atemporality   255

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Babylon Berlin on Netflix: Tom Tykwer Interview
“Let’s create a song that could play in the ’70s, that could play today and that could play in the ’20s.” There’s an in-between state. We want people to say, “I’ve heard this before, and I can imagine that people back then also heard this song.” We know that in the ’20s there were already first electronic instruments,
music  atemporality 
february 2018 by jomc
choice – Snakes and Ladders
"You can’t understand the place and time you’re in by immersion; the opposite’s true. You have to step out and away and back and forward, through books and art and music, and you have to do it regularly. Then you come back to the Here and Now, and say: Ah. That’s how it is.

But maybe 2% of the people you encounter will do this. The other 98% are wholly creatures of this particular intersection in spacetime, and can’t be made to care about anything else.

You can, then, have understanding or attention. Pick."
alanjacobs  2018  zoominginandout  immersion  place  time  atemporality  books  art  music  culture  perspective  seeing 
february 2018 by robertogreco
"Because she arrives, vibrant, over and over again; we are at the beginning of a new history, or rather a process of becoming in which several histories intersect with one another. As a subject for history, woman always occurs simultaneously in several places. (In woman, personal history blends together with the history of all women, as well as national and world history.)

I wished that woman would write and proclaim this unique empire so that other women, other unacknowledged sovereigns, might exclaim: I, too, overflow; my desires have invented new desires, my body knows unheard of song. Time and again, I, too, have felt so full of luminous torrents I could burst – burst with forms much more beautiful than those which are put up in frames and sold for a stinking fortune."

— Helene Cixous, Utopias
helenecixous  via:fantasylla  becoming  women  gender  feminism  desires  multitudes  atemporality  ubiquity  interconnectedness  interconnected  interconnectivity 
january 2018 by robertogreco
Toryansé and the storytelling advantages of short games - Kill Screen
"Nick Preston decided to call his upcoming series of short adventure games Toryansé after the Japanese folk song of the same name. The song is traditionally sung as part of a children’s game—Warabe uta, which is very similar to the English nursery rhyme game Oranges and Lemons—but has surprisingly dark lyrics thought to relate to a period of high infant mortality in Japan’s history. But it wasn’t only the song’s background that appealed to Preston, it was also the fact that it’s often played at Japanese traffic lights to indicate when it’s safe for pedestrians to cross.

“I loved the idea of layers of story being embedded in a part of everyday life, you could use a crossing every day and not realize,” Preston told me. This idea is what will unite each of his short games; threading a path between the mysterious and the mundane. The first one, due in early 2017, is called Reel and follows an elderly woman who runs a computer repair business in a small shopping arcade. The story starts when she receives a misaddressed package and sets off to find its intended recipient. In her exploration, the woman discovers the previous life of the building that she was unaware of, despite having worked there for years.

The stories that Preston intends to release after Reel will we built of the same material. “The core idea for each story is to show a character stepping outside of their normal, everyday routine and briefly experiencing something that makes them reassess, in some small way, the environment or people around them, then returning to normality feeling a little bit better,” Preston said."

[via: ]

[more Nick Preston: ]
games  gaming  via:tealtan  videogames  everyday  mystery  mundane  toryansé  nickpreston  japan  storytelling  shortgames  shortness  atemporality  history  memory  place 
december 2016 by robertogreco
Log In - New York Times
*Maybe Mid-Century Modern won't go away because it monopolized the term "modern."
atemporality  from twitter_favs
october 2016 by kitoconnell
Watch Every Episode of Friends Simultaneously - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.
tv  culture  atemporality 
august 2016 by mediapathic
Watch Every Episode of Friends Simultaneously - YouTube
Every episode of Season 1 of Friends at once: a howling void, a recurring visual nightmare
atemporality  from twitter_favs
august 2016 by ejl
The Anomaly of Barbarism | Lapham’s Quarterly
To accept that liberal societies may not be “on the right side of history”
barbarism  atemporality  from twitter_favs
march 2016 by mathpunk
Apple’s Modernism, Google’s Modernism: Some reflections on Alphabet, Inc. and a suggestion that modernist architect Adolf Loos would be totally into Soylent | Works Cited
"These temporal aesthetics, Google’s included, tell us something about the repurposing of modernist style for post-Fordist capital. Modernist style still succeeds in evoking newnesses even when wholly “unoriginal” because it so successfully dehistoricizes.20) That it still totally works, and that it remains congenial to capital in the face of capital’s transformations, hints that we have in modernist ideology a powerful actor.

