Monday, August 30, 2010

Saturday, August 28, 2010

found: Gert and Uwe Tobias, unknown, Naoki Koide

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Thursday, August 26, 2010

found panel: Caring For Your Online Introvert, organized by Joanne McNeil of The Tomorrow Museum for SXSW Interactive 2011; related to this blog post

Panel description (source):

"If you are a geek, you are probably introverted. But you might not seem introverted online. In the comfort of your own home, you can have endless conversations on message boards and mailing lists, have several instant message chats simultaneously, and thrive on these controlled social interactions. This also works in reverse. An overwhelmingly extroverted person could be too busy going to parties or talking on the phone to keep up with Facebook, appearing introverted when it comes to social media. Some of us are offline and online introverts. We don't like tagging people on Facebook. We don't @ reply very much on Twitter. Communicating through social media feels like small talk to the average online introvert. Social media can feel as draining as a cocktail party. Introverts sometimes appear standoffish to extroverts. Online introverts are similarly misunderstood by online extroverts. This panel will discuss the conflicts that occur between online extroverts and online introverts. We will also discuss "netiquette," as it relates to different personality types."

"Questions
How is introversion and extroversion different online?
What kind of conflicts result in online introvert and online extrovert interactions?
Is communication through social media always "small talk"?
What are ways to minimize hurt feelings or the sense of exclusion online?
How will these differences continue to play out on emerging social networks?"

MacNeil says: "I'm organizing a really great panel including a counselor who specializes in social media issues and a well known essayist. Happy to say announce Sarah Weinman (@sarahw) has also confirmed. Check out her reporting at the Daily Finance: http://www.dailyfinance.com/writers/sarah-weinman/ and her blog: http://www.sarahweinman.com/"

Tuesday, August 24, 2010

found: Joseph Cornell, Sarah Pickering, Caroline Walker

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found: depravity and humanity from superbomba







Monday, August 23, 2010

found essays:

Writing on Franco ‘Bifo' Berardi's book 'The Soul at Work: From Alienation to Autonomy':

'In Search for Autonomy'
by Stoffel Debuysere

“We require just a little order to protect us from chaos. Nothing is more distressing than a thought that escapes itself, that ideas that fly off, that disappear hardly formed, already eroded by forgetfulness or precipitated into others that we no longer master. These are infinite variabilities, the appearing and disappearing of which coincide. They are infinite speeds that blend into the immobilty of the colorless and silent nothingness they traverse, without nature or thought.” (Gilles Deleuze & Félix Guattari, 'What is Philosophy?')

"Central to this shift is the insertion of the electronic into the organic, which has provoked a palpable change in the relation between consciousness and sensibility. As the info-sphere is becoming thick and dense, putting our attention constantly under siege, we are less and less able to react consciously to emotional impulses. There’s just not enough time for empathy, time to experience, to caress, to feel the other as a sensorial body. “Affective attention suffers a kind of contraction, and it is forced to find ways of adaptation: the organism adopts tools for simplification, and it tends to smooth out the living psychic response, to repackage affective behaviour in a frozen and fastened framework.” Reducers of complexity such as money, media clichés, stereotypes or webinterfaces have simplified the relationship with the other, and when the other appears in flesh and blood, we are unable to deal with its presence, because it hurts our (in)sensibility. It is as if we cannot longer understand or convey that which cannot be verbalized, that which cannot be reduced to simple codified signs."

“The system of collective cognition loses its critical competence; this amounted to the ability to discern truth value in the statements that were submitted in sequences to relatively alert attention. Amidst the proliferation of fast media, interpretation no longer unfolds along sequential lines; instead, it follows associative spirals and a-signifying connections.” (Baudrillard)

"there is truth in depression. We shouldn’t consider depression as a mere pathology, but as a form of knowledge. Inspired by the work of Deleuze and Guattari, Bifo argues that the challenge when dealing with a depression is not to bring one back to normality or to reintegrate behavior in the standards of normal social language, but “to change the focus of his/her depressive attention, to re-focalize, to deterritorialize the mind and the expressive flow. Depression is based on the hardening of one’s existential refrain, on its obsessive repetition (…) Overcoming depression implies some simple steps: the deterritorialization of the obsessive refrain, the re-focalization and change of the landscape of desire, but also the creation of a new constellation of shared beliefs, the common perception of a new psychological environment and the constuction of a new model of relationship.” The only way to overcome our depression, according to Bifo, is to apply Deleuze and Guattari’s schizoanalytic model as political therapy, to give the possibility of seeing other landscapes, to change focus, to slow down, to open new paths of imagination. “In the days to come, politics and therapy will be one and the same. Our task will be the creation of social zones of resistance, zones of therapeutic contagion. Capitalism will not disappear from the global landscape, but it will lose its pervasive role in our semiotization, it will become one of possible forms of social organization.“"

"“I don’t believe that the world can be governed by reason. The utopia of Enlightenment has failed. But I think that the dissemination of self-organised knowledge can create a social framework containing infinite autonomous and self-reliant worlds. The process of creating the network is so complex that it cannot be governed by human reason. The global mind is too complex to be known and mastered by subsegmented localized minds. We cannot know, we cannot control, we cannot govern the entire force of the global mind. But we can master the singular process of producing a singular world of sociality. This is autonomy today”."


