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 |

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.

quarta-feira, julho 09, 2014

Of mediation and archival (notes)

- undefined roles
- liveness as documentation of the intimate
- globally local
- intimacy and proximity
- collaboration against capitalism (nothing is ownable)
- “to act”, “to act upon oneself”, “to be acted upon”
- integrated mediation
- memory and registration as artifacts
- “electric amplification” of the senses
- branding is an experience
- the body
- expansion and multiplicity
- quantifiable and visible “butterfly effect”

read more here

quarta-feira, julho 02, 2014

MetaAcademy: working the medium and spreading the message

Lisa Parra & Daniel Pinheiro - Meta Academy @ Bates 2013

"Solano’s projects show how for dance the internet can be, instead of isolated bodies on screens, a platform for discovery, exchange and, most surprisingly, “moving” physical experience." 

As we continue live the tension of permanent and persistent digital surveillance, constantly hovering over us, the use of the technoetic-incorporeal entity towards improving collaboration and broadening of the concept of interaction as a mean for extending our mind and bodies is, not only relevant but, one of the vertices of the social pyramid and of great use for inclusion and sustainability.
Again, it's necessary a continuous re-definition of the concepts and adjustments of the practices that are analogical and as such have the need for human power, potential and creativity to feed and nurture them.
The space of the screen can be easily erased, shut down, reseted... but, while we grow more dependent of it, and while we decide to keep it on, the possible outcomes can continue to prove the path for sharing knowledge and bring to light the human capacity to overcome barriers and transform light and electricity into meaningful connections that celebrate our multiplicity.

"Place–making is the confluence of activities, space, and conceptions" (Canter, 1977)
and this: