Started by jenkins, August 13, 2013, 02:18:30 PM
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Quote from: jenkins on April 28, 2021, 03:41:53 PMsituations have developed such that this book is in my hands now. or rather it is in my hands when I am not typing this. I was, admittedly, worried when going into it that it would decrease my appreciation for the author. because I am such a fan of the documentary. but reading this is paying off because of her interest in narrative mechanics. she is aware of what a story needs to feel alive, and thus reading this reminds me too
QuoteFROM THE EDITORSThe humanism of the past five hundred years is dead. Believing man was exceptional, it opened the abyss of extinction. A new approach is needed to re-enchant the world and establish the commonality of all life on Earth. This is not just the task of politics and philosophy. It requires the effort of all those who tear down convention in order to preserve what is meaningful. That is, the preservation not just of environments, but myth, irrationality, autonomy, and joy—whether by direct or poetic means. New islands—of thought, literature, art—are already emerging. They are the necessary minimum for this re-beginning. We find these points of orientation, mapping a scattered community that spans continents and disciplines. To represent a world of many worlds, not a globe.Our books revive the extinct genre of the same name—the 'island books' that emerged at the start of the Renaissance. Bound together were poems, stories, and artworks—each a supposed island, a space that held a singular idea. Although this spatial form of literature was eclipsed by the novel, it continued to inspire writers from Thomas More to Georges Perec. As the historian George Tolias writes, isolarii "seem to reflect an 'underground' geographical culture...that flourished in the experimental and tolerant climate of the Renaissance but has now slipped out of our grasp."Six hundred years after the first isolarii were published, we take up this genre-bending format to navigate the turbulence of our times. Each book is a ready-to-hand island. Together, they are a growing archipelago. Islands from which to view the world anew.
Quote from: wilder on May 30, 2021, 03:30:09 AMI never thought my cinephile adventures would take me here, but most mainstream movies are no longer showing me something I'm uncomfortable to see, and if a movie can't hurt me why would I watch it?
QuoteIt is the photographer who counts and not his model. The mind of the photographer. Without time to think, without self-consciousness, without time for this choice or that, in time so brief it belongs only to photography itself, the person with the camera concentrates like no one else. He sees the picture before he takes it, he knows what it will look like before he sees the finished print. He sees what no ordinary person sees. Convention prohibits speaking intimately to strangers of the opposite sex and yet there are those, no matter how few, who are able to say anything they wish to strangers. Sudden intimate speech and behavior is a rare gift. And the photographer, or the kind of photographer I have in mind, intrudes into convention in the same way except with sight, not speech, though sometimes both.
Quote from: PinkTeeth on August 10, 2021, 03:38:22 PMHoly Shit.Per another , I decide to pick up a copy of Pauline Kael's "When The Lights Go Down" and actually found a first edition hardcover on ebay, SIGNED by the legend herself... $33. Incredible. Except that I now have to buy another copy, cuz there's no way I'm taking this one into the bathroom...Holy shit.
QuoteNorman Rockwell's "Triple Self-Portrait" (1960) presents a dazzling array of various interfaces. It is, at root, a mediation on the interface itself. The portrait of the artist appears in the image, only redoubled and multiplied a few times over. But the illustration is not a perfect system of representation.
Quote from: Ranciere...the fragmentation of bodies and shots is itself an ambivalent procedure. Deleuze sees in it the infinitization of the interval that disorients the spaces and separates the images. But we could also see the fragmentation as doing the inverse, as intensifying the coordination between the visual and the dramatic: we seize with our hands, no need then to represent the whole body; we walk with our feet, no need to show our heads. The fragmented shot is also an economic means of bringing into sharp focus what is essential in the action, what classical theories of painting used to call the pregnant moment of the story.
Quote from: Galloway"What is software," Chun writes "if not the very effort of making exomsething explicit, or making something intangible visible, while at the same time rendering the visible (such as the machine) invisible?" [...] Indeed any understanding of contemporary visual mediation that ignores software does so at its own paril, in an age when cinema has become synonymous with Final Cut Pro, photography with Photoshop, writing with Microsoft Word, and on and on.
Quote from: GallowayLike the "intraface" of Chapter 1, the polyptch is a network that allows for multiple kinds of cross-talk to take place entirely within the interface. But visual simultaneity is also paired with a specific form of narrative construction which likewise privileges the complex synchrony of an ongoing swarm of characters in a web of interaction. This is the visual and narratological equivalent of graph theory and social netowrk theory. Robert Altman is the primary if not first auteur for this technique, aesthetically repurposing in his style the growing importance of interpersonal, "grassroots" networks in the new social movements of the 1970s. Thus the ambient interconnectedness of story and character in Nashville (1975) or later in Short Cuts (1993) exists as sublimation of the growing globaism in which "we're all connected" even if we don't entirely realize how, why, or what for. Short Cuts is, in this sense a friends-of-friends network in which characters are nodes and their various actions and interplays constitute propagating links and gateways to other nodes. (Certainly one might also look earlier to Anthony Mann's lyrical work in Winchester '73 (1950), a film essentially structured around the networked flows of commodity logistics: one specific commodity, a rifle, gains the status of a character within the film, and the hopscotch exchange of that commodity through various networked liasons structures the movement and flow of the narrative overall.)Altman gives some hitorical context, then, to the growing emphasis today on serendiptity and concurrency in narrative media (not to mention the use of ensemble casts rather than single lead actors): two things happening to happen in the same time or place, which may or may not overlap or "link." Today the Altman touch has gone mainstream, essentially becoming a new dominant, as seen in millennial films like Babel (2006), Code Unknown (2000), Crash (2004), Magnolia (1999), Syriana (2005) or Traffic (2000), all of which devolve into a narrative construction of pure rhizomatic imbrication. In these films a number of relatively autonomous, yet ultimately interconnected, subnarratives proceed in parallel, often interconnecting for logical reasons or for reasons of happenstance. The thick latticework of relationships is of course not without precedent. 24's itieration owes as much to the soap opera as it does to Altman or Paul tHomas Anderson. And in the 1990s directors like Quentin Tarantino and Krzysztof Kieslowski paved the way for the millennial films. Regardless, this unique brand of narrative and visual simultaneity is one of the newly identifiable formal techniques in the control society.Lost in the serendipity of interconnection, these films also ground themselves in moments of totality, those extraordinary events that unite the entire network under a global-single entrainment. This too is binary: either the social network is a raw assemblage of entirely uncoupled and discontinuous mini worlds, or through a phase shift the network unifies into a single presence. The network forces a logic of binary decision: either a flood, or an idle connection; either pandemic or standby mode. In Magnolia the totalizing event is a song sung in unison followed by a plague of frogs that unities globally, across space and subnet; in Short Cuts it is an earthquake that cuts an orthogonal swath across all stories and characters. In 24 the global-single even ist expressed most clearly in the nuclear bomb explosion in season two, but each season has its singular exceptional event, whather it be an assassination attempt, the infection of patient zero, or something else.