'Interminable Autonomy: Bifo’s Symptomatologies of the Present'
by Michael Goddard

"Rather than the state of reification that characterised the industrial regime in which the self becomes a thing, we have entered a space of derealisation in which the body is deprived of any contact with the outside. In other words, a new malaise of the soul that is strongly connected with the psychopathologies of panic and depression."

"In this key section of the book, Bifo goes on to diagnose these contemporary forms of soul sickness with reference to both aesthetic and philosophical diagnoses such as the films of Antonioni, Bergman and Wenders, Jonathan Franzen's novel The Corrections, as well as the thought of Deleuze, Guattari and Baudrillard. In fact one of the key contributions this chapter makes is a reconsideration of the debate referred to earlier between the micro-politics of power and desire, and Baudrillard's insistence that we have entered a world of pure simulation. This is not done to determine who is right but rather to rethink the contemporary conditions of subjectivity. Despite the apparently dissuasive and reactionary aspects of Baudrilllard's attack on the mythologies of desire, for Bifo there was something prescient about his critique which foresaw the kind of world that we now inhabit. Bifo is especially vitriolic in his rejection of the continuation of philosophies of desire in the concept of the multitude which, he claims, misunderstands desire as an active force rather than a problematic field, and which was already critiqued in advance by Baudrillard's implosive conception of the masses as ‘silent majorities'."

"In an era of depleted energies and resources, both natural and political, Bifo seems to be arguing that strategies of simulation or even more, disappearance, maybe more effective than explosions of desire. For him, it is not the problem of repressed desires that characterised the Freudo-Marxist theoretical matrix and which neither Deleuze and Gauttari's Anti-Oedipus nor Foucault's work on disciplinary societies fully abandoned, that concern us today. Instead it is rather what he calls the pathologies of hyper-expressivity, so well diagnosed by Baudrillard, that need to be resisted not through the infinite speeds of the rhizomatic plane of immanent desire, but through a corporeal, therapeutic slowing down in order to open the body and the soul to otherness, and to revitalise the jaded sensibilities of the 21st Century human organism."

Sunday, August 22, 2010

found essays:

Contemporary Painting in Context (Novo Nordisk Art History Project), with essays by Jonathan Harris, Peter Weibel, Barry Schwabsky, Stephen Melville, Katharina Grosse, Anne Ring Petersen, Katy Deepwell, Rune Gade, Gitte Ørskou, Chin-Tao Wu

excerpts:

‘Contemporary’, ‘Common’, ‘Context’, ‘Criticism’: Painting after the End of Postmodernism’
By Jonathan Harris

“No one is likely to believe anyone from this planet that either the painting we have now, or the paintings we have had in the last, say, fifty years, can, or should, make sense within one explanatory rubric, or that the bare bones of such accounts add up to anything now that is much more than a compendium of clichés: that painting is the residue of an authentic human (rather than superhuman) touch; that it is the phenomenal trace of embodied, materialised vision; that it is the sacred relic of some Heideggerian geworfenheit (the ‘throwness’ of human ‘madeness-and-making’ in the world), and other sundry hand-me-down neo-Merleau-Pontyisms. However simultaneously strangulating and intoxicating these gushings might remain, they all represent, finally, dying species of discounted, banal humanisms.” (33)

‘PITTURA/IMMEDIA Painting in the Nineties between Mediated Visuality and Visuality in Context’
By Peter Weibel

"What takes place now is a return of the idea of the picture to its point of departure. Liberated by the media, the picture doubles back to its origin in the easel painting – however, this time without denying the train left behind its exodus. This move not only permits the pictures to travel from one medium to the other, between oil paintings and photography, but also serves to strengthen the free play between the media and the codes. And this, in a further move, results in new forms of influence and gives rise to new transformations, so that the painted picture not only steps forth as a child of the pictorial tradition, but appears as a product of the technical history of the visual media. Liberated from all reference, the painting’s abstract code floats about in a free movement, adapting itself, metamorphosing into a play of differences inside a formal system, constantly enhancing its capacity for innovation and experiment. The new painting evinces an awareness of the way the picture is situated between and transformed by historical and contemporary media-vehicles. According to Gerhard Richter (1966): “All painters, in fact everybody, should paint photographs.” Or David Reed: “We see paintings in a different way now because of film and video.” The place of the visual is displaced. The visual finds new contexts, technical, urban, cognitive contexts.” (60-63)

‘Object or Project? A Critic’s Reflections on the Ontology of Painting’
By Barry Schwabsky

