suspense for the unknown to come; introducing a temporal transition or jump in the narrative; reflecting what cannot be seen, the absent; pointing out the mediality of the apparatus and the discontinuity of human perception. What a black screen will evoke, depends of course on the context. But the affective power of the black screen works by its fundamental referential ambiguity Misek, As mentioned earlier, the lived subjective experience of fading memory remains inaccessible.

When I spent time with Alzheimer patients, anti-imbatranire atkins were the fragments of conversation which revealed splits in the temporal perception.