《小说家》1985.2
幸冬末南游东闽，见街头小报如群蝶乱舞，巨匠名家亦鼓吹“通俗文学，” 谓其有方兴未艾之势，并号召正宗文学作者不妨玩票，偶作客串。。。。今。。。。不失为表现一类城市青年潜意识之创新作品。如电影厂拟拍成中国第一部喜闹剧，请效街头小报，取一醒目标题——《现代梦幻曲》。广告词曰：滑稽！惊险！！香艳！！！武打！！！耗资百万，场面宏大；集中华武术、迪斯科舞、时装表演及最新科技之大成！看过本片，请君将不信阳光下有新事物焉！则保证场场爆满，连演不衰。
Saturday, March 17, 2012
Thursday, March 15, 2012
The postmodern condition: A Report on Knowledge
Jean-Francois Lyotard
p5 The ideology of communicational "transparency," which goes hand in hand with the commercialization of knowledge, will begin to perceive the State as a factor of opacity and "noise." ...
Already in the last few decades, economic powers have reached the point of imperiling the stability of the State through new forms of the circulation of capital that go by the generic name of multinational corporations.
p6 Transformation in the nature of knowledge, then, could well have repercussions on the existing public powers, forcing them to reconsider their relations (both de jury and de facto) with the large corporations and, more generally, with civil society.
p6 "payment knowledge" "investment knowledge"
P11 two basic representational models for society
1) society forms a functional whole--functionalism Talcott Parsons -- society as a self-regulating system--cybernetics
"The true goal of the system, the reason it programs itself like a computer, is the optimization of the global relationship between input and output-- in other words, performativity. Even when its rules are in the process of changing and innovations are occurring, even when its dysfunctons (such as strikes, crises, unemployment, or political revolutions) inspire hoe and lead to belief in an alternative, even then what is actually taking place is only an internal readjustment, and its result can be no more than an increase in the system's 'viability.' The only alternative to this kind of performance improvement is entropy, or decline."
Parsons: The social systems 1967
sociological theory and modern society 1967
2) marxist current-- the principle of class struggle and dialectics as a duality operating within society
An interesting view of the conflict between these two great currents of social theory and of the intermixing is given by A.W. Gouldner, The Coming Crisis of Western Sociology (1970)
p5 The ideology of communicational "transparency," which goes hand in hand with the commercialization of knowledge, will begin to perceive the State as a factor of opacity and "noise." ...
Already in the last few decades, economic powers have reached the point of imperiling the stability of the State through new forms of the circulation of capital that go by the generic name of multinational corporations.
p6 Transformation in the nature of knowledge, then, could well have repercussions on the existing public powers, forcing them to reconsider their relations (both de jury and de facto) with the large corporations and, more generally, with civil society.
p6 "payment knowledge" "investment knowledge"
P11 two basic representational models for society
1) society forms a functional whole--functionalism Talcott Parsons -- society as a self-regulating system--cybernetics
"The true goal of the system, the reason it programs itself like a computer, is the optimization of the global relationship between input and output-- in other words, performativity. Even when its rules are in the process of changing and innovations are occurring, even when its dysfunctons (such as strikes, crises, unemployment, or political revolutions) inspire hoe and lead to belief in an alternative, even then what is actually taking place is only an internal readjustment, and its result can be no more than an increase in the system's 'viability.' The only alternative to this kind of performance improvement is entropy, or decline."
Parsons: The social systems 1967
sociological theory and modern society 1967
2) marxist current-- the principle of class struggle and dialectics as a duality operating within society
An interesting view of the conflict between these two great currents of social theory and of the intermixing is given by A.W. Gouldner, The Coming Crisis of Western Sociology (1970)
how we became post human
Gregory Bateson
p305 For an analysis of the strategies used to proclaim cybernetics a universal science, see Geof Bowker, " How to Be Universal: Some Cybernetic strategies, 1943-1970," social studies of science 23 (1993): 107-27
James R. Beniger The control revolution: technological and economic origins of the information society (harvard university press 1986)
p309
An excellent survey of autopoietic theory,from Maturana and Varela to its proponents in such diverse fields as Luhmann's social systems theory and family therapy, can be found in John Mingers, Self-producing systems: Implications and Applications of Autopoiesis (New York: Plenum Press, 1995). A useful biography and survey can also be found at Randall Whitaker's Web site.
p310
The foremost theorist extending autopoietic theory into social systems is of course Niklas Luhmann.
