• Redland (2009)
• Redland (2009)
• Redland (2009)
«Y vuestra misión es la de someter al bendito yugo de la razón todos aquellos seres desconocidos que pueblen los demás planetas y que tal vez se encuentren en el incivil estado de la libertad. Y si estos seres no comprendieran por las buenas que les aportamos una dicha matemáticamente perfecta, deberemos y debemos obligarles a esta vida feliz.»
• Drive (2011)
Nicolas Winding Refn
• Sherlock, Season 2 (2012)
Mark Gatiss & Steven Moffat
• Black Mirror (2011)
• The Private Life of Sherlock Holmes (1970)
• Scott Pilgrim vs. the World (2010)
• The Pillow Book (1996)
• Point Blank (1967)
• Kick-Ass (2010)
• The Last Enemy (2008)
“If anything is representative of the art of noise, it is ambivalence.”
“Art must indict—or at the very least play the role of the noisy jester who unmasks the quietly persistent lies of the powerful.”
“Noise may break some connections, but connections will always continue to grow in other directions, creating new thoughts and new affects.”
“In one respect, all sounds and images are already a kind of noise: data without meaning.”
“An art of noise can also be postulated as a realm of anti-social cultural purpose directed toward the revolutionary transformation of an irrational social reality that insists on calling itself rational.”
“If we agree to combine this thought of noise art as a vacuole of noncommunication with an insistence on signal-to-noise psychological circuit breaking, we gain a more complicated image of noise—as vacuoles that re-route and break-up the pathways of control. Let us therefore entertain a noncommunicating art of noise as an aesthetic act that nevertheless communicates intricately.”
“I hypothesize that an art (or culture) of noise produced in our milieu of image superabundance and information proliferation can problematize culture and hence enliven us to the privacy of the human condition in lieu of the fabulously constructed social spectacle that engulfs and (supposedly) controls us.”
“What the art of noise does is to take the meaninglessness of noise and convert it into the meaningful.”
“I shall establish my fundamental contention that all art is fundamentally conceptual and imaginative because art only exists conceptually and its goal is to change our consciousness.”
“What was once noise (unacceptable) has now become noise music (acceptable and even desirable).”
“For noise to be first noise, it must destabilize us. It must initially jar. It must challenge. It must initiate a glitch of psychic crumbling.”
“Noise art theory, then, involves the exaltation of the void and the melting of unstable frontiers as it expands definitions both inwardly and outwardly to envelope from both sides a felt understanding of the unfettered immensity and myrrh of our universe (where noise of one sort or another is everywhere).”
“Ideally, communication must be separated from noise. Noise is what is not communicated; it is just there as a kind of chaos, as the empirical third element of the message, the accidental part, the part of difference that is excluded.”
“Normal noise, as opposed to art noise, doesn’t mean anything and isn’t about anything; it just is annoyingly so.”
“Torben Sangild points out in his essay “The Aesthetics of Noise” that in Genèse, French philosopher Michel Serres sketched out the idea that the ultimate being-in-itself is noise. Behind the phenomenal world (the world we perceive)—he proposes—is an infinite complexity, an incomprehensible multitude analogous to white noise. What Serres initially finds intriguing about noise (rather than the message) is that it opens up a fertile avenue of reflection. Instead of remaining pure noise, it becomes a means of transport.”
“Noise vs. music, non-intended sounds vs. intended sounds, life vs. art; the oppositional pairs resonating along with the first opposition form an ever-extending thread.”
“hyper-chaos (…) a form of absolutization where nothing is impossible or unthinkable.”
• Half Nelson (2006)
• Lars and the Real Girl (2007)
• Sound of Noise (2010)
Ola Simonsson, Johannes Stjärne Nilsson
• The Shock Doctrine (2009)
Mat Whitecross, Michael Winterbottom
• How I Met Your Mother, Seasons 1-6 (2005-2011)
Carter Bays, Craig Thomas
• Forgetting Sarah Marshall (2008)
• True Blood, Season 4 (2011)
• The IT Crowd, Seasons 1-4 (2006-2010)
• Drive (2011)
Nicolas Winding Refn
• Mis problemas con Amenabar
Jordi Costa, Darío Adanti
• Bats, Rats and Packs [read]
• Capitalist Monsters
“Hemos oído decir que es menester dejar al mundo en paz y no intervenir en él, y no hemos oído decir que se lo deba gobernar. El dejarlo en paz es por miedo a que los hombres vicien su naturaleza. El no intervenir en él, por temor a que los hombres alteren su virtud. Y si ningún hombre vicia su naturaleza y todos preservan su virtud, ¿para qué gobernar el mundo?”.
“Cuando aparecieron los sabios, doblegaron y quebraron a los hombres con los ritos y la música, para así corregir las formas y actitudes de todo el mundo; y presentaron como modelo la benevolencia y la justicia, para consuelo de los corazones del mundo entero. Sólo entonces el pueblo se lanzó a la carrera en pos del conocimiento, y empezó a luchar ahincadamente por las ventajas materiales. Y ya no se pudo parar. De todo lo cual los solos culpables fueron los sabios“.
[just ten, in no particular order]
The Toy Collector, James Gunn.
The Buddha of Suburbia, Hanif Kureishi.
The Monk, Matthew G. Lewis.
Vurt, Jeff Noon.
Tales of the Unexpected, Roald Dahl.
Notes from Underground, Fyodor Dostoyevsky.
On Murder Considered as one of the Fine Arts, Thomas De Quincey.
The Cutting Room, Louise Welsh.
If on a Winter’s Night a Traveler, Italo Calvino.
