oneironazi

[rematerializationchamber]

Apr 9, 2013, 6:30pm | Martin E. Segal Theatre

Pixelated Politics: Still & Moving Images in the Digital Age

Mariam Ghani, Lev Manovich, Nick Mirzoeff, Christiane Paul , Natalie Musteata, McKenzie Wark

“The contemporary world is hypervisual,” says media theorist Nicholas Mirzoeff. Television, computers, iPads, the Internet, and cell phones are associated with the increased distribution and reception of still and moving images. The global rise of cell phones in particular has enabled the proliferation of what filmmaker Hito Steyerl calls “poor images”—low-resolution film footage made all the more popular by platforms such as YouTube. In an age of accelerated digital imaging and communication technologies, the velocity with which information travels is such that it invests the image production with newfound power. This panel invites media scholars, curators, and artists to discuss how this endless stream of degraded, pixelated images, videos, and films has significantly altered the way we experience and understand our contemporary politicized world.

Participants include: Mariam Ghani, artist and writer; Lev Manovich, Digital Humanities, The Graduate Center, CUNY; Nicholas Mirzoeff, Media, Culture and Communication, New York University; Christiane Paul, Media Studies, The New School, and New Media Arts at The Whitney Museum of American Art; McKenzie Wark, Culture and Media, The New School.

Organized and moderated by Natalie Musteata, Art History, The Graduate Center, CUNY.

Cosponsored by the PhD Program in Art History and the Certificate Program in Film Studies.

[intimacyopportunity]

WE ARE ALL GOING TO THIS

[pakistanimoney-deactivated20130]

a selfie a day keeps the self hate and internalized oppression at bay 

[stfuconservatives]

Further, though, the TOMS campaign — like the million shirts — misses the fundamental point that not having a pair of shoes (or a shirt, christmas toy, etc.) is not a problem about not having shoes. It’s a problem of poverty. Shoelessness, such as it is, is a symptom of a much bigger and more complex problem. And while donating a pair of shoes helps shoelessness, it does not help poverty. Things like jobs help poverty. Jobs making things like shoes, for example. But TOMS doesn’t make its shoes in Africa, it makes them in China where it’s presumably cheaper to make two pairs of shoes and give one away than it is to get people in a needier community to make one pair of shoes. The result of this setup, as Zizek explains most succinctly, is that on a big-picture level, TOMS (and other buy-my-product-and-donate companies) are busy building the exploitative global structure that produces economic inequality, while on the other hand pretending that supporting them actually does something to fix it. It doesn’t. It just gives people shoes.

The 7 Worst International Aid Ideas

(via rapierwitdoessomething)

[garlandgrey-deactivated20130521]

Post-Cascading Epiphanies Selfie

A document of what you look like when you are enough for you.

[reverendmother]

I'm torn by the feeling that the narcissism of documenting your life on the Internet can be a great form of self care but also feeling like it's a lot of work and nobody's damn business.

Idk I’m the worst.

[onlyninetieskids]

[homeless-dad]

You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting “Vanity,” thus morally condemning the woman whose nakedness you had depicted for your own pleasure.

John Berger Ways of Seeing  (via spartanbitch)

This is super fucking relevant.

And why self portraits (selfies) are often such an act of self preservation and resistance.

(via sexxxisbeautiful)

Hahahaha this so much. I knew so many creeps who always idolized women’s bodies to the point of fetishizing it, but the second a girl showed any self-love? Oh, no, she’s foul.

(via quietly-creeping)

That’s why when people call me vain or conceited I tear their throats out. Nobody loves me as much as me, shit.

(via thegoddamazon) I posted a photo of myself in a short black dress & some J Simp heels and IMPLIED that I thought I was cute. Lost 8 followers instantly. If we bring race into this and talk about how a BLACK woman can’t dare think she cute, we’d be here all day.

(via tashabilities)

The importance of selfies, ya’ll!

(via revolt-shesaid)

Oh shit. #chubby.