The Differentiation of society 1982
social systems 1995
Hubert Dreyfus: What Computers Cant' Do: The Limits of artificial intelligence 1979
Mark Johnson: The Body in the Mind: the bodily basis of meaning, imagination and reason
P323
John R. Searl Minds, Brains, and Science (harvard university press, 1986)
p305 For an analysis of the strategies used to proclaim cybernetics a universal science, see Geof Bowker, " How to Be Universal: Some Cybernetic strategies, 1943-1970," social studies of science 23 (1993): 107-27
James R. Beniger The control revolution: technological and economic origins of the information society (harvard university press 1986)
p309
An excellent survey of autopoietic theory,from Maturana and Varela to its proponents in such diverse fields as Luhmann's social systems theory and family therapy, can be found in John Mingers, Self-producing systems: Implications and Applications of Autopoiesis (New York: Plenum Press, 1995). A useful biography and survey can also be found at Randall Whitaker's Web site.
p310
The foremost theorist extending autopoietic theory into social systems is of course Niklas Luhmann.
The Differentiation of society 1982
social systems 1995
Hubert Dreyfus: What Computers Cant' Do: The Limits of artificial intelligence 1979
Mark Johnson: The Body in the Mind: the bodily basis of meaning, imagination and reason
P323
John R. Searl Minds, Brains, and Science (harvard university press, 1986)
Wednesday, March 14, 2012
Sound Moves: iPod culture and Urban experience
Michael Bull London and New York: Routledge
Auge, M. 1995 Non-places. Introduction to Anthropology of Supermodernity. London. Verso
Auge, M. 2004 Oblivion. Minneapolis MN. University of Minnesota Press.
Bauman, Z. (1991) Modernity and Ambivalence.
(1993) Postmodern Ethics
Bull, Michael and Back, L.(eds) (2004) The auditory culture reader
Klein, N.(2000) No Logo. Solutions for a sold planet
Lanham, R. (2006) The Economics of Attention. Style and Substance in the Age of Information. Chicago. University of Chicago press
Lefebvre, H (2004) Rhythmanalysis. Space, time and everyday life.
Musil, R. (1995) The Man without qualities
Rheingold, H. and Kluitenberg, J. (2006) "Mindful disconnections: counterpowering the panopticon from the inside," Open 11, 29-36.
Taussig, M. (1993) Mimesis and Alterity: A Particular study of the Senses. London. Routledge
C. Jones 2006 Sensorium, Embodied Experience, Technology, and Contemporary Art. cambridge MA. MIT Press
Auge, M. 1995 Non-places. Introduction to Anthropology of Supermodernity. London. Verso
Auge, M. 2004 Oblivion. Minneapolis MN. University of Minnesota Press.
Bauman, Z. (1991) Modernity and Ambivalence.
(1993) Postmodern Ethics
Bull, Michael and Back, L.(eds) (2004) The auditory culture reader
Klein, N.(2000) No Logo. Solutions for a sold planet
Lanham, R. (2006) The Economics of Attention. Style and Substance in the Age of Information. Chicago. University of Chicago press
Lefebvre, H (2004) Rhythmanalysis. Space, time and everyday life.
Musil, R. (1995) The Man without qualities
Rheingold, H. and Kluitenberg, J. (2006) "Mindful disconnections: counterpowering the panopticon from the inside," Open 11, 29-36.
Taussig, M. (1993) Mimesis and Alterity: A Particular study of the Senses. London. Routledge
C. Jones 2006 Sensorium, Embodied Experience, Technology, and Contemporary Art. cambridge MA. MIT Press
Tuesday, March 13, 2012
future cinema: the cinematic imaginary after film
Gene Youngblood "cinema and the code"
p157-158
Image Transformation
If mechanical cinema is the art of the transition, electronic cinema is the art of transformation. Film grammar is based on transition between fully formed photographic objects called frames. It is done primarily through that collision of frames called the cut, but also through wipes and dissolves. In electronic cinema the frame is not an object but a time segment of a continuous signal. This makes possible a syntax based on transformation, not transition. Analog image processing is one vehicle of this particular art-- for example, scan processors. But it becomes even more significant in digital image synthesis, where the image is a database. One can begin to imagine a movie composed of thousands of scenes with no cuts, wipes or dissolves, each image metaphor sing into the next.
