March 2014

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The desire for greater visibility and the production of more and more is like a mirror that reflects only itself, in which we can see less and less. This has something to do with the infinite reproducibility of images promised by the digital revolution. And it also has something to do with self-service surveillance – the industrialisation and privatisation of surveillance that leads to it being outsourced to the population to be under surveillance, so that it surveils itself and itself pays for its surveillance. This amounts to the state privatising and outsourcing the policing of the population, so that it polices itself and itself pays to police itself. There’s nothing immaterial about this, nothing virtual. The users pay and the police and the surveillance are just another service.

with the right to silence and invisibility the right to enter silence and invisibility and disappear.

You can kind of make out that he’s holding something and you can hear this sound. Then you realize he’s sucking the eyeballs out of a fish. And his son had caught rainbow trout in the river and is eating the lips and eyes off of the face of the fishes at 5 o’clock in the morning. (Heath Ledger on Ang Lee)

Even today, some tribes in Africa have professional dancers, whose sole purpose is to dance at different festivities, while the tribe cares about all their needs, and the only thing they need to do is to develop their dancing abilities.

With the transition to sedentary lifestyle, farming and cattle breeding, magic and sorcery are replaced by religious rites and acts of worship, and with the development of awareness of human dependability on good and bad weather conditions, comes the dualism of good and bad gods and clearly structured ritual practices. The thesis that Old Egypt is a birth place of western dance is correct.

ENDORSEMENT of jan jagodzinski and Jason Wallin’s Arts-Based Research: A Critique and a Proposal

Approaching the creative impulse in the arts from the philosophical perspectives
of Deleuze + Guattari, jagodzinski and Wallin make a compelling argument for
blurring the boundaries of arts-based research in the field of art education. The
authors contend that the radical ideas of leading scholars in the field are not radical
enough due to their reliance on existing research ontologies and those that end in
epistemological representations. In contrast, they propose arts-based research as
the event of ontological immanence, an incipient, machinic process of becoming-
research through arts practice that enables seeing and thinking in irreducible ways
while resisting normalization and subsumption under existing modes of address. As
such, arts practice, as research-in-the making, constitutes a betrayal of prevailing
cultural assumptions, according to the authors, an interminable renouncement of
normalized research representations in favor of the contingent problematic that
emerges during arts practice.

– Charles R. Garoian, Professor of Art Education, Penn State University,
author of The Prosthetic Pedagogy of Art.

the story

so

far

session
recordings

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Bartabas & Ko Murobushi

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hommangerie
infemmarie
porte-parole
representationalism
theatricality
thigein & conatus

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Die Klage Der Kaiserin von Pina Bausch // Pina Bausch’s The Complaint of an Empress

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infemmarie
porte-parole
theatricality
thigein & conatus

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“in my piece I don’t have any message, any story, any meaning” – Hiroaki Umeda’s first piece made in 2002 entitled While Going To A Condition – and the quotation is what he said about it

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hommangerie
porte-parole
theatricality
thigein & conatus

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something stronger than history

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porte-parole
theatricality
thigein & conatus

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a tidal wave – exhuman – of probes and experiments

“In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of ‘music’.”

– Chris Cutler, RWM

pique-assiettes

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“Part of the theatre of the ITTC (International Tin and Tantalum Conference) is to never talk about shortages of supply so that the end users will feel there is no issue with designing in tantalum”

a link to an article

from this time last year

about the world’s

number one

conflict

material

 

 

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field recordings 2014:02:02 13:32:11 – 2014:02:08 10:42:22 including The National and micro-greens

hommangerie
immedia
porte-parole
snap
tagged

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0.008

The cliché, its politics, overcoming the cliché – towards the time-image: towards a working method:

On the one hand, the image constantly sinks to the state of cliché: because it is introduced into sensory-motor linkages, because it itself organizes or induces these linkages, because we never perceive everything that is in the image, because it is made for that purpose (so that we do not perceive everything, so that the cliché hides the image from us…). Civilization of the image? In fact, its a civilization of the cliché where all the powers have an interest in hiding images from us, not necessarily in hiding the same thing from us, but in hiding something in the image. On the other hand, at the same time, the image constantly attempts to break through the cliché, to get out of the cliché. There is no knowing how far a real image may lead: the importance of becoming visionary or seer. A change of conscience or of heart is not enough […]”

(Deleuze, 1985/2012: 20)

Options to get to the image hidden by cliché, option one:

 “Sometimes it is necessary to restore the lost parts. To rediscover everything that cannot be seen in the image, everything that has been removed to make it ‘interesting’.

