May 14, 2015


May 14, 2015

triple exposure
1907-08
August Strindberg
d. May 14, 1912

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on academic bewilderment
Richard Hall

(....)

And we can see that those governing networks that enforce learning gain, and the national student survey, and the research excellence framework, and the higher education achievement record, and the future earnings and employability records, and performance management, and new public management techniques and methodologies, and internationalisation strategies, and precarious labour rights, cannot care about all the ands. They cannot care that as well as teaching and assessing and administrating and researching and scholarship, that this is too much.

They cannot care that this reduces the capability of people and relationships to withstand stress.

They cannot care that this is too much.

They cannot care that this makes us anxious.

And this anxiety is driven by the need for us to live two half-lives. In one we try to be partners in a social construction; in social sustainability; in a willingness to address those global issues that will fuck our world over. Partners in trying to find solutions that are not beholden to the structuring logic of the market. Yet this half-life decays quicker than the other half-life – the demands made of us to treat our lives as services that can be commodified and exchanged. Our whole lives now reproduced as labour-power. Lost to us.

And in making sense of the loss our cognitive dissonance places the use-value and the exchange-value of our work in screaming tension. And how can we survive this?

...(more)

via Forgottenness

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Celestographs
National Library of Sweden

The Celestographs of August Strindberg
Douglas Feuk
cabinet

... what is remarkable, and what makes these images so "modern," is that they also concrete examples of a kind of chemical naturalism (as in the work of Polke, Kiefer, and many other recent artists). Strindberg insisted that art should try to "imitate (…) nature's way of creating," and in these celestographs the image and the world have approached each other to the extent that they more or less merge. Whatever the coincidences were that created these pictures, the subject matter appears less as a photographic image than as a "work" by nature itself.

...(more)
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First Monday Volume 20, Number 5

The app-object economy: We’re all remix artists now
Paul Caplan

Abstract

Maps and messages, notes and news, photography and fitness, streams and shopping: the litany of apps through which we live our mobile data lives and through which state and corporate agents survey our data positions, set in motion a form of everyday remix. This affective cultural practice choreographed between ‘us’ and ‘them’ is deeply governmental, establishing subject positions and relationships. Drawing on the work of Timothy Morton, Levi Bryant, Ian Bogost and Graham Harman, this paper argues that this governmental remix mesh is best addressed as a matter of material objects and hyperobjects rather than as an assemblage or network.
A brief history of Facebook as a media text: The development of an empty structure
Niels Brügger
Abstract

This paper tells a history of Facebook from 2004 to 2013. It presents the big picture by focusing on Facebook as it presented itself to a user, that is the available semiotic and interactional elements (e.g., profile, wall, feed, commercials, etc.) as well as the functions and useforms which these elements made possible for a variety of actor types (profile owners, groups, companies, software developers, etc.). In addition, Facebook’s development is inscribed in a longer Web historical perspective with a view to identifying a general mechanism for Internet development.
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Houses at Estaque
1908
Georges Braque
b. May 13, 1882

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The Internet Imaginary: Between Technology and Technique
Nicole Pepperell, Duncan Law

(....)

Political contestation over which of these potentials will be realised is ongoing and by no means finally decided. The recent trend, however, has been toward the realisation of potentials favoured by powerful social actors - governments and large corporations - at the expense of potentials favoured by less powerful agents.

(....)

...this faith in the power of the Internet as a technology helped obscure the need to develop other kinds of techniques - rhetorical, social and political - to ensure that the desired technological potentials were in fact realised. Over the longer run, these alternative techniques have proven decisive for selecting which technological potentials would be developed, and which would be suppressed. Individuals and movements captivated by faith in the technology, found themselves blindsided when the technological “base” proved more adaptable to the existing “superstructure” than expected.

In the sections below, we explore how this process unfolded. We first examine the rhetorical techniques that primed early analysts to perceive the Internet as an intrinsically progressive technology. Next, we explore how the research and development of Internet technologies shifted in response to dramatic social transformations in later decades of the 20th century. These shifts illustrate the plasticity of technological potentials, and suggest how a network of social techniques help determine which technological potentials are primed for further development. Finally, we examine the role of political techniques in selecting the technological potentials that are successfully realised in practice, and we suggest that faith in technological determinism helped discourage the development of effective political techniques oriented to achieving more progressive technological potentials.

...(more)


'technique'
M/C Journal
Vol. 18, No. 2 (2015)

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The Wave VII
August Strindberg
1901

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Five Poems
Robert Fernandez
conjunctions
Those You Live Among

I have no camera
no game no tent, no word no mon-
strance no belt, no vent no succor,
no assuage no guilt, no music

*

The boarders they play games with you
those whose stomachs are full
of steaks they toy with you, the house
is full of toys

*

And each day, crime is easier, those
I live among, those I live among let me have my
speech, I can
not speak rocks in oil flounder
in oil and window pane almond al-
mond who is fragrant enough to live
among? Who is fair enough to be set beside?

*

My days are broken
and setting
and more truthful

*

...(more)
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Night of Jealousy
August Strindberg
1893

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Speculations: new Irish poetry
a series by Walt Hunter
jacket2

Local objects
Walt Hunter

(....)

It is unsurprising that the Irish poetic imagination might dramatize the emergent experiences of contemporary survival as modes of setting out, casting off, or wintering away. Lyric, dramatic, and epic poetries have always used questions of travel to explore states of being. The poems I've been reading over the past five months also make their world travel the catalyst for visiting havoc upon their poetic worlds: this brings them into close relation with the contemporary globality of Ireland.

Far from being sentimental ballads of the emigrant gaze, Irish poems of travel, place, landscape, and tourism undertake elaborate interventions within lyric modes of elegy, myth, and dream vision. These genres, pressed into charting historical experiences of debt, surplus labor, opportunistic religious nationalisms, and, recently, immigration to Ireland, open up to reveal certain distinct poetic contradictions: going backward in time, speaking for the collective dead, suspending the processes of linguistic reference. This series has pointed to a few of those moments as they became visible to me.

...(more)

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Violin and Glass
Georges Braque
1913

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The Artist in Real and Virtual Company 6
The river at night
George Szirtes

(....)

Robert Graves said he composed best when in a mild trance well supplied with coffee and cigarettes. Let us say our poet is in a similar mild trance that allows him or her to advance an idea as if in a dream, with the assurance of dream where things happen according to rules of their own. Whatever had been contemplated or impinged on the consciousness at some other point in time has now been distilled into its own trace material and is capable of working by association, of undergoing metamorphoses. Chance and impulse are its friends and associates, the visrtual voices of the river become a form of company of whom little can be presumed except their flickering presence.

So we return to presence. All the while I write at night I am aware that people read what I write as I write it, that it is a form of nakedness. But I began with the notion of the listening presence, with Dylan Thomas’s lovers, with Li Po’s drunken companions, with Jean Valentine’s other solitary.There are also the travellers on trains and one’s elective masters whose ears are keen and minds most critical. Out in the night that is not night everywhere, the words flow by much like my life flows. Other eyes register them and may respond. But theirs too are on the stream.

...(more)



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