[ Spaces of Identity ]

Seeßlen goes global with his considerations about the machinery's glance. While the West wants the camera to be organic, to become identical with the human eye and finally to blend into the world of the human organs, the East, specifically Russia, uprates the mechanic eye. The camera is dynamics, the human eye is immobile.

The space of identity created by the camera's, the mechanic mobility is a communist identity.

Thus, it is the cyborg which is able to become a whole - by overcoming his organic imperfectness and immobility. At the same time this specific identity is the opposite of what is usually regarded as identity-building: it means disintegration of wholistic perception, it means the unrelatedness of two different natures of perception. The actor in-between are the media.

More on Vertov's films and politics of aesthetics here, here or there.