"[In the painting The Ambassadors] I can either see the men depicted..or the skull floating in the foreground, but I cannot see both the figures in the foreground and [realize that the blot is a] skull..at one and the same time."
"A parallax thus has the structure of a moebius strip. Topologically a moebius strip has only one side and one edge. However, in order to discover this, I require time. It is only by traversing the surface of the strip that I discover that what originally appeared to be on the other side was really on the same side. Zizek’s suggestion seems to be that a parallax is such that “front” and “back” turn out to be on one and the same side, but only when unfolded in the order of time or through a series of dialectical operations." - levipaulbryant
- Larval Subjects
- Levi Bryant (via alterities
(via The Many Uses of Rhizome’s New Social Media Preservation Tool)
How do you capture and preserve the experience of a new media artwork created on Twitter in 2010? How do you re-create the design and feel of Twitter’s interface at that time, and populate that interface with users’ contemporaneous profile photos? These are the types of questions that New York’s digital art nonprofit Rhizome is trying to answer in the development of Colloq, a new conservation tool that will help artists preserve social media projects not only by archiving them, but by replicating the exact look and layout of the sites used, and the interactions with other users.
"As if we are observing..from behind our own eyes, as if we are not immediately identified with our look but stand somewhere ‘behind’ it. ..Losing all my..predicates, I am nothing but a gaze paradoxically entitled to observe the world in which I do not exist."
(via Study Confirms What We Already Know About the Importance of Artists’ Authenticity)
For all the studies considering how we relate to artwork and artists that are producing fascinating results, there are others that are duds. “Artist Authenticity: How Artists’ Passion and Commitment Shape Consumers’ Perceptions and Behavioral Intentions across Genders,” published in the journal Psychology & Marketing, proposes to study the effect that an artist’s perceived authenticity has on potential consumers’ evaluation of — and inclination to buy — the artist’s work. It also suggests that women and men evaluate art differently. But its evidence and findings feel thin.
There are probably only a handful of storytellers of David Lynch’s caliber in the world today. From Eraserhead to Inland Empire, the Montana-born emperor of surreal filmmaking created and nurtured a very peculiar style, constantly dancing on the thin line between dreams and reality, facts and projections, keeping the audience all wrapped up in atmospheric nightmares they don’t wish to be awoken from. Lynch’s fourth feature, Blue Velvet, is a stunning American masterpiece, both visually enticing and thought-provoking, and the fantastic performances of Isabella Rossellini and Kyle MacLachlan are accompanied by the musical score of another of Lynch’s frequent collaborators, the great composer Angelo Badalamenti. However, it’s Dennis “Don’t You Fuckin’ Look At Me” Hopper that ultimately steals the show: after Lynch agreed to cast him (“You have to let me play Frank! Because I am Frank!”), Hopper went on to create one of the best psychopathic antagonists in the history of film. Blue Velvet is a must-see and let us offer you some priceless advice—check out Lynch’s script we’ve prepared for this occasion. Quite simply, we’re dealing with one of the best writers in contemporary cinema, an artist who, as such, has plenty to offer to hungry minds of curious filmmakers-to-be.
The photo above was taken on location during the production of David Lynch’s Blue Velvet in 1985 by Peter Braatz
“YOU HAVE TO LET ME PLAY FRANK! BECAUSE I AM FRANK!”