(via premierboner)

[northamptoncountyasylum]

After many years of feeling deprived and wronged, some narcissists lapse into "sadistic generosity" or "sadistic altruism". They use their giving as a weapon to taunt and torment the needy and to humiliate them. In the distorted thinking of the narcissist, donating money gives him the right and license to hurt, chastise, criticise, and berate the recipient. His generosity, feels the narcissist, elevates him to a higher moral ground. Most narcissists confine their giving to money and material goods. Their munificence is an abusive defence mechanism, intended to avoid real intimacy. Their "big-hearted" charity renders all their relationships – even with their spouses and children – "business-like", structured, limited, minimal, non-emotional, unambiguous, and non-ambivalent. By doling out bounteously, the narcissist "knows where he stands" and does not feel threatened by demands for commitment, emotional investment, empathy, or intimacy. In the narcissist's wasteland of a life, even his benevolence is spiteful, sadistic, punitive, and distancing.

The Misanthropic Altruist - Narcissism, Pathological Narcissism, The Narcissistic Personality Disorder (NPD), the Narcissist, and Relationships with Abusive Narcissists and Psychopaths

in the interest of intellectual thoroughness, I'm leaving this here

[cloudnoise]

The screen of cinema, video, and the computer is a threshold that divides the ordinary and the everyday from other realms that seem truer or larger than life. The interface between this world and the other world of imagination is a culturally produced and historically shifting construct that has taken many shapes and forms. Masking off part of the world permits images and symbols to invoke the other scene—not what is, but what could or might be or what was in some other time and place. Like a semi-permeable membrane, the screen filters out some things and not others, conjuring an auratic gleam from signs and symbols. Clearly, the alchemy of the screen is in the service of power as well as desire.

Margaret Morse, Body and Screen (via cloudnoise)

[northamptoncountyasylum]

How An Opportunity for Intimacy May Unfold

Start with text

Invitational, alluring

"Would you like to get closer?"

[northamptoncountyasylum]

the allure of video draws us to severed body parts

"what does my cock look like on video"

the urge to drag the lens across our bodies

[cloudnoise]

research

[northamptoncountyasylum]

becoming less and less enchanted with "waiting room"

how important is this contrast of environment? am I just lazy today? what is going on? curtains are expensive. so is planning space. so is everything. difficult I mean. not expensive. that too. capable. an artist. fool. a worm. a sleepy loser. fool without a cause. just kidding.this is good to capture.

[oyeme]

The babe, Boy Child, for @_VFiles

On Telfar SS2013 & other fashions.

[womanaconda]

[cloudnoise]

We grasp external spaces through our bodily situation. A “corporeal” or postural schema gives us a global, practical and implicit notion of the relation between our body and things, and our hold on them. A system of possible movements, or “motor projects” radiates from us to the environment. Our body is not in space like things; it inhabits or haunts space. It implies itself to space like a hand to an instrument and when we wish to move about we do not move the body as we move an object.

Maurice Merleau-Ponty, The Visible and Invisible (5)

[1kr]

Marina Abramovic: Rhythm 0, 1974 Instructions There are 72 objects on the table that can be used on me as desired. Performance I am the object. During this time I take full responsibility. 6 hours (8 pm-2 am) Studio Morra, Naples List of obects on the table: gun bullet blue paint comb bell whip lipstick pocket knife fork perfume spoon cotton flowers matches rose candle water scarf mirror drinking glass polaroid camera feather chains nails needle safety pin hairpin brush bandage red paint white paint scissors pen book hat handkerchief sheet of white paper kitchen knife hammer saw piece of wood ax stick bone of lamb newspaper bread wine honey salt sugar soap cake metal pipe scalpel metal spear box of razor blades dish flute band aid alcohol medal coat shoes chair leather strings yarn wire sulphur grapes olive oil rosemary branch apple (Source: Marina Abramovic: The Artist Is Present - Klaus Biesenbach and Marina Abramovic)