A cut is a cut, but a transformation or metamorphosing operating is open-ended. There are infinite possibilities, each with unlimited emotional and psychological consequences. Metamorphosis is not unique to digital imaging; it is familiar strategy in hand-drawn animation. What is unique is he special case of photoreal metamorphosis. It is one thing for a ling drawing or fantasy painting to metamorphose, quite another for a photographically "real" object to do so. This is theoretically possible in mechanical cinema and has been prefigured (but never fully realized) in hand-drawn animation, where it is so difficult and time consuming that it is, for all practical purposes, impossible. It is possible digitally, because the code allows us to combine the subjectivity of painting, the objectivity of photography and the gravity-free motion of hand-drawn animation.
p157-158
Image Transformation
If mechanical cinema is the art of the transition, electronic cinema is the art of transformation. Film grammar is based on transition between fully formed photographic objects called frames. It is done primarily through that collision of frames called the cut, but also through wipes and dissolves. In electronic cinema the frame is not an object but a time segment of a continuous signal. This makes possible a syntax based on transformation, not transition. Analog image processing is one vehicle of this particular art-- for example, scan processors. But it becomes even more significant in digital image synthesis, where the image is a database. One can begin to imagine a movie composed of thousands of scenes with no cuts, wipes or dissolves, each image metaphor sing into the next.
A cut is a cut, but a transformation or metamorphosing operating is open-ended. There are infinite possibilities, each with unlimited emotional and psychological consequences. Metamorphosis is not unique to digital imaging; it is familiar strategy in hand-drawn animation. What is unique is he special case of photoreal metamorphosis. It is one thing for a ling drawing or fantasy painting to metamorphose, quite another for a photographically "real" object to do so. This is theoretically possible in mechanical cinema and has been prefigured (but never fully realized) in hand-drawn animation, where it is so difficult and time consuming that it is, for all practical purposes, impossible. It is possible digitally, because the code allows us to combine the subjectivity of painting, the objectivity of photography and the gravity-free motion of hand-drawn animation.
Monday, March 12, 2012
future cinema: the cinematic imaginary after film
Timothy Druckney
Fugitive Realities, Situated realities, "situational realities," or future cinema(s) past
p65
Amid the whirling cinematic experiments of the 1960s, investigations in great depth in Gene Youngblood's pivotal Expanded Cinema(1970), came the introduction of video and soon synthesizers and early computing. Rapidly absorbed by a generation riveted by both cinema and television, the early phases of this exploded cinema turned away from sheer optical effects (though these were to return in the "synthetic" experiments of the 1970s) and integrated the possibilities for the creation of "event-spaces" into Happenings, performances, and installation (....)
In breaking the barrier between screen and space, in conceptualizing the electronic "image" as a relative phenomenon, this generation abandoned the passive viewer and posed fundamental questions about a future in which the significance of the experience of art was to become an aspect of communication, information, and calculation.
p65
"The Philips Poeme electronique would utilize electronic media to further the power of architecture in its quest for the unknowable," in Le Corbusier's words, "a boundless depth opens up, effaces the walls, drives away contingent presences, accomplishes the miracle of the ineffable space."
Marc Treib Space calculated in Seconds: The Philip Pavilion, Le Corbusier, Edgard Varese
P65 Indeed the synthesizer-- no less the computer-- was on the horizon while Varese was working on Poeme electronique and the transformation of sound/noise into equivalent forms of information heralded the shift from analogue to digital in which randomness, probability, computability, were to merge and extend the limits and reception of sound by dissolving sonic hierarchies, by detemporalizing sonic linearity, by obliterating the distinction between representation(or reproducibility) and calculability, by assenting to the possibilities of virtualization, by realizing that signal/noise ratios of information theory could be implemented as analytical/critical/creative tools, by radicalizing the cybernetic,
Fugitive Realities, Situated realities, "situational realities," or future cinema(s) past
p65
Amid the whirling cinematic experiments of the 1960s, investigations in great depth in Gene Youngblood's pivotal Expanded Cinema(1970), came the introduction of video and soon synthesizers and early computing. Rapidly absorbed by a generation riveted by both cinema and television, the early phases of this exploded cinema turned away from sheer optical effects (though these were to return in the "synthetic" experiments of the 1970s) and integrated the possibilities for the creation of "event-spaces" into Happenings, performances, and installation (....)
