Fragmentation and the digital city: An analysis of Vicente Luis Mora's circular 07. Las afueras

This essay juxtaposes three recent publications, Vicente Luis Mora's Circular 07. Las afueras (2007-), Kenneth Goldsmith's Capital: New York, Capital of the 20th Century (2015), and Jorge Carrión's Barcelona. Libro de los pasajes (2016), in order to explore how contemporary digital technologies construct and fragment urban experience on a global scale. Despite their different political intentions, these three works share a common aesthetic of appropriation, unoriginal quotation, and fragmentation, as they are also all modelled after Walter Benjamin's Arcades Project. Just like Benjamin did with Paris, each of these works focuses on a particular Western city-Madrid, New York, and Barcelona-now being proposed as paradigmatic representations of urban experience, which is meant to mimic digital media's modularity and disintegration. Goldsmith's use of appropriation is read as a blank endorsement of digital mediation of everyday life, which sits in opposition to Carrión's and Mora's political projects. Circular 07 and Barcelona mix unoriginal writing techniques, like Goldsmith's conceptual writing, with other experimental methods to warn readers against apolitical adoption of digital technologies. Fragmentation is still proposed as the most important aesthetic form of twenty-first century writing, but these two Spanish works strive for its contextualization as a complex mechanism structured around reader/writer subjectivity. Finally, this essay ponders how to consider new reader/ writer subjectivities within the larger context of global cities in late capitalism

Das Wisconsin Projekt : zwischen Neoformalismus, Kognitivismus und historischer Poetik ; eine Bibliographie

Das folgende Verzeichnis listet alle uns bekannt gewordenen Arbeiten des "Wisconsin-Projektes" auf. Rezensionen und Rezensionsartikel sind nur dann einzeln verzeichnet, wenn sie unserer Meinung nach eine nennenswerte Auseinandersetzung mit dem Entwurf einer historischen Poetik des Films beinhalten. Andere Rezensionen finden sich unter dem Eintrag der Monographien

Seeing the light – finding the poetic content of design objects

This paper presents the process and initial results of a research through design project attempting to understand the poetic qualities of design objects. This exploration forms part of a PhD study addressing design artefacts as poetic objects - objects that both embed and conjure memory, association and imagination. The research examines the ways in which design objects can be poetic and how designers actively and knowingly use objects to poetic effect. It is proposed that the poetic content of design artefacts can be located on a continuum ranging from the experiential - relating to how we perceive things - to the reflective and cultural. What unites these levels is the capacity of design objects to reveal and change our way of looking at things. The practice uses the design of lighting as a vehicle for exploring the poetic meaning of designed objects more generally. Starting with the notion that lights do more than provide light, the current phase of practice examines the ways in which luminaires can mediate how we perceive and experience light and explores, in particular, the more nuanced and ephemeral qualities of light that escape conscious attention

Musical preferences and technologies: Contemporary material and symbolic distinctions criticised

Today how individuals interact with various cultural items is not perfectly consistent with theoretical frameworks of influential scholars on cultural consumption, such as Bourdieu (1984), Gans (1999), and Peterson and Simkus (1992). One such variation is in the ever increasing variety of technological modes to acquire and listen to music (Pinch and Bijsterveld, 2004). However, as a consequence of digital divides (van Dijk, 2006), technological items may not be distributed equally among social groups. At present, the value of status-making through a preference for different genres of music extends itself to different forms of consumption and ways of experiencing music. We are yet to fully understand the power these practices have on generating status. This article is therefore motivated by the need to integrate within quantitative frameworks of taste and cultural consumption, an analysis of individuals’ technological engagement. These two dimensions, integrated as components of musical practices, enhance our understanding of cultural boundaries across different social groups.The objective is to bridge a gap detected in the literature, addressing the following questions: Are technological modes to listen to music related to musical tastes

Locating sovereignty in the auto-ethnographic-political poetics of daily existence in two amazonian films

The theme of daily life is a common one in the Brazilian Video in the Villages (Vídeo nas aldeias) filmic archive. I analyze the diversity of cinematic treatments of and approaches to the theme of daily life in an Indigenous village by comparing, contrasting, and examining how two films construct, embody, and experience communal life through culturally specific methods of inquiry. In particular, I explore concepts of time, the senses, creativity, and the relations between the individual and the collectivity as all of the above are cinematically rendered in the intimacy, the performance, and the ritual of daily life. Specifically, I look at how these two VNA productions, Shomõtsi (2001) and Kiarãsã Tõ Sâty, The Agouti’s Peanut (2005), repoliticize the everyday through sovereign practices. I discuss these cinematic works as they relate to imperfect media (Salazar & Cordova, 2008), decolonial pedagogies, and the “cosmological embeddedness of the everyday” (Overing & Passes, 2000, p. 298).peer-reviewe

TV 2.0: animation readership / authorship on the internet

Traditional platforms for animation, such as broadcast television or cinema, are rapidly becoming obsolete as a new type of spectator demands more choice, the ability to interact with animated content and access to global distribution for their own user-generated work. Audiences are no longer satisfied with receiving a top down distribution of content from traditional cinema or broadcasters. Internet technologies are emerging to address this demand for active spectatorship and enable communities of interest to evolve their own alternative distribution methods. Viewing animation online has become increasingly accessible with the mass adoption of broadband and the emergence of new file formats. TV 2.0 is an amalgamation of Internet technologies that combine video on demand with the social networking capabilities of Web 2.0. In the age of TV 2.0, the role of the viewer has increased in complexity with new possibilities for active interaction and intervention with the content displayed. This new audience seeks a form of spectatorship that can extend beyond the passive recipience of programming distributed by elite broadcasters. TV 2.0 on the Internet has changed both methods of distribution and traditional patterns for the viewing of animation. However, any potential for democratic participation in the visual culture of moving images that this could entail may be a brief historic moment before the assimilation and control of active readership by mainstream corporate culture