How insubstantial is digital video really? What sorts of presence, material texture or sensuous qualities is it capable of? Is haptic affect literally out of reach and so a central type of bodily relation foreclosed? How might the staging and installation of moving image work be entangled with its presence and affect, and how might that mitigate such concerns?
Category: Critical
Barbie: Satire as Critique and/or Praxis
Does Gerwig’s film contribute to the project of resisting and revolting against the patriarchy or merely poke fun at it?
AI in Your Hands
The Pixel 8 will render every image taken enhanced, exaggerated, perfected, edited, manipulated, staged, collaged, redacted, in short, spatiotemporally reconfigured, and hence fake, false, deceitful, manipulative, creepy, terrifying, Orwellian, dystopian, uncomfortable, untrustworthy, fabricated, unreal and, basically, bad, but also and at the same time cool, mind-blowing, brighter, awesome, amazing, sick, jaw-dropping, magical, wild, and just wow.
Holzer: Slogans on Streets
Angry dissidence about a hot topic addressed obnoxiously to an invisible yet dominant system of control (and abusing the logic, language and material infrastructure of that system while doing so) is not a bad tactic for maintaining critical distance between reader and text, viewer and art work.
Cultural & Aesthetic Bias in Generative AI Platforms
How and why are generative AI ‘art’ platforms engineered to generate images that tend towards futuristic fantasy, sci-fi anime, nostalgic whimsy, the analog yet overly post-processed aesthetic admired by hobbyist photographers, and neoliberal logotopia?