In breaking the barrier between screen and space, in conceptualizing the electronic "image" as a relative phenomenon, this generation abandoned the passive viewer and posed fundamental questions about a future in which the significance of the experience of art was to become an aspect of communication, information, and calculation.
p65
"The Philips Poeme electronique would utilize electronic media to further the power of architecture in its quest for the unknowable," in Le Corbusier's words, "a boundless depth opens up, effaces the walls, drives away contingent presences, accomplishes the miracle of the ineffable space."
Marc Treib Space calculated in Seconds: The Philip Pavilion, Le Corbusier, Edgard Varese
P65 Indeed the synthesizer-- no less the computer-- was on the horizon while Varese was working on Poeme electronique and the transformation of sound/noise into equivalent forms of information heralded the shift from analogue to digital in which randomness, probability, computability, were to merge and extend the limits and reception of sound by dissolving sonic hierarchies, by detemporalizing sonic linearity, by obliterating the distinction between representation(or reproducibility) and calculability, by assenting to the possibilities of virtualization, by realizing that signal/noise ratios of information theory could be implemented as analytical/critical/creative tools, by radicalizing the cybernetic,
Wednesday, March 7, 2012
Future cinema: the cinematic imaginary after film
edited by jeffrey shaw and Peter Weibel The MIT Press 2003
1. Plug-in without drop-out (caspar Stracke)
P586 "if the brain becomes the screen there would no longer be an interface; transmitter and receptor would coincide, so to speak. Direct interaction between the work of art and the brain would establish a new principle for interactive art: a genuinely limitless level of operating at which there would be no viewers any more, just active coproducers."
Patricia Pisters, From eye to Brain: reconfiguring the subject in film theory strand university press 2003
2. The Intelligent Image: Neurocinema or Quantum Cinema? (Peter Weibel) p594-601
otto Rossler, Endophysics, the world as an interface, world scientific, singapore, 1998
Interactive image 594
Image technology and its late-twentieth-century tendency to imitate life moved on from the simulation of movement (the motion picture) to the simulation of interaction: a responding and reacting image, the image as living system, the viable picture. The computer allowed the virtual storage of information as an electronic configuration. Information was no longer locked up magnetically or chemically as it had been on the filmstrip or videotape. The virtuality of information storage set information free and made it variable. The image became a picture field, its pixels because variables able to be altered at any time.
....
This virtuality induced the variability of the image content.... it enabled the observer to control with his own behavior that of the image. The picture field became an image system that reacted to the observer's movement. The observer became part of the system he observed.
cinema and system theory: interface technology 596
The axiom of system theory is "Construction: Draw a distinction." We can see our borders: the skin, then a membrane. What was once called skin and membrane is now known as "interface technology." As the border that separates the system from the environment, interface technology differentiates the image from the real world.
1. Plug-in without drop-out (caspar Stracke)
P586 "if the brain becomes the screen there would no longer be an interface; transmitter and receptor would coincide, so to speak. Direct interaction between the work of art and the brain would establish a new principle for interactive art: a genuinely limitless level of operating at which there would be no viewers any more, just active coproducers."
Patricia Pisters, From eye to Brain: reconfiguring the subject in film theory strand university press 2003
2. The Intelligent Image: Neurocinema or Quantum Cinema? (Peter Weibel) p594-601
otto Rossler, Endophysics, the world as an interface, world scientific, singapore, 1998
Interactive image 594
Image technology and its late-twentieth-century tendency to imitate life moved on from the simulation of movement (the motion picture) to the simulation of interaction: a responding and reacting image, the image as living system, the viable picture. The computer allowed the virtual storage of information as an electronic configuration. Information was no longer locked up magnetically or chemically as it had been on the filmstrip or videotape. The virtuality of information storage set information free and made it variable. The image became a picture field, its pixels because variables able to be altered at any time.
....
This virtuality induced the variability of the image content.... it enabled the observer to control with his own behavior that of the image. The picture field became an image system that reacted to the observer's movement. The observer became part of the system he observed.
cinema and system theory: interface technology 596
The axiom of system theory is "Construction: Draw a distinction." We can see our borders: the skin, then a membrane. What was once called skin and membrane is now known as "interface technology." As the border that separates the system from the environment, interface technology differentiates the image from the real world.
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