Sunday, July 15, 2018

Facebook, community nudity... &/or The Impervious FEW Clothes

Peter Greenaway's Goltzius and the Pelican Company (2012);
Pictures taken by A/Z at the Pompidou (works by Orlan & others) censured by the prudish corporations Facebook & Behance;
Scene from Kornél Mundruczó's Jupter holdja (2017) (taken from the Internet) [people are lost in "horizontal" nets; it is time they start to look into new directions];
Ingmar Bergman's Vargtimmen (1968);
More Peter Greenaway;
Wikipedia: A Tool For the Ruling Elite (Helen Buyniski);

"En dehors des petits envoûtements des sorciers de campagne, il y a les grandes passes d'envoûtements globaux..."
A. Artaud
"Car vous ne pouvez rien dire qui ne soit programmé sur cet ordinateur de la 1000e génération, Ulysse, Finnegans Wake, auprès duquel la technologie actuelle de nos computers et de nos archives micro-ordinatorifiées et de nos machines à traduire reste un bricolage..."
J. Derrida
"... la masse anonyme de ces contemplatifs, ces frères mineurs rivés à leurs écrans comme l'étaient jadis les moines à leur bréviaire..."
Paul Virilio
"If if should turn out to be true that knowledge and thought have parted company for good, then we would indeed become the helpless slaves, not so much of our machines as of our know-how, thoughtless creatures at the mercy of every gadget which is technically possible..."
H. Arendt
"The human nervous system does not process any information (in the sense of discrete elements existing ready-made in the outside world, to be picked up by the cognitive system), but interacts with the environment by continually modulating its structure... certain tasks should never be left to computers..."
F. Capra
"A. I. systems are designed to think like super-committees of experts. Remember the decision that it was cheaper to pay off a few large injury/death claims than to change the position of the gas tank on de Ford? ... Computers will not replace real people. They will replace middle and low-level bureaucrats."
T. Leary
"... the Internet is a vast wormhole of darkness that eats itself..." 
Scarlett Johansson (Dazed)
"L'écriture, l'art en général, serait alors le seul, non pas traitement, mais savoir-faire avec la phobie. Le petit Hans est devenu metteur en scène d'opéra... L'écrivain: un phobique qui réussit à métaphoriser pour ne pas mourir de peur mais pour ressusciter dans les signes..."
Julia Kristeva, Pouvoirs de l'horreur

You get blocked three days on cattle-network Asse's(so-called-Face)book for uploading there the following six images from Peter Greenaway's Goltzius and the Pelican Company (UK, Netherlands, France, Croatia, 2012). And they also menace you with a further block of seven days in case of any other similar post...
That indeed instructs you in the pristine moral standards and supreme level of intelligence and sublime sensibility of the so-called community (cattle flock) Asse's(co-called-Face)book pretends to dress, fashion and represent. 
Unless the bluff is much more about Mr Mark Zuckerberg himself & his acolytes in particular than about any real people of real countries such as the United States (with alas visual artists, writers, musicians etc. obviously included) or — wonder! — the Global Village (totally demented zombies running towards extinction and now also the Moon). 
Yes, these vicious hightech corporations enforce censure & prohibition of the most stylized nudity of adults (such as you find in immemorial records of art history), while at the same time being very little ashamed of having also played a very definite role in helping to ellect the totally professional very very tough incredible PRICK we all nowadays are obliged to swallow as Chancellor Number One!
(Unhappy fellows can always fill the forms to their ultraclick magic-voodoo dick-disengenital totally-very very-very INCREDIBLY prudish puritan philistine bottomless fullbuttered robots!!)

****How NOT to do movies about artists: "Egon Schiele: Tod und Mädchen" (Dieter Berner, 2016) and "Bergman: A Year in a Life" (Jane Magnusson, 2018) have something very bad in common, no matter how different they are (the latter is more ambitious and richer). They focus too much on controversial (if not shocking) autobiographic issues without being the least able to effectively connect these issues to the real transformative force that is operating in the works of Schiele or Bergman, these two a little bit crazy creators (which were, by the way, very productive). In the end, one is left with the view that they were just powerful egocentric manipulative men asserting themselves and mysteriously mastering conventional-transgressive material we externally recognise as culturally relevant. But why? Why is their work so powerful, and why are they compelled to do what they do? One certainly cannot explain such things merely in terms of a need for "self-assertion" and recognition. They become celebrities because they need an assured space to create, not the other way around. 

