Facebook, community nudity... &/or The Impervious FEW Clothes (Dieu merci)

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A post shared by Alessandro Zir (@alessandro_zir)

Friendly Mark Zuckerberg (Brazilian Telma-eu-não-suguei's version) (A/Z Instagram's post); 

Peter Greenaway's Goltzius and the Pelican Company (2012);

Pictures taken by A/Z at the Pompidou, censured by the prudish corporations Facebook & Behance (for more see here); 

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;

Westbam/ML, Grandmaster Flash - No Facebook (Youtube); 

Guilhem Giraud: les dangers de la surveillance de masse (TV5Monde Info/Youtube); 

Google, Facebook, Amazon: The Rise of Mega Corporations (DW May 2022); 

Whistleblower says Facebook harms children, democracy and more (BBC/Youtube 2021);  

Frances Haugen (Facebook whistleblower) testifies to US Senate (Deutsch Well/Youtube 2021); 

The New Feudalism (Anand Giridharadas, Institute for New Economic Thinking, 2019);

Wikipedia: A Tool For the Ruling Elite (Helen Buyniski) [the audience for this video has been limited by Youtube];

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Vestibule (pour la dignité des braguetes):

"En dehors des petits envoûtements des sorciers de campagne, il y a les grandes passes d'envoûtements globaux..."

A. Artaud

"... 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

"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

"Then and now, American radio resembles a gigantic machine for ensuring that people almost never encounter any music they're not already predisposed to like... Overly cautious radio programming created a terrible sluggishness in American record industry. It was one factor behind the dramatic slump in record sales that began in 1979."

Simon Reynolds

"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

"... the Internet is a vast wormhole of darkness that eats itself..." 

Scarlett Johansson (Dazed)
"Vulgarity—under whose fascinating influence the many have elbowed the few."
Whistler

"Il n'y a pas de vraie culture en Amérique. On avale, on n'assimile pas. A la moindre secousse passionnelle, la façade s'effondre et ne dévoile, au mieux, que des moralistes qui manipulent des ordinateurs..."
Edward (Les Samouraïs)

"The lady who lived next to my door in Santa Monica told me the painting she had in her dining room was worth lots of money. She mentioned an astronomical sum. I said, 'How do you know?' She said she'd seen a small painting worth a certain amount, measure it, measure hers (which was much larger), multiplied, and that was that."

John Cage (Indeterminacy)

"Il est vain et niais de travailler spécialement pour un public. Je ne puis essayer ce que je fais, au moment où je le fais, que sur moi. Au reste il ne s'agit que de bien faire."

Robert Bresson

"Ainsi, j'étais déjà arrivé à cette conclusion que nous ne sommes nullement libres devant l'oeuvre d'art, que nous ne la faisons pas à notre gré, mais que préexistant à nous, nous devons, à la fois parce qu'elle est nécessaire et cachée... la découvrir."

Marcel Proust (le narrateur, Le Temps retrouvé)

"Si je viens avec vous à Versailles comme nous avons convenu, je vous montrerai le portrait de l'honnête homme par excellence, du meilleur des maris, Choderlos de Laclos, qui a écrit le plus effroyablement pervers des livres, et juste en face de celui de Mme de Genlis qui écrivit des contes moraux et ne se contenta pas de tromper la duchesse d'Orleans, mais la supplicia en détournant d'elle ses enfants."

Marcel Proust (le narrateur, La Prisonnière)

"This hostility—I didn't begin to understand it. The most natural thing for a writer to do is to call a spade a spade. The mistake which some moralists make, even today, is that they hate unpleasant phenomena less than they do those who record them. It's always the same. People go on judging an author immoral who refuses to be silent about what in any case exists. Immoral! Why, it's mark of morality not only to say what one thinks is true—but to create a work of art with the utmost sacrifice; that's moral, too. I admire Ibsen precisely  for these two reasons: his morality consisted not only in the proclamation of ethical ideals, but in the fierce struggle for the perfection of his work."

James Joyce (quoted by Alfred Kerr/Ellmann)

"... sous mes doigts naissaient des figures involontaires, et le plus souvent gênantes, inquiétantes, inqualifiables... je ne pouvais me défendre d'un mouvement de honte — d'un indescriptible malaise — joint à une exultation vengeresse. Comme d'une victoire remporté sur je ne sais quelle puissance oppressive. Il est inutile n'est-ce pas? de s'étendre plus longtemps sur cette ambiguïté. Les images presque toujours labyrinthiques présentaient des corps éventrés mettant à nu les organes digestifs. Cette obsession viscérale était parfois voilée par le remplacement symbolique d'un fruit ouvert... Ces formes errantes apparaissaient dans une situation précaire soit au bord du vide prêtes à la chute ou à l'envol... Cette idole sanglante s'avançait sur un sol fendu jusqu'à l'horizon semé de pièges et de trappes, traversée de vapeurs délétères... Vérités inextirpables dans un état normal. Autrement dit: vérités qui seraient restées tues sans le recours à une effraction de la réalité commune par le démon de la singularité."

