Room 111

A questão não é competir com um maquinário poderoso, grande e caro, mas como podemos parar estas máquinas, provocar um mal funcionamento delas ou nos apropriarmos delas e representá-las em modelos diferentes. como desafiar estas imagens?
espaço político para medir a força politica das imagens
memória desaparição esquecimento morte

The Pixelated Revolution – o papel da imagem na revolução Rabih Mroué

Godard e Brecht : a importância de se revelar os mecanismos do que se faz.
Imagens críticas
Tomada de consciencia
O espectador como criador de suas próprias narrativas
Um tempo anacrônico

semantic relations

The affordances of the environment are what it offers the animal, what it provides or furnishes, either for good or ill. The verb to afford is found in the dictionary, but the noun affordance is not. I have made it up. I mean by it something that refers to both the environment and the animal in a way that no existing term does. It implies the complementarity of the animal and the environment. – (James J. Gibson)

“When Félix Guattari introduced the idea of post-(mass)media, it was a somewhat euphoric vision of an age to come in which micro-political engagements would act against the dictatorship of mass media. Rosalind Krauss’ idea of the post-medium reflects upon the condition of art after the decline of Greenbergian modernism (the legacy of medium specificity), and the discourse of post-media in the digital age (Lev Manovich et al.) envisions the possibility that all media and the distinction between them collapse into a one-dimensional flow and storage of digital data.
The concept of post-media seems to assemble a variety of discourses, practices and collectives with at times complementary, at other times conflicting hopes, prospects, or fears that a transformation might be on its way which cancels preceding ideas of what media are and what they can do.
The workshop enquires into the potentials and limits of post-media within art and theory. What effects does the discourse on post-media have within academic disciplines, and what kind of knowledge does it produce? What are the interventions, positions, and micro-politics that make use of the post-media condition to challenge hegemonic discourses on media and art? And to what extend is post-media’s space of possibility framed by technologies?”

links da aula do DeCampo

Editorial: spectro-geographies –

Gui Debord maps:


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