Jorge Luis Farjat
Jorge Luis Farjat (born 17 September 1950) is an Argentinian producer of audiovisual and literary works, mainly dedicated to his theory about the audiovisual art, which is understood to be the language aesthetics that combines fixed images (photography) with sound, especially music, in a whole organized montage and shown under the same conditions as cinema (movie theater or darkroom camera).
His audiovisual works comprise several periods and the amount to twenty-six productions of mean and long duration, mostly documentaries.
[citation needed] Jorge Luis Farjat was born in San Martín, in the province of Buenos Aires, and showed a tendency towards artistic activities, especially classical music, inherited from his father, and also the cinema, which would take him, during his secondary and tertiary studies, to be in contact with the scholars in said subject, along with his thorough view regarding the different genres and schools.
At the beginning of 1970 he met, through Radio Nacional, Martín Gerber Bufano, an Argentinian philosopher, musician and teacher (1921–1986).
During the following years, he received from him, a deep contact with the music, aesthetic psychology and with the "Teoría de los Niveles" (Levels Theory), which belonged to said author, also inspired in Edward Carpenter, Albert Ellis and other writers.
This intellectual relationship, as well as friendship and, mainly, its fully endorsement with Edward Carpenter's thoughts, became the main element for the entire later development by Farjat, both in the montage musical roots of the works, as well as in the development and expansion of Gerber's Levels Theory, which would be made after the writer's death.
[citation needed] According to his concepts, "The Audiovisual Art" constitutes a specific means of social communication and expression, since it has intrinsic characteristics and qualities which determine an own language essence, which differentiates it and separates it from the cinema and television, turning it into an experience that aims at a different path, still not explored enough, in the field of communication, with completely new development possibilities in that field.
It includes "El Arte de Vivir" (The Art of Living), the trilogy "Hacia las Regiones del Sol" (Toward the Regions of the Sun), "El Mundo Estelar" (The Starry World) and "Indicios de Inmortalidad" (Intimation of immortality).
[citation needed] It indicates Farjat's arrival at the documentary genre, with the incorporation of the historical-testimonial theme to the montage methods previously explained.
From this period on, and more specifically as from the audiovisual work "Memorias del Hospital de Inmigrantes" (Memories of the Immigrants’ Hospital), the work start to be developed in these three aforementioned levels: the documentary one, exclusively related to the historical-testimonial context, the formal one, which has to do with the purely aesthetic aspect, and a third sense referred to the one that established its features in the above-mentioned literary essays.
[citation needed] It represents a substantial core, since it is the grounds for a new aesthetic outline, expressed in other ways of montage which forced the author to develop more widely the principles shown in "Audiovisualogía" (Audiovisualogy).
During this period, the documentary, photographic and testimonial stage is carried out, as well as the montage script about the music of the selected works.
Main excerpts publication), the author completely brings together the series of philosophical principles that inspire the basic substance of a great part of his audiovisual work.
By the end of 2010, he produces "Light from the blue", an audiovisual work carried out like a short interval, and he starts a long-length trilogy called "Una Voz sobre la Tierra" (A Voice over the Earth)], which is about nature and whose first and second part production extended until the end of 2013.
Meanwhile, the author still captures in a literary way the Audiovisual Art foundations, in which the second and main stage of his theory is summarized.
[citation needed] The beginning of this new period is actually marked by a substantial change in the aspects connected with the aesthetic grounds of his Audiovisual Theory, which are related to the extrinsic montage, in which the author leaves aside what he calls "extrinsic association point due the lap dissolve understood as free will", going to a new formalist accuracy, which is a hypothesis developed in his simultaneous writings.
