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July 03 2011

02mydafsoup-01
02mydafsoup-01

MediaElement.js - HTML5 video player and audio player with Flash and Silverlight shims | open source


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Tanya Leighton (ed.): Art and the Moving Image: A Critical Reader (2008)

The mutual fascination between art and cinema has  a great influence on contemporary culture. For the past fifty years, the love/hate affair between the two has triggered vital aesthetic, social and political responses that constantly renew the way we understand our age. This book traces the story from early spatial experiments with film and video technologies to the current widespread use of projected images in museums and galleries. Why has there been a turn to the cinematic in contemporary art? What happens to the moving image when it shifts from the black box to the white cube, when cinema is exhibited? How does this challenge the traditional mediums of film, painting and sculpture? Art and the Moving Image gathers together key texts including new, translated and previously unpublished essays by eminent writers and theorists including Giorgio Agamben, Beatriz Colomina, Serge Daney, Rosalind Krauss, Maurizio Lazzaratto, and Peter Wollen. It offers an essential introduction to the complex field of art and the projected image for both students and general readers.

Publisher Tate Publishing, in association with Afterall, London, 2008
ISBN 185437625X, 9781854376251
496 pages

author
google books

Download (no OCR)

Zygmunt Bauman for Social Europe & guardian.co.uk | Is this the end of anonymity? - From micro-drones to the internet, technology is invading the private sphere – with our encouragement | 2011-06-28

[...]

As for the "death of anonymity" courtesy of the internet, the story is slightly different: we submit our rights to privacy to slaughter on our own will. Or perhaps we just consent to the loss of privacy as a reasonable price for the wonders offered in exchange. Or the pressure to deliver our personal autonomy to the slaughter house is so overwhelming, so close to the condition of a flock of sheep, that only few exceptionally rebellious, bold, pugnacious and resolute wills would earnestly attempt to withstand it.

 [...]

via Evernote

Zygmunt Bauman for Social Europe & guardian.co.uk | Is this the end of anonymity? - From micro-drones to the internet, technology is invading the private sphere – with our encouragement | 2011-06-28

[...]

Everything private is now done, potentially, in public – and is potentially available to public consumption; and remains available for the duration, till the end of time, as the internet "can't be made to forget" anything once recorded on any of its innumerable servers. "This erosion of anonymity is a product of pervasive social media services, cheap cell phone cameras, free photo and video web-hosts, and perhaps most important of all, a change in people's views about what ought to be public and what ought to be private". And let me add: the choice between the public and the private is slipping out of people's hands, with the people's enthusiastic co-operation and deafening applause. A present-day Etienne de la Boétie would be probably tempted to speak not of voluntary, but a DIY servitude.

[End]


via Evernote

July 02 2011

02mydafsoup-01

RT @wikileaks - RT @frontlineclub: If you missed Assange+Zizek check the live blog: t.co/2H0iqcH and watch the event again: t.co/Q55Pw6Q //

oAnth - Diaspora* - Twitter | 2011-07-03
Reposted bywikileakscheg00
02mydafsoup-01
9233 5d51 500

missfolly:

Rugby Players by Max Beckmann, 1929 

Reposted fromjohnstaedler johnstaedler

July 01 2011

Matti Suuronen’s Futuro at Museum Boijmans Van Beuningen

In 2007, Museum Boijmans Van Beuningen in Rotterdam / Netherlands came into possession of the prototype of a quite spectacular piece of architecture: Finnish architect Matti Suuronen’s Futuro: house of the future.

With its distinctive flying saucer like shape Suuronen’s Futuro is an icon of 1960s design. In 1965 Matti Suuronen was commissioined to design a mobile holiday home that could be erected in poorly accessible skiing areas. The Futuro is made from polyester, measures about 3 x 8 meters, and was conceived for serial production. In part due to the oil crisis of 1973 the production was halted prematurely, but there are still a dozens of Futuros spread across the world.

The Futuro is now on display for the first time after its restoration at Museum Boijmans Van Beuningen as centerpiece of the exhibition Futuro – Constructing Utopia, which also presents twenty prints and approximately a hundred design objects from the museum’s collection.

On the occasion of the opening of the exhibition Futuro – Constructing Utopia at Museum Boijmans Van Beuningen VernissageTV met up with Jonieke van Es. She is Head of Collections & Research at the museum and tells us more about the history and concept of the Futuro, how the prototype came into possession of Museum Boijmans Van Beuningen and how it was restored, the Futuro’s relevance as a design icon, and its future use at the museum.

PS: Another Futuro is being restored currently at the University of Canberra.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.


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