(Deleuze, 1985/2012: 20)

Option two: “But sometimes, on the contrary, it is necessary to make holes, to introduce voids and white spaces, to rarify the image, by suppressing many things that have been added to make us believe that we were seeing everything. It is necessary to make a division or make emptiness in order to find the whole again.”

(Deleuze, 1985/2012: 20-21)

A third option follows, parody: “the creators […] have the idea that the new image has to stand up against the cliché on its own ground, make a higher bid than the postcard, add to it and parody it, as a better way of getting over the problem […] The creators invent obsessive framings, empty or disconnected spaces, even still lifes […] Enough, for victory, to parody the cliché, not to make holes in it and empty it.”

(Deleuze, 1985/2012: 21)

In summary: “It is not enough to disturb the sensory motor connections. It is necessary to combine the optical-sound image with the enormous forces that are not those of a simply intellectual consciousness, nor of the social one, but of a profound, vital intuition.”

(Deleuze, 1985/2012: 21)

Here a note cites Lawrence as saying “it is in the still lifes that Cézanne wins his battle against clichés”, to which Deleuze adds “We have seen how the same remarks applied to Ozu” (1985/2012: 274, n38 [sic: n39 in the text]). He means a time that only human consciousness confuses by making sense of it as much as making nonsense of it, by the dramatics of causality and linearity as much as by the hysterics of affective investment which makes some events seem to upset the whole of the still pool of time.

This is the triple reversal which defines a beyond of movement.”

(Deleuze, 1985/2012: 22)

To these ‘enormous forces’ of vitality belong three reversals:

1) the time-image – chronosign (Deleuze, 1985/2012: 22)

First, while the movement-image and its sensory-motor signs were in a relationship only with an indirect image of time (dependent on montage), the pure optical and sound image, its opsigns and sonsigns, are directly connected to a time-image which has subordinated movement. It is this reversal which means that time is no longer the measure of movement but movement is the perspective of time”…

(Deleuze, 1985/2012: 21)

2) the readable image – lectosign (Deleuze, 1985/2012: 22)

In the second place, at the same time as they eye takes up a clairvoyant function, the sound as well as the visual elements of the image enter into internal relations which means that the whole image has to be ‘read’, no less than seen, readable as well as visible. For the eye of the seer as of the soothsayer, it is the ‘literalness’ of the perceptible world which constitutes it like a book. Here again all reference of the image of description to an object assumed to be independent does not disappear, but it is now subordinated to the internal elements and relations which tend to replace the object and to delete it where it does appear, continually displacing it. […] The cinema is going to become an analytic of the image”…

(Deleuze, 1985/2012: 21-22)

3) the thinking image – noosign (Deleuze, 1985/2012: 22)

Finally, the fixity of the camera does not represent the only alternative to movement. Even when it is mobile, the camera is no longer content sometimes to follow the characters’ movement, sometimes itself to undertake movements of which they are merely the object, but in every case it subordinates description of space to the functions of thought. This is not the simple distinction between the subjective and the objective, the real and the imaginary, it is on the contrary their indiscernability which will endow the camera with a rich array of functions, and entail a new conception of the frame and reframings. Hitchcock’s premonition will come true: a camera-consciousness which would no longer be defined by the movements it is able to follow or make, but by the mental connections it is able to enter into. And it becomes questioning, responding, objecting, provoking, theoramatizing, hypothesizing, experimenting, in accordance with an open list of logical conjunctions (‘or’, ‘therefore’, ‘if’, ‘because’, ‘actually’, ‘although …’), or in accordance with the functions of thought in a cinéma-vérité, which, as Rouch says, means rather truth of cinema [vérité du cinéma].”

(Deleuze, 1985/2012: 22)………….

Deleuze, G. (1985/2005). Cinema 2 (H. Tomlinson and R. Galatea Trans.)(2nd Ed.). London, England: Continuum. (Original work published as Cinéma 2 (1985)).

 

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actualising problems

“Oblique Strategies evolved from me being in a number of working situations when the panic of the situation—particularly in studios—tended to make me quickly forget that there were other ways of working and that there were tangential ways of attacking problems that were in many senses more interesting than the direct head-on approach.”

– Brian Eno

pique-assiettes

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