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);

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