Jason Bailey Nuclear sclerosis

http://www.youtube.com/watch?v=k5HLXPyDUd0&feature=share

EmOp

I don't believe in what is, I believe what can be

what can be can be what is and what is can be what can be

To can be likes to see itself who ever saw it show itself

(may present itself to the counter please)

a lack of imagination is what matters most

a matter of most, mostly a matter to us it matters to us

i like to live and live in a field and live in a field filled with a life

filling is full and full it is when you fill, what matters most

prices to pay and prices to steal all at its price

a price and a worth and a handful of hand

i see what may not

you go round and round and see it again

what can be and what is is is what is and be what can be - e e

Letterpress Tutorial

Norman McLaren

Adorno

Brion Gysin Cut-Up Method

Brion Gysin Dream Machine

Rhinozeros, 1960's

http://realitystudio.org/bibliographic-bunker/burroughs-in-germany-and-belgium/

Language to be looked at

LANGUAGE TO BE LOOKED AT AND/OR THINGS TO BE READ "Language operates between literal and metaphorical signification. The power of a word lies in the very inadequacy of the context it is placed, in the unresolved or partially resolved tension of disparates. A word fixed or a statement isolated without any decorative or 'cubist' visual format, becomes a perception of similarity in dissimilars—in short a paradox." (Robert Smithson, 1967)

Hans Richter

http://www.ubu.com/aspen/movies/qt/richter.html

Leibniz, Binary Code

 

On January 2nd, 1697, Leibniz wrote a letter to Rudolf August, Duke of Braunschweig-Wolfenbüttel, in which he detailed the design of a commemorative coin or medallion which he suggested could be minted in silver. The design he described posited an analogy between “the creation of all from nothing through the omnipotence of God” and the fact that “all numbers [could] be created from zeros and ones”.

THE SEMIOTICS OF THE WEB

http://pauillac.inria.fr/~codognet/web.html

Lygia Pape, Book of Creation

 

The Serpentine Gallery shows work by Brazilian artist Lygia Pape. A film is shown where she demonstrates these 'books', unfortunately it is nowhere to be found online, but this picture can serve as a memory trigger.

Cahiers du Cinéma

Cahiers du Cinéma (French pronunciation: [kaje dy sinema], Notebooks on Cinema) is an influential French film magazine founded in 1951 by André Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca.^[1][2] It developed from the earlier magazine Revue du Cinéma (Review of the Cinema) involving members of two Paris film clubs — Objectif 49 (Objective 49) (Robert Bresson, Jean Cocteau and Alexandre Astruc, among others) and Ciné-Club du Quartier Latin (Cinema Club of the Latin Quarter). Initially edited by Éric Rohmer (Maurice Scherer), it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol and François Truffaut.^[1]

Screen Credits, Eric Rohmer, 6 Moral Tales, La Collectionneuse

Conceptual Design

Paola Antonelli

RCA, Design Interactions Course, Introduction:

By its most commonplace descriptions, design should solve problems, match form with function, produce artifacts, and make people secure and comfortable.

Conceptual design does not share the same immediate goals. Like good classic design, it cuts to the core of the issue at hand, wipes away excess hype, zeroes in on claims of innovation, provides a healthy dose of reality check, and uses vision to marry new ideas and old behaviours. However, it is not always warm and fuzzy or ergonomically reassuring, it is pointed and critical, sometimes even dark, awkward and pessimistic. It does not always come under the form of a traditional object, but because conceptual designers need to communicate concepts — and being designers, they want to make sure that these concepts are approachable and understandable — their work often makes for outstanding, visually arresting art.

Many are uncomfortable with the mere idea of conceptual design. Some artists are wary of a territorial invasion. Nothing to do with mediums, such as designers’ skilful use of video and performance. Rather, artists see designers taking over the role of social commentators and thorns-in-the-side that they, together with some writers and architects, used to fill.

The most compelling debate is nonetheless happening within the design community, pitching old-school practitioners, who still revel in describing design as problem solving and form follows function, against the new explorers, the hunter-gatherers who look for cracks in the system that provide opportunities to launch interdisciplinary quests.

http://www.di10.rca.ac.uk/introduction.html

Guy Debord, Critique de la Séparation, 1961

C'est un film qui s'interrompt mais ne s'achève pas. Toutes les conclusions sont encore à tirer, les calculs à refaire, le problème continue d'être poser, son énoncé se complique, il faut recourir à d'autres moyens. Ce message informel de même qu'il n'avait pas de raisons profondes de commencer de même n'en a  pas de finir. Je commence à peine à vous faire comprendre que je ne veux pas jouer ce jeu là -


(It is a film that interrupts itself, but does not end. All conclusions are still to be drawn, all calculations to be redone, all problems to be posed again. Its wording complicates itself, other means have to be employed. This informal message, as it had no profound reasons to start, also has no profound reasons to end. I have barely started to make you understand that I don't want to play that game - )

http://www.ubu.com/film/debord_critique.html

Nicolas Ménard

Futile Devices - Kickers from Nicolas Ménard on Vimeo.

Eduardo Paolozzi

Moonstrips Empire News by Eduardo Paolozzi, 1967