See also:
"The internet has a purpose, but it has changed over time. Twitter used to be a portal that connected people separated by labyrinthian politics and social disarray. No longer. “They’ve altered their algorithms,” says [Chelsea] Manning. “A tweet for Occupy had a lot more mileage than a (similar) tweet would in 2019... As institutions’ tweets become more (favoured by the algorithms), it’s drowning people out.” Those people tend to be the most vulnerable, the marginalised, Chelsea Manning: digital witness (Dazed);
"... independent publishers once committed to covering new music are shutting their doors, and the venues to experiment with unconventional musical ideas are closing down. Some artists are even calling it quits, unable to make a reasonable living out of their work, or compromising their vision to be more marketable. The financial power is held by a small group of tech companies and major labels, the cultural power by a small group of artists – and it’s the fans who ultimately lose out the most when things are organised this way," How to give back to music in 2019 (Dazed);
"Twitter is to neo-Nazis as Facebook is to your auntie and her bad memes – it’s a cesspit for hate, racism and sexist abuse. Now the social network is rolling out a policy change, but it’s asking for your say first," A new Twitter ban may actually end the site's Nazi problem (Dazed);

Sunday, July 08, 2018

l'oeuvre &/ou le vrai oeil — la vrille: il faut que ça 'reste' (en profane)

all pictures by A/Z (for more see here);

"...en témoin de la débâcle divine après le coup porté... les institutions culturelles, et l'histoire de l'art, et la discipline du dessin, et les critères de l'évaluation bienséante, les bonnes façons et le marché de la critique d'art, de ses salons, de ses galeries, de ses fondations et de ses musées... Artaud veut que l'homme ne perde pas à jamais la face qu'il a perdue... l'agonie d'un art qui pourtant, à l'instant de sa mort, survivra peut-être à sa propre apocalypse... à outrepasser la cime du chef-d'oeuvre et le chef du maître de maîtres, Léonard da Vinci... je n'ai jamais compris qu'on pût aimer autre chose que le Lieu endeuillé... la trace gardées des coups redoublés... une Hiérarchive..." (Derrida, Artaud le Moma).
"Rather, thought and art are modes of prayer, appeals to a god or a Jungfrau to do what we at our best, as thinkers and as artists, are unable unaided to do" (Arthur C. Danto, Foreword to Joseph Beuys The Reader).
"... o fundo tradicional constituido de gesso e cola, tinha como principal função isolar e proteger o tecido do suporte do contato direto com as tintas e seu veículo, o óleo de linhaça. Sento este tecido formado por cerca de 80% de celulose, o óleo constitui-se num de seus principais agentes destruidores..." (Cláudio Valério Teixeira, in Maciel Levy's Parreiras).
"The brighter palette, the strong and even loud colors to which first impressionism and then twentieth-century paintings (not to mention posters and neon lights) have inured us may have made it difficult for us to accept the quite tonal gradations of earlier styes...  restorers, in their difficult and responsible work, should take account not only of the chemistry of pigments but also of the psychology of perception, ours and that of the chicken" (Ernst H. Gombrich, Art and Illusion).

"We do well to remember that relationships matter in art not only within any given painting but also between paintings as they are hung or as they are seen... Should we choose another route in the gallery and come to it with our eye adjusted to the palette of the school of Barbizon, for instance, Constable's painting will seem to be eclipsed [instead of as full of light]" (Ernst H. Gombrich, Art and Illusion). 

