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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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| Notes:
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| Poor Images: Hito Steyerl
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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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