Leviathan, Paul Auster.
“Aplicando al plano político la doctrina del No-actuar, el buen gobernante no debe gobernar, es decir, no debe intervenir, sino respetar el libre curso de los acontecimientos. Entonces la sociedad de los hombres se ordenará por sí misma, de forma espontánea”.
Yes we klang!
More at ./mediateletipos)))
NIMBY or Nimby is an acronym for the phrase not in my back yard. The term (or the derivative Nimbyism) is used pejoratively to describe opposition by residents to a proposal for a new development close to them. Opposing residents themselves are sometimes called Nimbies.
“I did not believe that a cause which stood for a beautiful ideal, for anarchism, for release and freedom from convention and prejudice, should demand the denial of life and joy. I insisted that our cause could not expect me to become a nun and that the movement would not be turned into a cloister. If it meant that, I did not want it. I want freedom, the right to self-expression, everybody’s right to beautiful, radiant things. Anarchism meant that to me, and I would live it in spite of the whole world —prisons, persecution, everything. Yes, even in spite of the condemnation of my own closest comrades I would live my beautiful ideal.”
This incident was the source of a statement commonly attributed to Goldman that occurs in several variants:
If I can’t dance, it’s not my revolution!
If I can’t dance, I don’t want your revolution!
If I can’t dance, I don’t want to be part of your revolution.
A revolution without dancing is not a revolution worth having.
If there won’t be dancing at the revolution, I’m not coming.
“The bandwagon effect, closely related to opportunism, is a phenomenon —observed primarily within the fields of microeconomics, political science, and behaviorism— that people often do and believe things merely because many other people do and believe the same things. The effect is often called herd instinct, though strictly speaking, this effect is not a result of herd instinct. The bandwagon effect is the reason for the bandwagon fallacy’s success.”
• The Walking Dead (2010)
• Sound in Context (2009) [watch]
• The Social Network (2010)
• Remington Steele, Seasons 1-5 (1982-1987)
Robert Butler and Michael Gleason
• The Eye of the Heart (2003)
• The New Sound Of Music (1979) [watch]
• SYGNOK & The War For Radical Computer Music (2011) [watch]
• The Future of Art (2011) [watch]
“I once found a little excerpt from Balzac. He speaks about a young writer who stole some of his prose. The thing that almost made me weep, he said, “I was so happy when this young person took from me.” Because that’s what we want. We want you to take from us. We want you, at first, to steal from us, because you can’t steal. You will take what we give you and you will put it in your own voice and that’s how you will find your voice.
And that’s how you begin. And then one day someone will steal from you. And Balzac said that in his book: It makes me so happy because it makes me immortal because I know that 200 years from now there will be people doing things that somehow I am part of. So the answer to your question is: Don’t worry about whether it’s appropriate to borrow or to take or do something like someone you admire because that’s only the first step and you have to take the first step.
Artists never got money. Artists had a patron, either the leader of the state or the duke of Weimar or somewhere, or the church, the pope. Or they had another job. I have another job. I make films. No one tells me what to do. But I make the money in the wine industry. You work another job and get up at five in the morning and write your script.
This idea of Metallica or some rock n’ roll singer being rich, that’s not necessarily going to happen anymore. Because, as we enter into a new age, maybe art will be free. Maybe the students are right. They should be able to download music and movies. I’m going to be shot for saying this. But who said art has to cost money? And therefore, who says artists have to make money?
In the old days, 200 years ago, if you were a composer, the only way you could make money was to travel with the orchestra and be the conductor, because then you’d be paid as a musician. There was no recording. There were no record royalties. So I would say, “Try to disconnect the idea of cinema with the idea of making a living and money.” Because there are ways around it.
You have to remember that it’s only a few hundred years, if that much, that artists are working with money.”
“(…) la privacidad, tal y como la defendemos ahora, no ha existido jamás porque jamás hizo falta. Y no hizo falta porque nunca un Estado, un tirano o una corporación tuvo las herramientas necesarias para mantener bajo control y bajo vigilancia a toda la población en todo momento”.
La sociedad de control
Jose F. Alcántara
• Fringe, Seasons 1-2 (2008-2010)
J. J. Abrams, Alex Kurtzman and Roberto Orci
• Человек с киноаппаратом / Man with a Movie Camera (1929) [watch]
• Singin’ in the Rain (1952)
Stanley Donen and Gene Kelly
• The Ghost Writer (2010)
• El Abecedario de Gilles Deleuze. A de Animal (1988) [watch]
• Some Like It Hot (1959)
• Dog Day Afternoon (1975)
“Desgraciadamente, tan pronto como empezamos a crecer somos adoctrinados por todos los medios posibles. A causa de la conceptualización, nuestras experiencias sensoriales nos informan con una incorrecta descripción del mundo. Cuando vemos una montaña no la vemos en su mismidad, sino que adherimos a ella toda clase de ideas, a veces puramente intelectuales, pero frecuentemente cargadas de emotividad. Cuando todo esto envuelve la montaña, esta se transforma en algo monstruoso. Ello es debido al propio adoctrinamiento de nuestra enseñanza «intelectual» y a nuestros intereses personales, ya sean individuales, políticos, sociales, económicos o religiosos. La imagen que así se configura es horrible, retorcida y tergiversada de todos los modos posibles. En lugar de vivir en un mundo presente a la Naturaleza Primaria en su desnudez, vivimos en un mundo artificial y «culturizado». Y lo peor es que no somos conscientes de ese hecho”.
El zen y la cultura japonesa by Daisetz T. Suzuki