Consequently, the study of early twentieth-century style can be understood as neither irrelevant nor innocent. The quasi-Darwinian, developmentalist ideologies of Silicon Valley have their correlates in styles that disguise their basic violence as design. Its results are, among other things, political transformations of the Bay Area that seek to do to San Francisco what Rob Rinehart did to his apartment—rely heavily on exploited labor that has been geographically displaced. It imagines people of the future living side by side with people who lag behind—but not literally side by side of course! because the laggards commute from Vallejo. Anyone who isn’t on board with the spatial segregation of the temporally disparate is an “enemy of innovation.” Again, this is actually less about time than about hierarchy. After all, the temporal difference between any two people in existence at the same time is completely made up: it’s an effect of style, which is in turn (if we follow Loos’s logic) a proxy for economic dominance. Time is, so to speak, money."
modernism  nataliacecire  2015  apple  google  siliconvalley  design  economics  atemporality  robrinehart  adolfloos  childhood  primitivism  developmentalism  aphabet  puerility  naomischor  siannengai  power  systemsthinking  displacement  innovation  ideology  californianideology  history  newness  exploitation  labor  segregation  hierarchy  technology  technosolutionism  domination 
august 2015 by robertogreco
(We Are) Light Catchers | Michael Ang
.’s (We Are) Lightcatchers is a lovely, lovely piece of connected art
atemporality  from twitter
june 2015 by thewavingcat
PICTURES - marclafia
"With these new works I want to re-imagine, reinvent time, to see it as a physical dimension, to create an object of the image, that doesn't obliterate it, but teases out its trajectories and brings it back from its overexposure in its continual transmission. Of course the image will never exhaust itself in its repetition but become so domesticated that all its initial charge is gone. How then to see these familiar pictures but to rework them and make them new again with other pictures.

With the use of perspective and lenses long before photography, western picture making, not unlike genres of movies were pretty stable. There were the genres of History, Landscape, Portraiture and Still Life. Picture and picture making was regulated by the church then academies and the discourse around them narrow. It was this controlled discourse, this decorum of the picture and its reception that artists worked against that created occasional shocks and outrage.

My first interest was in History paintings but over time it became the history of painting and with that the history of photography, and I suppose a history of image. I had always been taken by Manet's Execution of Maximilian and only learned at the outset of my project that what Manet had created and abandoned as a painting was also an event that was photographed. Manet's cool and dispassionate take on the event contrasted with Goya's painting Third of May and Goya was in conversation with Rubens and Rubens, Leonardo.

Pictures have often, if not always, been about and in conversation with other pictures. This led me to think of pictures in their many modes and many genres across time and to want to create conversations amongst and between them. I began to imagine new images, to see new things, new thoughts often times by simply placing one image on another, or layering images and cutting them out. These new pictures pointed to things sometimes difficult to discern but there was always a something.

Images in their traces, in their histories, carry forward their techniques, their textures, their surfaces and armatures, their politics. They enfold the world they come from and in conversation I imagined they could present new worlds.

Where images once were the preserve of national archives, ubiquitous digital transmission today is global and each of us has become our own archivists. As to what is, and is not in the archives, and there are a host of them, from a wide variety of transnational corporate search engines and social network services, that is something to discuss elsewhere.

To see these images, to sense their thoughts, we have to look at them with other images. we have to engage them in conversation, in the conversation of images.

