Francis Alÿs – Algunas veces el hacer algo no lleva a nada
Sometimes making something leads to nothing
Using examples from vacations to colonoscopies, Nobel laureate and founder of behavioral economics Daniel Kahneman reveals how our “experiencing selves” and our “remembering selves” perceive happiness differently. This new insight has profound implications for economics, public policy — and our own self-awareness.
About Daniel Kahneman
Widely regarded as the world’s most influential living psychologist, Daniel Kahneman won the Nobel in Economics for his pioneering work in behavioral economics — exploring the irrational ways we… Full bio and more links
La Jetée is perhaps the most ‘fictional’ of Marker’s output, weaving its story of a nuclear-devastated Paris in the near future; it is far from conventional. Lasting 29 minutes, shot in black and white and consisting almost entirely of still photographs – imaginatively blended with dissolves, wipes and fades – this is the bare bones of science fiction. It highlights why we are attracted to SF in the first place: not for bug-eyed aliens or galaxy-hopping spaceships, but for the way in which the form can twist our most cherished versions of reality inside out. Indeed, La Jetée belongs to a fascinating epoch in French alternative cinema, when a number of directors engaged with SF as a philosophical tool. Its concept of circular time and ‘Chinese box’ narrative recall Jean-Luc Godard’s Alphaville (1965) as well as Jean-Pierre Gorin’s fascinating, but failed, attempt to film Philip K Dick’s Ubik.
In Tarkovsky’s work, childhood is also a treasure lost before it has begun. The burning barn, shown at the beginning of The mirror, on the far side of a clearing adjoining the hero’s home, spells the doom of that home itself, long before the black and white sequence which shows it empty and abandoned, “inhabited” only by the fluttering white spectres of the curtains drying in the breeze. The creak of the sheet-iron, which, with the flickering light, accompanies the hero’s son as he falls asleep in The sacrifice, similarly announces the destruction of the house in which he is growing up, and lays the foundations for his future on this loss. Our roots are held only in uncertain, shifting soil, which we inhabit and claim as our own solely via the medium of memory and its flickering flashes of illumination.