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bomb > {?} < book

bomb > {?} < book

There is a middle term between bomb, gun & book: its excuse is public safety, it is for private profit—and soon everything is going to have something that does it, that harvests your data (and turns it into cash), whether you like it or not. And that thing is

digest

③ Enduring Dreams: a note on cinematic time

③ Enduring Dreams: a note on cinematic time

AFTER NATURALISATION: CINEMATIC TIME AS RULING METAPHOR How to get around this? how to get around the cinematograph perfectly representing a continuous motion? It’s possible to point out the paradox, no next one, always a next, or to translate Zeno’s paradoxes for the moving image, and peg time

② Enduring Dreams: a note on cinematic time

② Enduring Dreams: a note on cinematic time

introducing ① Enduring Dreams: a note on cinematic time (sections 1 - 9)

introducing ① Enduring Dreams: a note on cinematic time (sections 1 - 9)

theory

lectures on moving image: theory | context

lectures on moving image: theory | context

Below please find links to a series of lectures I delivered to first-year students, before they specialised in digital image-making, film, motion graphics, VFX (very popular), game development (also very popular), animation or post-production, in 2022 at (although, since during COVID-19, distantly) AUT. Bergson, Deleuze & Cinema, comes out of

Bergson, Deleuze & Cinema

Bergson, Deleuze & Cinema

theatre | . . . : first half in epistolary form

theatre | . . . : first half in epistolary form

TECHNOLOGY series (I-IV)

TECHNOLOGY series (I-IV)

3 essays 3 endings: art research | theatre writing

3 essays 3 endings: art research | theatre writing

journal

Stranger than Fiction: taking 20th C. novel to the gleaners

Stranger than Fiction: taking 20th C. novel to the gleaners

Edwin Frank writes: "Trembling instability" describes the mobile perspective of Lawrence's novels (if they were films, the camera would be handheld). Lawrence writes, as I have said, with an almost somatic immediacy from the point of view of his characters. He also and equally writes from

Abe Kōbō - the (market form(ation) of the) state

Abe Kōbō - the (market form(ation) of the) state

Slavoj Žižek & Mr. Kežiž

Slavoj Žižek & Mr. Kežiž

QLIPPHOTH

QLIPPHOTH

bookmarked (Ig, NY: 2017): things forgotten because at the time perfectly usual

bookmarked (Ig, NY: 2017): things forgotten because at the time perfectly usual

I am outside light on a square white world

I am outside light on a square white world

excerpting The Subplot, Megan Walsh’s report on China’s literature, 2022

poetry

some lines after Jim Moore*

some lines after Jim Moore*

Jim Moore writes, Sometimes the world won’t let itself be sung. Can’t become a poem. And Sometimes, REM sing, everybody hurts and cries sometimes. I know the world is wrong I know sometimes a man is wrong, sings David Byrne, and—Michael Stipe, Hold on Take comfort—whereon

moieties*

moieties*

A Piece of Fabric, Tell it to the birds & lying in long grass - for my parents

A Piece of Fabric, Tell it to the birds & lying in long grass - for my parents

enantiomorphosis: the messianic | Danaë, or resistance

enantiomorphosis: the messianic | Danaë, or resistance

a journey (2016)

a journey (2016)

fr. Sweetheart, over____ (2006)

fr. Sweetheart, over____ (2006)

the pieces of ... soap

the pieces of ... soap

otherwriting

moving image: theory | context: lecture 10

moving image: theory | context: lecture 10

The last lecture raises two questions. One of them I hope to have made at least a partial answer to by the end of this lecture. One of them will be left more or less open. The question of the assassination by visual effects, CGI, of film: sounds criminal. But

moving image: theory | context: lecture 9

moving image: theory | context: lecture 9

moving image: theory | context: lecture 8

moving image: theory | context: lecture 8

moving image: theory | context: lecture 7

moving image: theory | context: lecture 7

moving image: theory | context: lecture 6

moving image: theory | context: lecture 6

moving image: theory | context: lecture 5

moving image: theory | context: lecture 5

moving image: theory | context: lecture 4

moving image: theory | context: lecture 4