All images and sounds are code. As code, they are fluid, viral, infectious, malleable, erasable, moving easily in and out of a wide variety of indifferent contexts.

My interest lies less in photographing reality, and instead focuses on portraying the realities of photography and imaging in the regime of the network, as the world is a network of relations and the network is both a camera and archive, an apparatus of image exchange and circulation.

I want to be clear that when I say picture it may be a mathematical formula, a musical score, a line of code, each of them is a picture. Our capacity to produce Pictures is our capacity to think outside and beyond the present, to go backwards and forwards in time."

[via: ]
marclafia  networks  internet  archives  cameras  pictures  images  imagery  2015  present  past  atemporality  history  conversation  web  online  time  memory  transmission  paintings  code  fluidity  virality  flexibility  erasability  context  exchange  communication  remixing  remixculture  socialmedia  socialnetworking  socialnetworks  arthistory 
april 2015 by robertogreco
Interview: Robert Pruitt - Saint Heron
"The most immediate way that I get at pluralism is through juxtaposition. All the different outfits, hairstyles, headdresses and other objects are intended to do just that. They create multiple entryways into each figure’s interior world. Each figure’s personal choices of dress and adornment are intended to help the viewer create a narrative about the figure.

I think a less noticeable way is through the use of time. Most of the works have some reference to the Past, Present and Future. A Victorian dress can be matched with an 80’s fade, or a pair of dunks and traditional sculptures from Africa can be used in space exploration. This idea is to collapse time. These figures exist in all times at once. I’ve always kind of felt that black folks more than anyone are troubled by time. We can be obsessed with trying to reconstruct our past from the fragments of information we have, while at the same time having to move on without any real sense of that past. I think sometimes we spend our lives moving between these two notions."

"I wanted to create this lineage of black, matriarchal, power, expressed through portraiture. The guns could operate as “un-alarming” because they are meant to be defensive as opposed to offensive. Black Self defense has had a tumultuous public presence. Black people are not really allowed to be defensive. Here, the weapons are so passively placed that they can almost seem disarming. Still, those are violent objects.

The signifying would be the correlating of Western aristocracy with that level of embedded violence. I don’t often make references to Western cultures in my work but here, because of the history of photography and portraiture that I am working from, it was sort of unavoidable. I would hope the viewer would read these images as not only an “ode” to black power, but also read the form as Western and a nod to the violence and power within those forms."
robertpruitt  art  power  tanekeyaword  2015  interviews  blackness  race  matriarchy  pluralism  juxtaposition  time  atemporality  violence 
march 2015 by robertogreco
Books Matter: Design Observer
"I recently gave a talk to a library group about why the printed book still matters. I had been asked to address the subject of “Books in a Digital World,” but I chose to focus much more closely on the characteristics of printed objects that are not effectively represented in facsimile. That is: what cannot be captured in a scan.

I’ve been carrying this list in my head for years, adding to it one reason at a time. In my profession, as a librarian and a curator, this list (of which what follows is only a portion) functions as an apologia pro vita mia—rational defenses for the continued existence of the printed codex—and my involvement with them.

Ten Good Reasons the Book is Important

1. It is a piece of technology that lasts.
The codex is one of the longest-lived of all technologies. It has been improved-upon—but changed only slightly—over the centuries. Movable type printing has been around since the 1450s; the codex form has been in use for as long as 2000 years. These are extremely durable tools and forms.

2. It needs very little, if any, extra technology to be accessed.
(Ignoring, of course, that terrifying Twilight Zone episode, “Time Enough to Last,” in which the last man alive on Earth breaks his eyeglasses… .) Other media demand devices to be deciphered. Yes, printed information is coded, via language and graphic systems of representation. But in general, these are codes that are managed by human eyes, hands, and brains—tools we carry with us.

