quinta-feira, Novembro 27, 2014

The Net is Not a Tool, It’s an Environment / Franco "Bifo" Berardi

(...)
For instance, in The Political Power of Social Media Technology, an essay published in Foreign Affairs in February 2011, Clay Shirky argues that:

'As the communications landscape gets denser, more complex, and more participatory, the networked population is gaining greater access to information, more opportunities to engage in public speech, and an enhanced ability to undertake collective action'.

(...)

The Paradox Of Media activism | The Net is Not a Tool, It’s an Environment 
(Franco "Bifo" Berardi November 2012)

sexta-feira, Novembro 21, 2014

on performing the medium... (Notes/drafts)

An alternate operational entity that is spatially distributed but electronically connected. -- "Zombies&Cyborgs" Sterlarc

(...) Studying the dramaturgy of a tele-shared fictional or documentary action, intends the comprehension of an alternative space for action (also understood as performativity) where - as in Sterlarc's words - connectedness is bound in electricity becoming the core of every situation created; from the digital lonesomeness of the individual to the maximum collective reach, including every spectator/agent/user present in the network.

"In “Host Diary”, we use systems of telepresence and telematic control to produce the fiction that there is a space open all day to the arrival of others. In particular, the artwork raises the question through the “permissions” that mediate all hosting relationships. What is the guest allowed to do?"
-- Intact's project for CultureHub's REFEST'14 Art&Technology Festival

The output or product is defined by the medium itself and the agency we can have upon it. The only decision left ranges from fiction to non-fiction. Like in a site-specific production of theater, dance or performance work, the site specific here is the medium itself and everyone can be invited to take part, where all are qualified as fundamental along with the timeless and extended medium/site; that is contiguous across combined architectures and multiple 1's.  (...)

sexta-feira, Outubro 31, 2014

communication

To communicate means to try to establish a unity, to make one of many; this is what the word communion means. In one way or another, something is always missing from the communion sought by humans, driven by the feeling that solitude is impotence itself. We must necessarily risk our lives: this implies entering into a movement connecting ourselves to other humans who are similar to ourselves. This is absolutely necessary for the life of the flesh.
We would die quickly if we had not taken care to insert ourselves into a system of economic exchanges…

Georges Bataille, The Unfinished System of Non-Knowledge

terça-feira, Setembro 09, 2014

Uncovering Ctrl: Teknokultura: "Vigilancia global y formas de resi...

Uncovering Ctrl: Teknokultura: "Vigilancia global y formas de resi...: De vuelta. Nuevo curso y nuevos proyectos... Empezamos con buen pie. el monográfico de Teknocultura Vigilancia global y formas de resi...

segunda-feira, Agosto 04, 2014

Pojktanten

When I was a kid,
I thought that snails changed shells.
I thought it was a beautiful idea,
changing your home, your exterior.
The idea that your body
wasn't linked to who you are.

I actually believed that
up to now.
I never realised that all those
empty shells were dead snails.




sexta-feira, Julho 25, 2014

Cut! Reproduction and Recombination (A Kiss)

A Kiss

But there is an alternative interpretation.
Let's take a look at a differently postproduced image of cut and censored bodies. In the film 'Cinema Paradiso' (1988), a man watches a film roll made from the parts that a projectionist had to censor from fiction films. The result is a reel made of kisses that were too provocative to be shown in public, as they jeopardize ideas from family, property, race, and nation sustained by sexual norms and restrictions.
A reel of ousted kisses. Or is it the same kiss passed on from take to take across different protagonists? A kiss that replicates, travels, spreads, uncontrollably; a kiss that creates vectors of passion and affect, of labor, and, potentially, violence?
A kiss is an event that is shared and consists precisely of sharing, exchanging, and happening in between bodies. It is an edit articulating affect in ever-different combinations. It creates new junctions and forms between and across bodies, a form that is ever shifting and changing. A kiss is a moving surface, a ripple in time-space. Endless reproduction of the same kiss: each one unique.
A kiss is a wager, a territory of risk, a mess.
The idea of reproduction condensed into a fleeting moment. Let's think of reproduction as this kiss, which moves across cuts, from shot to shot, from frame to frame: linking and juxtaposing. Across lips and digital devices. It moves by ways of editing, exquisitely flipping around the idea of the cut, redistributing affects and desire, creating bodies joined by movement, love, pain.

quinta-feira, Julho 17, 2014

YouTube Delivers People by Vera Tollman | https://www.youtube.com/watch?v=nbvzbj4Nhtk

Every time a new technology appears, it promises to solve the problems of an existing medium—but in reality, it tends to introduce new problems all its own. In particular, this describes the relationship between television and YouTube, two tools of mass culture that are good at hiding their technological parameters.

At the height of the era of television in the 1970s, artists blamed television for its power to turn audiences into consumers. Using video—a technology that today is available to millions of amateurs—to tape their critique, Richard Serra and Carlota Fay Schoolman made Television Delivers People. At the early historical juncture of 1973, they criticized, in a humorous way, what pessimists like Neil Postman got worried about in the 1980s. Serra and Schoolman satirized the banality of TV programs by playing elevator music and scrolling critical messages, such as “the product of television is the audience,” across the screen.

With the popularization of the Internet, new problems emerged with regard to the relationship between medium and viewer. The passive television viewer was suddenly turned into an active user with the changes in form, amount, speed, and context of information transmission. This online audience is currently reproducing everything it learned from TV. The paradox: people undermine commercial media within the framework of a corporately owned medium. The participatory paradigm produces new disadvantages, because in order to rise to the permanent call for creativity, people have to exploit their own means and skills. Web 2.0 comes with hours and hours of labor.

Ramsay Stirling, a student from Copenhagen, recognized these new but not so different conditions and updated the Serra-Schoolman critique in his video YouTube delivers YOU. In it he states, “The New new media state is predicated on media subjectification,” and “Soft detournement is considered entertainment,” underscoring how the Internet user is a consumer, a producer, and the product itself all at the same time; inherent in such art is an indicator of the medium’s limits. Going further on the meaning of art since YouTube, Rosemary Heather suggests in her essay “Army of YouTube,” “There is a kind of autonomous intelligence that wants to be organized into a second level of meaning.” Some video artists like Natalie Bookchin have organized YouTube footage in such a way. In her typological work trip(2008), Bookchin took amateur clips recorded from cars and other moving vehicles around the world. These individual street views are orchestrated into an international road movie that comes along without suspense and narrative. In contrast, her multiscreen work Mass Ornament (2009) shows the scary homogeneity of clips of aspiring dancers. YouTube, therefore, becomes a signifier of cultural production, mirroringTV.

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