Difference between revisions of "User:Jules/departure"
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| − | + | ''<span style="color:GoldenRod;">“A computer will make copies of all the data it operates with, and so <b>the internet is basically a huge assemblage of copying machines.</b> In the digital world, practically everything we come into contact with is a copy. This huge copying apparatus is growing more powerful every year, and will keep on replicating more and more data everywhere.“</span> <br> | |
| − | < | + | <sup>Michael Seemann – Digital tailspin</sup> |
| − | <i>“At present, there are at least twenty torrents of Chris Marker’s film essays available online. If you want a retrospective, you can have it. But the economy of poor images is about more than just downloads: <b>you can keep the files, watch them again, even reedit or improve them if you think it necessary. And the results circulate.</b> Blurred AVI files of half-forgotten masterpieces are exchanged on semi-secret P2P platforms. Clandestine cell-phone videos smuggled out of museums are broadcast onYouTube. DVDs of artists’ viewing copies are bartered.Many works of avant-garde, essayistic, and non-commercial cinema have been resurrected as poor images. Whether they like it or not.”</i><br> | + | |
| − | Hito Steyerl – In defense of the poor image</ | + | |
| + | |||
| + | ''<span style="color:GoldenRod;"><i>“At present, there are at least twenty torrents of Chris Marker’s film essays available online. If you want a retrospective, you can have it. But the economy of poor images is about more than just downloads: <b>you can keep the files, watch them again, even reedit or improve them if you think it necessary. And the results circulate.</b> Blurred AVI files of half-forgotten masterpieces are exchanged on semi-secret P2P platforms. Clandestine cell-phone videos smuggled out of museums are broadcast onYouTube. DVDs of artists’ viewing copies are bartered.Many works of avant-garde, essayistic, and non-commercial cinema have been resurrected as poor images. Whether they like it or not.”</i></span><br> | ||
| + | <sup>Hito Steyerl – In defense of the poor image</sup> | ||
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Latest revision as of 23:10, 4 November 2015
“A computer will make copies of all the data it operates with, and so the internet is basically a huge assemblage of copying machines. In the digital world, practically everything we come into contact with is a copy. This huge copying apparatus is growing more powerful every year, and will keep on replicating more and more data everywhere.“
Michael Seemann – Digital tailspin
“At present, there are at least twenty torrents of Chris Marker’s film essays available online. If you want a retrospective, you can have it. But the economy of poor images is about more than just downloads: you can keep the files, watch them again, even reedit or improve them if you think it necessary. And the results circulate. Blurred AVI files of half-forgotten masterpieces are exchanged on semi-secret P2P platforms. Clandestine cell-phone videos smuggled out of museums are broadcast onYouTube. DVDs of artists’ viewing copies are bartered.Many works of avant-garde, essayistic, and non-commercial cinema have been resurrected as poor images. Whether they like it or not.”
Hito Steyerl – In defense of the poor image
