1 / 13

An Era of Transformation

An Era of Transformation. From Rodowick to Guattari to Massumi. Bijvoorbeeld: Russian Ark. Whether viewed projected in theatre or watched at home on a hogh-definition screen, it does not involve me in time.

louvain
Download Presentation

An Era of Transformation

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript


  1. An Era of Transformation From Rodowick to Guattari to Massumi

  2. Bijvoorbeeld: Russian Ark • Whether viewed projected in theatre or watched at home on a hogh-definition screen, it does not involve me in time. • Problem: it is ignoring that the assumptions of perceptual realism are indeed paradoxical. • Contradiction: it is no uninterrupted sequence nor is it film: it is montage. Meurer: it includes more than 30.000 digital events. http://www.youtube.com/watch?v=so_tB8UxGjA

  3. The digital event: • Light recorded on charge-coupled devices is already fragmented into a discrete mosaic of picture elements, which are then read off as distinct mathematical values. • Corresponds less to the duration and the movements of the world than to the control and variation of discrete numerical elements internal to the computer’s memory and logical processes. • The digital event depends on montage, on being a one-way street (its translation) and compositing (the separate layers are not spatial wholes but numerically defined values: simulated and intentional.

  4. The Ontology of Digital Worlds • Analogue= invisability of layers, continuity of movement and devaluation of filmic editing • Digital space needs no cuts and is not anymore a combining of spaces. Editing is consequence of the analog automata • Nothing moves: duration turns into durée of realtime. • There is no presence other than myself Conclusion: a block of duration => code continuity in space and movement => montage or combination (there is no difference anymore between creation and modification, Manovich)

  5. The digital event= a manipulation of the layers of the modularized image subject to a variety of algorithmic transformations. Digital information expresses another will to power in relation to the world (174) Nietzsche: WTP is ambitie, streven, voltrekking zonder teleologie.

  6. Hoe verandert de digital onze ontologie? • Er is geen andere wereld (we control, manage, communicate): matter and minds have become information. Even time is managed as information. Manovich: will is a ‘database complex’. • Jurrasic park tells us that reality is only recognized in its photographic appearance.

  7. I think because I exist in a present time of exchange with others, who are not present to me in space

  8. Watvoorsamenlevingbestaaterdanvandaag? • Massa media zijnnog steeds zeerinvloedrijk, het maaktnog steeds collectieven, het bepaaltnog steeds onzemanier van communiceren. • Maar met eenandereecologie, eenanderetechnologie, anderesociologie, vindt “het gesprek” daar steeds minder plaats. http://vimeo.com/61119443

  9. Guattari (eind jaren 80) over het nieuwe landschap: the Post-media Age ‘Thisrocking motion thatbroughtus to a dangerously retrograde subjectivereterritorialisationmightspectacularly turn around the daywhen are asserted, in a sufficientmanner, new emancipatorysocialpracices and, above all, alternative assemblages of subjectiveproductioncapabale of connecting – on a mode different thanthat of conservativereterritorialisation – to the molecularrevolutionsthatworkour era’. (293).

  10. Herdenk het Postmodernisme. • Postmoderne conditie. (Lyotard). • Einde grote verhalen, die ons handelen rechtvaardigen. • ‘Littlenarratives’ als antwoord. (G 294). • ‘Be theypainters, architects, orphilosophers, the heroes of postmodernism have this in common; they all thinkthattoday’s crises in artistic and socialpracticescannolongerresult in anythingbut a totalrefusal of all collectiveproject-making of anyimportance. Let’scultivateour garden, and preferably in conformitywith the practices and customs of ourcontemporaries’ (Guattari, 295).

  11. Post-modernisme. • ‘post-modernism comes down to nothing more than the finalspasms of modernism, thatit is a reaction and, to a certainextent, a mirror of the formalist and reductionist abuses of the latter, fromwhichitultimatelyisn’treally different. (…) Buttherewillbenorevivial of the creativephylumthatthey had hoped to bring back’(292).

  12. Post-media • ‘The emergence of these newpractices of subjectivation of a post-media era willbegreatlyfacilitatedby a concertedreappropriation of communicational and informationtechnology, assumingthattheyincreasinglyallowfor: 1) the formation of innovativeforms of dialogue and collectiveinteractivity and eventually, a reinvention of democracy; 2) Be means of the miniaturization and personalization of equipments, a resingularization of the machinicmediatizedmeans of expression; we canpresume, onthis subject, thatit is the connection, throughnetworking, of banks of data whichwill offer us the most surprising views; 3) The multiplication to infinity of ‘existential operators’, permitting acces to mutant creativeuniverses’ (G 300).

  13. Post-media. ‘The coming post-mediaticrevolution must becalledon to take the relay (withincomparable efficiency) of minoritarygroupswhich are the onlyones, even today, that have becomeaware of the mortal risk, forhumanity, of problemssuch as: - the race to stockpilenuclearweapons, - worldhunger, - irreversibleecologicaldamage, -mass-mediaticpollution of collectivesubjectivity.’ (Guattari 300)

More Related