1. 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…

    from Moments.Memoires http://ift.tt/1BpAYvS


  2. "One" is their unit of "measure" — but its not. All social systems we’ve put into place are a mere sketch: "one plus one equals two", that’s all we’ve learned, but one plus one has never equaled two — there are in fact no numbers and no letters, we’ve codified our existence to bring it down to human size, to make it comprehensible, we’ve created a scale so we can forget its unfathomable scale. (…) Time is the only true unit of measure, it gives proof to the existence of matter, without time, we don’t exist. // LUCY (2014)


  3. THE WINDOW (1964)

    The moving camera shapes the screen image with great purposefulness, using the frame of a window as fulcrum upon which to wheel about the exterior scene. The zoom lens rips, pulling depth planes apart and slapping them together, contracting and expanding in concurrence with camera movements to impart a terrific apparent-motion to the complex of the object-forms pictured on the horizontal-vertical screen, its axis steadied by the audience’s sense of gravity. The camera’s movements in being transferred to objects tend also to be greatly magnified (instead of the camera the adjacent building turns). About four years of studying the window-complex preceded the afternoon of actual shooting (a true instance of cinematic action-painting). The film exists as it came out of the camera barring one mechanically necessary mid-reel splice. K. J.


    Projected light, the most basic ingredient of cinema, is hand-manipulated using a lens and spinning shutter to create hallucinatory optical effects.


  4. Bill Viola: Cameras are soul keepers

    (Source: youtube.com)


  5. 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.

    from Moments.Memoires http://ift.tt/UW7yF3

  6. Appligence

    Internet.org is a global partnership dedicated to making affordable internet access available to the two thirds of the world not yet connected.”

    Dystopia vs. Utopia; its tenants and lured users…

    as we communicate in a growing state of lonesomeness, we deceively feel “less dependent on a feed from eachother” - Antony Hegarty

    #appligence - Kembra Pfahler: which is a kind of grand ignorance that goes along with it, you have the grandiosity of “I’m so swift, I know how to do everything so rapidly on social media…” but there’s the ignorance not really realizing that you’re working with applications that were invented by people… (Antony) that you’ve been sold… and everyone is trying to swim with the tide but faster…

    (transcribed from the know-wave radio at Performance Art 101 conversation between Kembra Pfahler and Antony Hegarty: https://soundcloud.com/know-wave/kembra-pfahler-with-antony-june-25-2014)


  7. 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.

    from Moments.Memoires http://ift.tt/1okkyQX

  8. perfume—-genius:

    Watch the brand new video for the first single ‘Queen’

    Q.U.E.E.N // Perfume Genius


  9. YouTube Delivers People by Vera Tollman | http://ift.tt/1nclxDk

    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.

    from Moments.Memoires http://ift.tt/1nclxDo

  10. Klaxons - Twin Flames NSFW from BlindPig on Vimeo.

    Photo: The Future of Sex | Sexual hybrids as created by photographers Blommers / Schumm for Baron | nowness