Stanisław Liguziński (Poland, 1987) is a film critic, doctoral student and a budding filmmaker. He is conducting research into videographic forms of film analysis. His project is simultaneously being developed as a written PhD dissertation at the Jagiellonian University’s Institute of Audiovisual Arts (Krakow, Poland) and a film project at the Netherlands Film Academy’s Master Programme. The working title of this undertaking is: “Attainable Text – Video Essay and Videographic Film Studies”.
The main focus of his project is on testing video’s potential of becoming a notebook, analytic device and legitimized self-referential academic form. Being interested in Video Essays, he doesn't treat them as genres, but particular modes of intellectual/artistic production, positioned between theoretical rigidness and creative flexibility. With their unique exhibitory freedom, which is providing ways of using aesthetic and poetic qualities of belles-lettres in analytical inquiries, essays let researcher approach analytical work in a manner of Max Bense’s essayist who: “Is a combiner, a tireless producer of configurations around a specific object (…)” for whom: “Configuration is an epistemological arrangement which cannot be achieved through axiomatic deduction, but only through Ars Combinatoria in which imagination replaces knowledge.
Film Studies (5-Year MA), Jagiellonian University, Poland
Comparative Study of Civilizations (3-Year BA), Jagiellonian University, Poland
The FilmArcades project tries to create the conditions for the audiovisual literacy to emerge by inventing a special VR environment that would reinstate the model of participatory apprenticeship in a digital form. I invited leading figures of the video essay scene to work with me on a simple editing task structured around the EYE Institute’s Bits&Pieces collection. Those collaborations are being captured with multiple Kinect sensors and recreated as “playable” 3d scenes, allowing users to participate in our endeavors and edit their own videos.
FilmArcades is not only an observational documentary allowing you to follow the procedures of critical thinking through video editing, but also an enhanced participatory tutorial – enabling you to collaborate virtually with the best specialists in the field. Last but not least, it creates a unique opportunity for the museums or archives to engage their audience in an act of collaborative curatorship and playful exploration of collections.