3. The book retains evidence.
These forms of evidence include: notes; names of owners; annotations. These all help us understand how books functioned as possessions and learning tools, and how they traveled from one owner or reader to another. As a librarian, I don’t advocate writing in books, but I am excited when I find an eighteenth-century American schoolbook that contains handwriting exercises on its pages.

4. Books are true to form.
Books are meant to be seen and read in specific ways. Many early books had sections that were intended to be viewed as two-page spreads—not isolated from each other, as often happens in online viewers. The same observation can be made about scrolls; their presentation was key to how they were interpreted. We can’t forget that reading can have a ceremonial function.

5. Each copy of a book is potentially unique …
… at least up through the second industrial age. Changes to texts often show up in different copies of books that are assumed to be identical. Printing involved mainly manual processes until the end of the nineteenth century—sometimes necessitating stop-press corrections. These kinds of changes can teach us about the genealogy of printed works. Many digital scanning projects are necessarily limited to the selection of the “best” copy of a book, which, once scanned, stands in for every other copy.

6. Printed items are consumable goods …
… in passive and active ways. Some classes of books and printed objects are meant to live only a short while—to provide information and then be discarded. Lucky for us, when copies of such ephemeral items have managed to survive, we have data that record phenomena that can be extremely difficult to document otherwise. Such is the case with flyers, brochures, tickets, posters, and other single-sheet printed items.

7. A book is an object fixed in time.
A book can tell us about its status in history. If we look through first editions of Moby Dick or Leaves of Grass, we find that they give away information not only about when they were created, but also about the worlds in which they were created, by way of advertisements, bindings, the quality of their paper, and watermarks on that paper. Such components are often not captured by scanning or are flattened out to make them of negligible use. In Nicholson Baker’s Double Fold—his saga about how libraries microfilmed runs of newspapers in the 1950s and 1960s and then discarded them—one of his chief complaints was that the filmers skipped advertising supplements and cartoons: things that had been deemed unimportant.

8. A book can be an object of beauty and human craftsmanship.
Those qualities alone are of significant value.

9. When you are reading a book in a public place, other people can see what you are reading.
Reading is generally a private activity, but it also has social functions. Even when we hold a book up in front of our faces, we are telling the world what we’re reading—or in the very least—that we are reading a book (rather than tweeting about the books we wish we were reading … ).

10. The Internet will never contain every book.
The growth of information is exponential—with vast universes of new data being created online every day. Many swaths of old information—in the forms of books, magazines, and pamphlets—will never make it online. There are projects and grants for scanning specific topics—English eighteenth-century provincial newspapers, Latin American imprints—but significant bodies of work of minor stature will never make the cut."

[See also Matt Thomas's notes: ]
books  design  technology  ebooks  print  digital  2015  timothyyoung  craftsmanship  display  object  atemporality  text  evidence  marginalia  annotation  durability  via:austinkleon 
march 2015 by robertogreco
Interview: Teju Cole « Post45 -
"TC: Anyone who writes is lucky. The idea that one will be read, whether by a few or by many, is a basic expectation that makes me happy. In a somewhat childish way, I can't quite get over the mystery of written communication. When I'm writing, I'm mostly thinking, "Some other human being will read this, and probably comprehend all or most of it in just the way I intended, or in a way I will find believable." That's what I think about, and so I really leave no space for brooding about the death of the author. The author, if not dead yet, will die. The reader will die and be replaced by another reader. But literature itself—its peculiar form of communion—is a deeper miracle. You're reading Song of Solomon. That's a thing you can do. You're reading Stendhal. That's another thing you can do. I know I'm being a nerd about this, but it honestly amazes me. I refuse to get over it."
tejucole  2015  interviews  aaronbady  writing  technology  via:robinsloan  communication  atemporality 
february 2015 by robertogreco
No Big Bang? Quantum equation predicts universe has no beginning
*Universe already infinitely old because it's sloshing with graviton Bose-Einstein condensate.
atemporality  from twitter_favs
february 2015 by genmon

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