André Masson (Le peintre et ses fantasmes/Écrits, anthologie établie par Françoise Levaillant)

"Eu gosto muito do Bergman, mas, pensando, eu acho realmente vexaminoso. Eu gosto do Bergman de 1952, 1953. Agora, sei lá. Eu vi o filme, mas vi no barato e não entendi."

Rogério Sganzerla (Pasquim, 1970) 

"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

"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
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Main Hall: 

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 (à Dieu rien n'est impossible)...

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(so-called-Face)book pretends to dress, fashion and represent (ce qui est chose bien horrible à imaginer). 

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 (la machine ronde, 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:

- Georges Bataille et la part maudite; 

- Kitsch, Neo-Kitsch, Anti-Kitsch;

- Timothy Leary in the 1990s;

- 5G?! Internet of things and the crap...

- Audrey Hempburnt Haunted by...

- Facebookers, Pokemongoers & Francophonie;
- Série, presque à genoux with thread;
- Orlando 06/12;
- Kur-d-t My Ghost;
- God Save the Queen (Blake's Palace of Wisdom);
- Movies about musicians;
- List of Soap Operas and Sitcoms;

Clipping:

"Le confinement a révélé les ravages de la solitude dans laquelle nous a conduit l’accélération anthropologique, poussée par le néolibéralisme sans frein et l’hyper connexion globalisée. Cette dernière nous a fait croire que nous n’étions pas isolés tant que nous étions connectés. Faux. La solitude n’a pas disparu dans l’hyper-connexion, loin de là. L’écran virtuel n’a fait que la compresser et l’enkyster dans des réseaux sociaux. Messages, likes, icones, cette « mousse » des mots implosive, et explosive a, au contraire, révélé et accentué le vide,"  ("C'est le for intérieur qu'il s'impose de sauver dans l'état de guerre en cours," L'Arche, Mai/Juin 2020);

"Mr. Zuckerberg met with Mr. Trump in the Oval Office on Sept. 19, 2019. We don’t know what was said. But from an interview on the sidelines at the World Economic Forum on Jan. 22, we do know what Mr. Trump said about the meeting: Mr. Zuckerberg “told me that I’m No. 1 in the world in Facebook.” Mr. Trump apparently had no problem with Facebook’s decision not to fact-check political ads. “I’d rather have him just do whatever he is going to do,” Mr. Trump said of Mr. Zuckerberg. “He’s done a hell of a job, when you think of it.”... Facebook’s decision not to require fact-checking for political candidates’ advertising in 2020 has flung open the door for false, manipulated, extreme and incendiary statements. Such content is rewarded with prime placement and promotion if it meets Facebook-designed algorithmic standards for popularity and engagement... I expressed my fear that with Facebook’s help, Mr. Trump will win the 2020 election. The recent hiring of a right-wing figure to help manage its news tab has reinforced those fears. In my comments in Davos, I also pointed out that Facebook has been used to cause worse damage in other countries than the United States. In Myanmar, for example, military personnel used Facebook to help incite the public against the Rohingya, who were targeted in a military assault of incredible cruelty including murder, rape and the burning of entire villages... Speaking at a cocktail party in Davos on Jan. 22, Facebook’s chief operating officer, Sheryl Sandberg, repeated the worn Silicon Valley cliché that Facebook is trying to make the world a better place. But Facebook should be judged by what it does, not what it says," "Mark Zuckerberg Should Not Be in Control of Facebook" (George Soros/The New York Times); 

"Kaiser said the Facebook data scandal was part of a much bigger global operation that worked with governments, intelligence agencies, commercial companies and political campaigns to manipulate and influence people, and that raised huge national security implications,"  Fresh Cambridge Analytica leak ‘shows global manipulation is out of control’ (Carole Cadwalladr/The Guardian); 

"Google has made “substantial” contributions to some of the most notorious climate deniers in Washington despite its insistence that it supports political action on the climate crisis... It donates to such groups, people close to the company say, to try to influence conservative lawmakers, and – most importantly – to help finance the deregulatory agenda the groups espouse," Revealed: Google made large contributions to climate change deniers (Stephanie Kirchgaessner/The Guardian);

"Gay YouTubers have found that their videos are being demonetised, made inaccessible via search and age-restricted (requiring users to sign in to prove they are over 18). This, despite the fact many of these videos consist merely of interviews, advice and comedy sketches, and often are specifically targeted at young people who may be struggling with their sexuality and turn to the Google-owned YouTube as a source of support," Big tech firms need to stop reducing LGBT+ people to their sex lives (Hanna Jane Parkinson/The Guardian);
"... WhatsApp and YouTube had come to form a powerful, and at times dangerous, feedback loop of extremism and misinformation... Either platform had plenty of weaknesses on its own. But, together, they had formed a pipeline of misinformation, spreading conspiracy theories, campaign material and political propaganda throughout Brazil," How YouTube Misinformation Resolved a WhatsApp Mystery in Brazil (The New York Times); 

"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);