Julie stays in a virtually bare room writing a long love letter, with which she becomes increasingly frustrated. She hitchikes along the Brussels highway, where she is picked up by a truck driver. Arriving at the apartment of her former lesbian lover, Julie spends the night, but silently leaves the apartment next morning. Story of a summer in Paris and three young people.
Literature, Media, Information Systems: Roving about the cluttered room, he speaks animatedly into the microphone, which is plugged into the recorder by a long wire.
We must counter-attack right away. Just arrived in Catalia when messenger drove up. I tore open dispatch. News was bad--I'd lost my battalion commander. I had to reach O Group. I grabbed the bike from the messenger, and rode off to headquarters.
Suddenly, a grenade exploded. I jumped for cover. This theatrical recording session continues until a peculiar, undulating sound interrupts the narrative, enveloping the scene of virtual warfare in its electronic drone.
In a blinding flash of light, Brigadier Whitehead is thrown to the floor, where he will be found lifeless, still clutching a phonograph record, his entire body bleached white by a murderous ray of light.
The Brigadier is down, but the tape machine goes on recording…. Officer, gentleman, deceased Brigadier Whitehead. He died as he lived in the thick of the battle, facing the enemy. After replaying the tape recording of the scene—a cacophony of phonograph artillery drowned out by a mysterious drone—for countless suspects and experts, the following conclusion is reached about the murder weapon: It has a bleaching effect, and boils liquids.
Obviously, this scene has not been pulled from a bastion of the Western literary canon or from a great philosophical text. There is a certain intersection here of communications and warfare, information transmission and military strategy, media and artillery that permits us to view this scene as a node through which a network of discourses—historical, technological, political—all travel.
I would go so far as to say that in this single scene, we might trace all the ingredients for a transdisciplinary project on the nature of media in a visual age—complete with ocular surgeon.
Begin your project by describing a single situation, scene or image in which communications technologies play a crucial, or at least conspicuous, role. This will serve as the media scene for your entire project. Whether they be fictional or historical is there a difference in this case?
We are dealing instead with the pages of Goethe, Hoffman, and Balzac, pages in which communications technologies, sometimes with extreme subtlety, play a determinant role.
Hence, a chapter that we might expect to be a media-oriented commentary on a collection of literary excerpts, turns out instead to be a wide-ranging examination of the materiality of media where references to Goethe, Hoffman and Balzac are casually dispersed among technically complex observations on contemporary culture and its digital toys.
On the jumbo jet, The crew is connected to radar screens, diode displays, radio beacons, and nonpublic channels The passengers' ears are listlessly hooked up to one-way earphones, which are themselves hooked up to tape recorders and thereby to the record industry Not to mention the technological medium of the food industry to which the mouths of the passengers are connected.
We are dealing here with contemporary cultural criticism, media criticism, even. Although Kittler allows himself a certain quota of McLuhanesque scenarios, his strength lies in his literary-historical perspective.
For that reason, the term medium did not exist. This is quite a contrast to an age of camcorders and personal Web pages, an age in which recording technology is so independent of the body that Brigadier Whiteheads and Timothy Learys can accurately document the very moment of their deaths.
The full man is shriveled, shrunk, and stunted into his scribbling. As long as the written word, hand-written or printed, reigned as the one, homogeneous medium of communication, Romanticism was possible. But, according to Kittler, technical reproduction provided a physical precision that rendered this readerly hallucination obsolete.Dance is a powerful impulse, but the art of dance is that impulse channeled by skillful performers into something that becomes intensely expressive and that may delight spectators who feel no wish to dance .
It should not be forgotten that back in Beckett wrote an essay about Finnegans Wake (*) that ranks among the classics of genu inely avant-garde criticism. metamorphosing geomet ric shapes that changed color rapidly. but the speeds of change are quick and the colors are ethereal.
For Winterbranch, he designs the set, costumes (black sweatshirts and sweatpants), and creates an unusual lighting scheme regulated by chance, which often leaves areas of the stage in .
This article stages a dialogue between Giorgio Agamben s theory of gesture and the reconstruction of Merce Cunningham s choreography, Winterbranch. By placing Winterbranch in contexts with other art forms at the time, alongside current events of the time 9 pages 31 Feb/ Ballet- A brief history of ballet incl.
famous ballets, ballet dancers incl. Anna Pavlova, pointe shoes, and techniques/5(7). In an essay written in the s, King called Cunningham “the most advanced choreographer on the planet;” and he subsequently went on to declare that “Merce’s dance is already a kind of futuristic Artificial Intelligence ” (, ).