Make the complex understandable, and manageable. Unpack ideas and draw the connections between them. * UNLOAD YOUR THOUGHTS and get them organized. Change fonts, colors, add arrows, place graphics on the canvas.
“The name of this app doesn’t do it justice” - Tom M.Ĭreate text boxes with your notes and ideas. “A very useful and truly essential app” - App Store review (Italy) If you’re interested in mind mapping with a textual bias, this is very much for you.".
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"Top 5 Useful Mac Apps Making Things Easier" - iMacLand Junkyard helps you visually organize ideas and create attractive mind map illustrations. It displays a reminder message which, if you like the app, can be removed by a modest in-app purchase.
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In the process of employing such tactics, the participants go so far as to problematize the film's truth claims, caricaturizing its humanitarian tendencies and subverting its modernist preoccupations with vision, essence, and purity.įoreign Parts, by virtue of its participatory form.Junkyard is free to download with all features fully enabled and no advertising. When fissures do arise-for example between the filmmakers and the objects of their ethnography-they come to light as structuring features of urban space that might be unworked through discreet tactics of interpretation, detournement, and irony, with varying results. Filmmaker and subject are interwoven through action and expression into the spaces, materials, infrastructures, and ecologies that surround them, and not out of an ethic of equivalency, which reduces all things to mere matter, but through an improvisational network of dependencies. In charting the automated and performed actions of the workers, surveying their esoteric knowledge and well-honed skills, the film depicts the animacy of matter and its relation to the lived condition of emplaced human communities. In Foreign Parts, we sought above all to bring to the screen the lifeworld of the junkyard-not just of the human subjects but also the ecology of the auto parts, often in some liminal state between life and death or animate and inanimate-rather than to tell viewers exactly what they should think and feel about the place. The film thus offers a prismatic juncture between media and materiality, the image and the unfolding world it comes to resemble. In doing so, they extract the genre from the confines of normative institutional space and into the living ecologies of the city. A garrulous and multilingual ensemble of New Yorkers, they pull the film into their own lives. Junkyard workers flood the film with performances, grievances, fabulations, and other creative usurpations of the medium. But the film's potential as politics comes from the people themselves, who insist on intervening to assert their own agendas. The space itself is a marvel: ruined and dismembered commodities amass about the neighborhood, anchoring the everyday itineraries of the people who buy them, sell them, and turn them into scrap (Figure 1). The object of the film is Willets Point, Queens, a patchwork of junkyards and car lots with a large and vibrant immigrant work force. Sniadecki, provides an instance of sensory ethnography that embraces language and performance, understanding these forms of expression to produce material reality and thus to create the groundwork for an urban-environmental politics. Foreign Parts (2010), directed by Véréna Paravel and J. Film still from Foreign Parts (2010), dir. 3 castaing-taylor prefers works that proceed through a sharing of sensory environments, what he calls, citing andré bazin, "technical realism." 4 Such films are minimally structured, utilizing a raw formalism to immerse audiences in the flux of sonic and visual effects, thus aiming to "restore to the viewers some of the autonomy they have in interpreting reality when they are confronted with it as witnesses in real life." 5 By inviting the audience into a chapel of pure experience, works of sensory ethnography seek to exhibit and instantiate the real, unmediated by words.Ĭar parts amassed in Willets Point. 2 These projects reflect a concern voiced by lucien castaing-taylor, director of the lab and leading light of the movement, over what he terms "iconophobia"-a fear of the image and corresponding belief that "extuality itself, and textuality alone" is the basis for critical legitimacy. castaing-taylor and véréna paravel, 2012), which have attained widespread critical attention for their "embodied," "digressive," and "open-ended" approaches. lucien castaing-taylor and ilisa barbash, 2009) and Leviathan (Dirs. 1 Harvard University's Sensory Ethnography Lab, where the movement has found an institutional home, has produced several feature films, including Sweetgrass (Dirs. Sensory Ethnography is a new documentary movement that connects the workings of cinema to the dynamic ontologies of space, labor, and environment.
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