“But if we look attentively at how art is discussed within the contemporary art world, it soon becomes clear, as I think I showed with the essays on [Michael] Krebber, that for all the energy expended on the description and evaluation and interpretation of objects, paintings among others, the object is not considered the ultimate ground of its own justification. Instead, the real point of the artistic enterprise, the thing that one really wants to pinpoint and to construe, is what might be called the artistic project. This focus on the project has been intermittently articulated at least since the early days of Romanticism – in 1798 Friedrich von Schlegel wrote, “A project is the subjective embryo of a developing object” – but it is as relevant as ever today, if not more so. If you are an admirer of Michael Krebber’s work then what you are admiring is above all his project, his redefinition of artistic activity. If you are an admirer of John Currin, the American painter whom John Kelsey implicitly contrasted to Krebber on the ostensible ground that the former used too much paint (such inefficiency!), and if you believe that Currin “paints well” – a controversial assertion but one that would surely be affirmed by most of Currin’s admirers, or rather, if you think that Currin paints well and count yourself a sophisticated viewer of contemporary art, then you ought to be able to see how Currin’s painterly virtuosity is justified by his project, and not vice versa.” (77)

"(A project is not a program, which can simply be executed.) And that, in turn, means that you never get to look at it straight on. Rather, it’s something you only catch glimpses of, something you descry by way of its various manifestations. If those manifestations happen to be paintings, they are at no greater (or lesser) remove from the project itself than would be the case if they were texts, or performances, or what have you. With a painting, like any other work of contemporary art, what you really have to ask yourself is, “Does the artist have a project? And if so, what can I learn about it from this particular work?” (78)

‘The Poise of the Head’
By Katharina Grosse

“Painting evokes illustionistic space that follows different rules than built space; that’s why it should make different use of the space it is shown in and display its independence from the surrounding set-up by underscoring an incongruent relationship to it.”

“the activity of painting does not merely produce traces of its own action but it clearly is the result of the mental capacity to understand and generate structures according to painting’s pictorial logic.”
found: Nathalie Djurberg, Hugh Scott-Douglas, William Daniels

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Thursday, August 19, 2010

found: Michele Abeles, unknown, Keith Carter

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Monday, August 16, 2010

"By giving back to the image its specificity (its "stupidity" according to Rosset),9 the real itself can rediscover its true image."
(from 'Photography, Or The Writing Of Light' by Jean Baudrillard)

9. Possibly Clement Rosset, author of La Realite et Son Double (Reality and Its Double), Paris: Gallimard, 1996; and of Joyful Cruelty: Toward a Philosophy of the Real. New York: Oxford University Press, 1993.
found: a happy pose from Garbo, 'Betty Hairy Honey', and some smooching

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Saturday, August 14, 2010

found: vintage Circus posters

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Friday, August 13, 2010

found: 'The Company of Wolves', Alessandra Sanguinetti, unknown


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Thursday, August 12, 2010

found essays from Mute magazine:

Fear of Flesh: An Anatomy of Modern Frigidity
By Laurie Penny
"With young people today caught between a world of advertorial eroticism and a reanimated liberal puritanism, Laurie Penny explores our capitalist erotic orthodoxy and asks what a genuinely sexual counter-culture would involve"

Spam's Off Dear!
By Ben Pritchett
"Nothing like as bland or homogenised as its namesake, The Spam Book, with its forays into the anomalous 'dark side' of digital networks, provides some nourishing food for thought."

Against Representation: A Revolution in Front of You
"By taking everything as possible material for improvisation (not just sounds, but ideas, affects, power relations, hidden structures contained within the room...) it is possible to develop a practice of ‘extreme site-specificity'. Noise artist Mattin probes the enigma of radical performativity"

The Future Isn’t What it Used to Be
By M. Beatrice Fazi
"Tackling the conundrum of the future's relationship to the present through the prism of digital culture, this year's Transmediale festival strayed into some chaotic philosophical territory. In her review, M. Beatrice Fazi dismisses conceptions of the future as linear effect of the present, instead embracing models of ‘atemporality' and untimeliness"

An End Without End: Catastrophe Cinema in the Age of Crisis
By Evan Calder Williams
"Dusting off the tedium and ash deposited by Hollywood's recent spate of catastrophe movies, Evan Calder Williams takes aim at their world-affirming pessimism and calls for some real apocalypse"

Working on a Decaying Dream
By Pil and Galia Kollectiv
"Pil and Galia Kollectiv look at Bruce Springsteen in the context of class disintegration and place him firmly in the decadent tradition of Balzac and Huysmans – Á Rebours to Run?"

(just to name a few)

Wednesday, August 11, 2010

"I would say to those suffering the dilemma of Canadian niceness versus real critical analysis: if you don't have anything nice to say, then say something that is not nice." (source)

Tuesday, August 10, 2010

found: Rachel de Joode, Justin Haynes, 'Mysteriosen Katacomben'

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Monday, August 09, 2010

found: old Japanese subway posters

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Friday, August 06, 2010

found: Kinke Kooi, Marilyn, Kristine Moran

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Thursday, August 05, 2010

found: sad donut, and two by Jocelyn Allen


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Monday, August 02, 2010

found: Mari Sunna, unknown gentleman, Kay

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