"When we see things, where are they? Vision involves an outward projection... Our minds reach out to touch everything we see..." (Rupert Sheldrake).
"In contrast to this tactile visuality is the space of light... an atmospheric surround that illuminates the viewer from both back and front... His position is one of dependence on an illumination that both marks him and escapes his grasp... This Lacan calls the gaze... a part-object operating within the instinctual field of vision, forever unlocatable, out of focus, in metamorphosis, pulsing..." (Rosalind Krauss);
"... a mark that cuts loose the work it marks from any analogies with the gestalt of the body whole. Instead, in dispersing and disseminating the corporeal itself, it sets up a thematics of the sexual and the rivalrous that will return against the very oceanic condition of modernist aesthetics the aggressivity and formelessness of its repressed..." (Rosalind Krauss, The Optical Unconsious); 
"In plastic art, there is a fourth dimension... It exists outside and in the presence of objects, and it is the space that envelops a tree, a tower, a mountain, or any solid; or the intervals between objects or volumes of matter... similar to color and depth in musical sounds... Archaic and the best Assyrian, Egyptian, or Greek sculpture... painting by El Greco and Cézanne are examples of plastic art possessing this rare quality..." (Max Weber, quoted in Linda Henderson, The Fourth Dimension);
"Il y a, soit à l'intérieur même de la toile, soit à l'extérieur une source lumineuse représentée directement ou indiquée par des rayons lumineux... toute cette systématicité de la lumière qui avait été inventée au début du quattrocento et à laquelle Caravage avait donné sa regularité parfaite..." (Foucault, La Peiture de Manet);
"... les grandes lignes obliques ou les spirales, pour masquer et nier le fait que la peinture était pourtant inscrit à lintérieur d'un rectangle de lignes droites se coupant à angles droits... et le tableau représentait une espace profond, éclairé par un soleil latéral et qu'on voyait comme un spectacle, à partir d'une place idéale..." (Foucault, La Peiture de Manet);
"... au fond blanc de craie ou de plâtre qui préparait le tableau, le Tintoret, le Caravage substituent un sombre fond brun-rouge sur lequel ils placent les ombres les plus épaisses et peignent directement en dégradant vers les ombres... les choses surgissent de l'arriere-plan, les couleurs jaillissent du fond commun qui témoigne de leur nature obscure... Le clair ne cesse de plonger dans l'obscur... sombre fond" (Deleuze, Le pli);
"a projection gives a definite prescription for creating a lower dimensional representation of an object. [It] discards information from the original higher-dimensional object... we sometimes include information to help retain some of what was lost. The additional information might be shading or color..." (Lisa Randall, Warped Passages);
"one of the most intriguing aspects of physics research is the quest for connections that make symmetry meaningful in an unsymmetric world... Perfect symmetry is boring. The Mona Lisa with a symmetric smile just wouldn't be the same..." (Lisa Randall, Warped Passages);
"The person’s experienced ‘self’ is part of this stream of consciousness: it is not an extra thing that lies outside what the person is conscious of. In James’s words, ‘thought is itself the thinker, and psychology need not look beyond’. The experiential ‘self’ is a slowly changing ‘fringe’ part of the stream of consciousness..." (J. M. Schwartz, Henry Stapp, Mario Beauregard);

"... y ya el sábado sucio, pobre, pidiento préstamos y envuelto en un silencio invencible de diorita egipcia..." (Lezama Lima);
"... la décapitation de Méduse — image... de la perte de la mère archaïque que l'enfant réalise durant la position dépressive — émerge au moment même où l'Occident découvre l'intériorité psychique et l'expressivité individuelle du visage..." (Julia Kristeva, Le génie féminin 2);
"A cette décollation primaire qu'est la tête perdue, la tête coupée de Méduse, ont succédé des figures plus érotisées... ainsi la décollation de saint Jean-Baptiste annonçant le Christ..." (Julia Kristeva, Le génie féminin 2);
"... un mouvement brusque déséquilibre et fait basculer les personages vers le bas... les figures habitent notre espace... Décentrement et chute..." (Severo Sarduy, Barroco);
"... l'eau et ses fleuves, l'air et ses nuages, la terre et ses cavernes, la lumière et ses feux sont en eux-mêmes des plis infinis, comme le montre la peiture du Greco..." (Deleuze, Le pli);
"... chez Raphaël... Le cercle organize la composition, oblige les figures à se inserer en lui: forme emblématique, reflet unique de l'ordre..." (Severo Sarduy, Barroco);