Sunday, July 15, 2018

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

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
J. Derrida

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
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)

You get blocked three days on Facebook 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 Facebook 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. 
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!!)

More Peter Greenaway:

people are lost in "horizontal" nets; 
it is time they start to look into new
scene from Kornél Mundruczó's
Jupter holdja (2017) 
(taken from the Internet)

"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)

****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: 
- God Save the Queen (Blake's Palace of Wisdom);
- Movies about musicians;

And also:
"... 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)

"...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).

"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);

"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);

"... 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);

"... un mouvement brusque 
déséquilibre et fait basculer 
les personages vers le bas...
les figures habitent notre 
espace... Décentrement et 
(Severo Sarduy, Barroco);

"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);

"... 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);

"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);

"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

"... 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);

"... 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 

"... 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);

all pictures by A/Z