Difference between revisions of "User:Jules/departure"

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<p><i>“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.“</i> <br>
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Michael Seemann – Digital tailspin
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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>
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<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>
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Hito Steyerl – In defense of the poor image</p>
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''<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>
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<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