Revulsion in every direction. A burning black hole of explosive anger – given a physical shape by a body trapped in circumstance. A body that is barely able to contain it’s energy.
2dollar shop Australiana decaying on the bonnet of a burning police car. The Museum is a carrier of the violence of incarceration; ethnic typecasting; the leisure classes.
“Too ethnic for SBS” – Too angry for reality television, too real for silence, too alive to die. A bastard son mongrel dog of a prick, primed to kick back at the forces which try to contain it.
A post-colonial audiovisual essayist, using as his tools cheap midi controllers, usb devices and undiluted aggression exorcised from the depths of an amnesiac Australian culture.
Google screenshot painting by Tyler Wilde.
Article by Dutch-Australian media theorist Geert Lovink on google, society of the spectacle/query and the shape of critical thought in this info-glut.
‘The society of the query and the Googlization of our lives’
Ever since the rise of search engines in the 1990s we have been living in the “society of the query”, which, as Weizenbaum indicates, is not far removed from the “society of the spectacle”. Written in the late 1960s, Guy Debord’s situationist analysis was based on the rise of the film, television and advertisement industries. The main difference today is that we are explicitly requested to interact. We are no longer addressed as an anonymous mass of passive consumers but instead are “distributed actors” who are present on a multitude of channels. Debord’s critique of commodification is no longer revolutionary. The pleasure of consumerism is so widespread that it is has reached the status of a universal human right. We all love the commodity fetish, the brands, and indulge in the glamour that the global celebrity class performs on our behalf. There is no social movement or cultural practice, however radical, that can escape the commodity logic. No strategy has been devised to live in the age of the post-spectacle. Concerns have instead been focusing on privacy, or what’s left of it. The capacity of capitalism to absorb its adversaries is such that, unless all private telephone conversations and Internet traffic became were to become publicly available, it is next to impossible to argue why we still need criticism – in this case of the Internet.
Providing an antidote to the mixture of unthinking sentimentality and scurrilous prurience that Jackson usually attracts, this book offers impassioned and informed answers to the urgent questions that Jackson’s death has posed. What was it about Jackson’s music and dancing that appealed to so many people? What does his death mean for popular culture in the era of Web 2.0? And just how resistible was his demise? Was another world ever possible, something perhaps utopian instead of the consensual sentimentality of a world hooked on debt, consumerism and images? The essays in The Resistible Demise Of Michael Jackson consummately demonstrate that writing on popular culture can be both thoughtful and heartfelt. The contributors, who include accomplished music critics as well as renowned theorists, are some of the most astute and eloquent writers on pop today. The collection is made up of new essays written in the wake of Jackson’s death, but also includes Barney Hoskyns’ classicNME piece written at the time of Thriller.
Contributors: Marcello Carlin, Robin Carmody, Joshua Clover, Sam Davies, Geeta Dayal, Tom Ewing, Dominic Fox, Jeremy Gilbert, Owen Hatherley, Charles Holland, Ken Hollings, Barney Hoskyns, Reid Kane, Paul Lester, Suhail Malik, Ian Penman, Chris Roberts, Steven Shaviro, Mark Sinker, David Stubbs, Alex Williams, Evan Calder Williams
Wednesday night in Amsterdam, a selection of videos that inspire. Including Biggie Small’s funeral procession, Corey Delaney’s A Current Affair interview, Aum Shinrikyo Anime and John Kilduff’s Let’s Paint TV.
Coming Wednesday (the 27th) it’s time for the second Beam club hosted by De Verdieping.
This time Special guest Ben Cerveny (one of the inspirational fathers of www.flickr.com) Coralie Vogelaar and Emile Zile will show what truly inspires them in terms of movies, internet, YouTube, documentary fragments or otherwise.
Doors open at 20:30. Film starts at 21:00. Entrance is free.