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Yayinci: AskACholaTV
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050 Chola on CNN: Faith, Politics and the Compassion Forum
http://www.askachola.com
Just when you thought she was out of the race, Ask A Chola caters to one specific demographic group that has been ignored thus far in the election: the Evangelical right. Do Chola and fundamentalist Christians make strange bedfellows? Watch and decide. Chola talks about her relationship with God and the Bible at this groundbreaking Compassion Forum held by CNN at Messiah College. Campbell Brown mediates. Learn about Chola and faith and politics and how religion will affect her term(s) as President of the United States of America. Chola in '08. She will ANNIHILATE.
Situationism, Situationist International, SI, Guy Debord, detournement, Society of the Spectacle, Dada, Surrealism
Etiketler:[] [ask] [chola] [cnn] [faith] [politics] [barack] [obama] [hillary] [clinton] [religion] [bible] [old] [testament] [god]
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Yayinci: LaughingMan0X
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[Situationist Film] Can Dialectics Break Bricks? 1
La Dialectique Peut-Elle Casser Des Briques?, in English, "Can Dialectics Break Bricks?", is a 1973 Situationist film produced by the French director René Viénet which explores the resolution of conflict through dialogue as opposed to violence.
The film uses a much older martial arts film ("The Crush" from Doo Kwang Gee) for its visuals which has been dubbed over by the filmmakers in an attempt at detournement. The concept and motivation of this film was to adapt a bourgeois film into a radical critique of cultural hegemony and thus into tools of subversive revolutionaries ideals.
The Narrative is based upon a conflict between the proletarian and bureaucrats within state capitalism. The proletarians enlist their dialectics and radical subjectivity to fight their oppressors whilst the bureaucrats defend themselves using a combination of bribery and violence. The film is noted for its humorous approach to this serious subject matter.
The film also contains many references to revolutionaries who thought and fought for the realisation of a post-capitalist world, including Marx, Bakunin, and Wilhelm Reich. Also Subplots dealing with issues of gender equality, alienation, trade unionism, May 1968, and the Situationist themselves are riddled throughout the film.
Etiketler:[situationism] [capitalism] [commodity] [spectacle] [anarchism] [bureaucracy] [marx] [bakunin] [statism] [dialectics] [society] [revolution]
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indir
Yayinci: JU5TINKATK0
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TO THE CAVE
TO THE CAVE is the first piece I've made with the CaveWriting software for Brown's virtual reality environment - the CAVE. This is a video screen capture version of a navigation through the 2D desktop preview. The piece is a static poem-object comprised of two intersecting images (along the x and y axes) and 2 couplets hanging on the left and right walls of the CAVE (actually 1 couplet halfed and quartered, forming an epigram). Those couplets are the substance of the poem-object (one could say that the images are its lineaments) and it's the user's passage down to them (into the quadrant whose point of intersection is Ground Zero of the CAVE) which constitutes the spacio-temporality of this piece. As such, the work has an odd status because it's made to be shown in the CAVE, but the CAVE itself is represented in the showing. I'm not sure yet how this will actually function in the CAVE, which tracks your movement and thus locates you materially within it. It's hard to mobilize when you're already there! About the language: what might be taken as sloppy critique of the CAVE as a somehow "canceled" or alienated site of possibilities for poetic textuality is the result of my sitting on the software in the later part of the summer without being able to output a Preview. It's not that the content of this initial piece is an aggrandizement of any frustrations I had in trying to get the editor to preview, but more specifically related to other research I was conducting at the time.* With no preview function, I could only really look at the interface and think conceptually about the CAVE as a site of poetic inscription. This resulted in half a notebook of proposals for CAVE writings and more generally the kind of conceptual statements like the one at the center of the piece:
THERE'S NO REASON
TO GO TO THE CAVE
IF THERE'S NO REASON
TO GO "TO THE CAVE!"
*Concurrent with sitting in Paris doing this writing was the back end of my research on Situationism, which took two forms: 1) filming a short narrative video using "found" plot raked from the pedestrian traffic of the Latin Quarter (called Barricades Project), and 2) editing a paper on Spam, Situationism and Hacking which I wrote in collaboration with Camille Paloque-Bergès. Which is to say that the thinking at the roots of this work is contentious because it was bound up in revolutionary Marxism and graffiti. How do the image-planes function in this "economy"? Their symbolic content locates the reader within the computational quotidian of position [click OK], negation [click Cancel], or indeterminacy [click Preview]; their whiteness is useful for the formal effect I wanted; and their scaled-up size is useful for constructing a conceptual space beyond the CAVE, materializing the flight-simulator-esque passage from the 2D window of the desktop preview in my flat to the CAVE's 3D submersion. I'm concerned about the political function of the work I make and want to use the CAVE to make contributions to a general body of practice (conducted by the artists to whom I pay attention) which deals critically with the dynamic between aesthetics and politics. I didn't plan on writing an apology for this little piece, which I'm not terribly excited about, but I do want to communicate and document my intentions as I proceed to make work for a virtual reality environment.
Etiketler:[cave] [writing] [virtual] [reality] [3d] [animation] [brown] [university]
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