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| Philosophical & Ideological Concerns: <br>
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| Rhythm (Bifo) <br>
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| Self Design and Optimization (Byung Chul Han) <br>
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| Cyberproleriat (Nick Dyer Witheford) <br>
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| Sadness and Nihilism in Media "Interconnected" Platforms (Geert Lovink) <br>
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| Poor Images (Hito Steyerl) <br>
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| Cyber time Crisis (Mark Fisher) <br>
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| Silence (Susan Sontag)<br>
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| Notes:
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| <div style="font-family: courier; color: black; font-size: 12px;">
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| <b> Poor Images: Hito Steyerl </b>
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| * The poor image: bad quality, substandard resolution, a thumbnail, a preview [freely distributed- compressed- reproduced- ripped- remixed]
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| * Quality is replaced by accessibility, exhibition value becomes cult value, films become clips, contemplation becomes distraction
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| * Subverts: national culture, copyright
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| * Testify to the dislocation, transferrals, and displacement of images: the vicious cycle of audiovisual capitalism
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| * Focus and resolution can represent a class marker of quality "consumed"
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| * The cinema(mainstream) as a flagship store where "high-end products are marketed in an upscale environment." This system is anchored in systems of national culture, capitalist studio production, the cult of male genius and is reactionary and conservative.
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| * The resurrection of experimental film into clips, away from the grave of the archive and into the public space of image-stuff.
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| * Steyerl remarks on the Kodwo Eshun who notes that "poor images circulate the void left by state cinema (when experimental was funded)"
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| * Imperfect Cinema is a radical cinema (Third Cinema Manifestos); Poor images allow many more producers
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| * Poor images also present the snapshot of the affective condition of the crowd: neurosis, paranoia, fear, distraction, intensity
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| * Poor images can be defined by their resolution, exchange value and value of speed, intensity and spread (TikTok)
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| * Operates against the fetishization of resolution but also ends up being perfectly integrated into capitalism
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| * The poor image constructs anonymous global networks and shared history
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| * Dziga Vertov's "visual bond" that links workers of the world with each other, albeit (in the poor image) represented within global information capitalism.
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| * The circulation of poor images feeds into capitalist media assembly lines and alternative audiovisual economies. The poor image is therefore not about the ordinary original but about the materiality ("the conditions of existence") and the circulation... between defiance and appropriation, about conformism and exploitation. It is full of contraditions.
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| <hr>
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| <b> The Aesthetics of Silence </b>
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| * Spirituality as a set of plans ("ideas of deportment") to overcome pain
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| * Art as a spiritual project in the modern era(post-religion).
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| * Old myth of art is associated with art expressing the human consciousness. European Medieval through Renaissance period: expressing consciousness(from God unto humanism) against reality's materialism.
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| * New myth is about saving human's from this consciousness, the "minds need for self-estrangement." To experience art now(Sontag's "now"), is to unshackle from the self into "art" spirituality, mysticism, self negation (Buddhist non-selves/nirvana). Metaphorical, thus, art must eliminate the subject/the object/the image for the pursuit of silence(spirituality). Contradiction: this negation is not meditative but deliberate.
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| * Seriousness within art is to regard it as a means to something achievable only through abandoning art. The goal of the artist is to be silent by finding a voice in art. But seriousness is also not art.
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| * Art's value is its invisibility, unintelligibility, inaudibility, anxiety, silence (for the audience). Here, the artist uses silence against the audience's voyeurism. Art disengages from give-and-take if it is silent. But then again, art is elitist if it presupposes an audience
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| * A silent art can be characterized as dumb, cold, depressed... cultivating metaphorical silence suggested by lifeless subjects and constructing minimal form.
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| * However, silence also implies its opposite. Silence can be loud and therefore not feasible.
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| * Nihilism towards expression within silence ("nothing to express, nothing from which to express, no desire to express") is attached to the death wish, almost keeping it "lively"
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| * Notions of silence "sketch out new perspectives to looking, hearing, etc."
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| * The artist is also tied to history, the artist can only dream of being a-historical. In engaging with silence, the artist entails the spectator into self-forgetfulness... "it does not demand the spectator's understanding but rather his absence"
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| * Silence does not mean emptiness, plenitude is also opaque and impenetrable. Shock is also silencing.
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| * There are ways of thinking we are yet to know. Not everything that is thought can be said. //silence engages with this
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| * The revulsion against the proliferation of speech and images slowly diminishes the prestige of loud... as silence rises.
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| * Beauty is a vacant concept. Silence is not irony. But silence is contemporary: loud silence (void) and soft silence (experience)
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| * All projects from the consciousness eventually reveal the unraveling of thought itself.
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| Thesis: Susan Sontag's article analyzes silence as a concept intertwined with the argument of modernism's loss of meaning. Drawing from modernist art and psychology, Sontag approaches this silence as a means of aesthetics by way of a post-modern examination. She distinguishes the traditional forms of spiritual silence to the devolving use and abuse of silence in the contemporary art of her day.
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| Conclusion: Sontag's postmodern approach does not end with a synthesis. Rather, it offers perspectives into the concept of silence. She draws a link between the appreciation of silence within traditional aesthetic and spiritual traditions as well as silence's role in modern culture and psychology. In the end, she leaves behind a landscape of contemporary cultural expression, one self-aware and critical of silence as an alternative idea.
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| <hr>
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| </div>
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