April 21st, 2009
Anthony Almeida's Victory Kiss at Times Square (November 4, 2008) - Barack and Michelle Obama (via James Danziger's The Year in Pictures).
Jacques Rival: A giant inflatable mouse floats on the Rhône river, during an artistic happening by French architect Jacques Rival to inform people of the risks of floods -- photo, with more at Getty (Guardian, via we make money not art)
Three shows currently up in New York
Kalup Linzy: If It Don't Fit at the Studio Museum in Harlem -- "From his original take on the soap opera and sketch comedy genres to his music videos and filmic shorts, this compilation tracks the artist’s clever and complex approach to questions or race, gender, class, sexuality and national identity." Kalup Linzy's website and YouTube channel: watch All My Churen (2003). (via Lost at E Minor)
Surveillance from the Doll House at Mireille Mosler on East 67th: "Whether dressed to play a part or a plaything to address, the dummies, dolls, puppets, and personalities of Surveillance from the Doll House represent a mysterious combination of vitality and immobility." Work by four female artists
Generational: Younger Than Jesus [145 artists under the age of 33 from around the world], now up at The New Museum in NYC -- exhibit blog (seriously, I have no excuse to miss a show at a museum I can see from my apartment, right?). Artists with work in the show include:
( LaToya Ruby Frazier, Cyprien Galliard, Cao Fei, Ryan Trecartin )
Finally, three embedded videos below the cut, also linked for your convenience: music video auteur Chris Cunningham's new Gucci perfume ad (via PSFK), the viddish I´m thru with love - Diana Krall and Hollywood divas (via Danziger) and YouTube vlogger kevjumba's Asians Just Aren't Cool Enough? on the Dragonball movie casting:( videos behind the cut )
The primary aim of the large corporations that promote “social media” is that there be nothing we can be against. To that end, they constantly foster the proliferation of strategic plays of liberties and personal initiatives based on participatory logic and pleasurable flows of communicative social activity. Consequently, there is an almost inevitable acquiescence to the economic interests the entire system rests on, given that they are based on the most inalienable aspects of life: interpersonal communication, friendship, contact among people, feeling close to others, etc.
However, resistance to the fascination exerted by “social media” involves first and foremost a political analysis of their operating dynamics, limitations and exclusions. For “to resist” is to reflect critically on the processes of inclusion of the individual in the new network economy and his or her adaptation to it, demonstrating the strategies and effects that characterize the process as corporative interests colonize the forms of human interrelations. And the top priority of new forms of resistance must be an attempt to rescue – although in a merely anecdotal or symbolic way – the principles that currently comprise the foundations of online economic production, which are communication, affection, cooperation, friendship, company, etc., from the control of business.
However, resistance to the fascination exerted by “social media” involves first and foremost a political analysis of their operating dynamics, limitations and exclusions. For “to resist” is to reflect critically on the processes of inclusion of the individual in the new network economy and his or her adaptation to it, demonstrating the strategies and effects that characterize the process as corporative interests colonize the forms of human interrelations. And the top priority of new forms of resistance must be an attempt to rescue – although in a merely anecdotal or symbolic way – the principles that currently comprise the foundations of online economic production, which are communication, affection, cooperation, friendship, company, etc., from the control of business.
Would this be an argument for, or against, Dreamwidth as a commercial endeavor?
What might a "resistance to the fascination exerted by 'social media'” look like on, or through, or from within Dreamwidth?
In an interview with we make money not art, "Tag ties and affective spies" curator Daphne Dragona links the concepts of "[e]xposure, affection, and a kind of surveillance" with reference to Twitter. Does Dreamwidth's splitting of LJ's 'friend' function into 'subscribe' and 'grant access' unbundle these concepts, or simply multiply and disperse their points of intersection in new ways?
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chasethestars
chasethestars