User:Chrissy/notes
"Adults and children sometimes have boards in their bedrooms or living-rooms on which they pin pieces of paper: letters, snapshots, reproductions of paintings, newspaper cuttings, original drawings, postcards. On each board all the images belong to the same language and all are more or less equal within it, because they have been chosen in a highly personal way to match and express the experience of the room’s inhabitant. Logically, these boards should replace museums.
thinking about social media angst is, to me, clear: Glamour cannot exist without personal social envy being a common and widespread emotion. The industrial society which has moved towards democracy and then stopped half way is the ideal society for generating such an emotion. The pursuit of individual happiness has been acknowledged as a universal right. Yet the existing social conditions make the individual feel powerless. He lives in the contradiction between what he is and what he would like to be. Either he then becomes fully conscious of the contradiction and its causes, and so joins the political struggle for a full democracy which entails, amongst other things, the overthrow of capitalism; or else he lives, continually subject to an envy which, compounded with his sense of powerlessness, dissolves into recurrent day-dreams."
https://news.artnet.com/art-world/ways-of-seeing-instagram-37635
- Link rot https://gwern.net/archiving
- giving up control with designing https://alistapart.com/article/dao/
- If attention capital can be turned into a number, then images with high circulatory powers can automatically be identified as profitable assets. The global spread of fashion through online images provides a good context to show the implication of the networked image and the rise of an internet driven economy.
- @robschamberger wrote: “PLEASE RT: Never, ever, EVER respond to someone’s art on Twitter saying you want a shirt with that art. Bot accounts will cue into that and then pirate the artwork. This then becomes a nightmare for the artist to get the bootleg merchandise taken down. PLEASE SHARE.”[4]
- The image’s social capital quantified by metrics of attention is automatically turned into an actual commodity. In other words, the t-shirt is only produced after the image receives enough attention. A global non-human networked bootleg system, a fully automated image capitalism.
- Soon enough the images by twitter users infiltrated online shops and flooded their first pages, visualising their protest and disrupting the automated mechanics of the bots, using their same logics against them.
- Bot baits reveal the hidden desire of a machinic gaze trained to seek the human lure, enmeshed in the complex interactions between human and non-human actors in the content of the networked image. Bot baits not only render visible the operations of what can be considered a special kind of what Trevor Paglen called ‘seeing machine’[7], but also bring to light the blurry boundaries and complicated connections between digital images and their circulation, between metrics of attention and collective action, between commodification and resistance, between ownership and reappropriation[8] between spectatorship and political strategies of infiltration, between legal systems and online cultures.
(https://www.permanentbeta.network/episode/101)
- Cursed Image: abnormal <-> illogical (https://www.permanentbeta.network/episode/106)
"Readers have had the option of right-clicking on any page, selecting View Page selecting View Page Source, copying, pasting, and rewriting the source code. In this manner, readers become writers." (J. R. CARPENTER || A Handmade Web)