http://cargocollective.com marclafia Tue, 03 Jan 2012 16:55:39 +0000 http://cargocollective.com en http://cargocollective.com/marclafia/Eternal-Sunshine http://cargocollective.com/marclafia/following/marclafia/Eternal-Sunshine Tue, 03 Jan 2012 16:55:39 +0000 marclafia 2153311 Eternal Sunshine, 2011-2012 In Eternal Sunshine at the Minsheng Museum of Art, Shanghai, Marc Lafia in his solo show presents a series of works that reflect network culture’s restructuring of the subject in contemporary society. In network culture mankind’s relationship to media has changed from one of representation to presentation; and from contemplation to embodiment. In the main space of the exhibition, the artist has transformed the virtual domain of online social networks, e.g. facebook, twitter, weibo, etc. into a large scale, interactive installation. This vivacious work involving video, sculptures, and audience participation brings together a number of techno-social concerns that have been central to Lafia’s career as artist, filmmaker and information architect. In particular his interest in how we are all part of an elaborate program that is as real as it is virtual. Presented along with this installation, specially designed for the Minsheng Art Museum, are Lafia’s print and video works that investigate how subjectivities, once constructed through nation states and cinematic representation have changed over time to become a global condition in which the individual now represents him/herself through social media in the network. All of the works in Eternal Sunshine are active metaphors of a technocratic society enmeshed in online media. They critique this new cultural order as an ecstatic artifice. In this order, mediated by personal computer networks, normative values are reproduced as consumable objects and the individual’s identity is played like a pawn. On the one side we see the community, empathy and transcendence that the global network inspires. On the other side we see how yesterday’s dystopic world looks utopic today and how concepts such as open, transparent, non-hierarchical, and participatory are mere pretenses to empowerment and inclusion. Moreover Eternal Sunshine looks at how we produce and constitute a new community, and how representation therein is a condition that is always and already performative and how our network world has created new senses of ourselves, of history, time, desire and love. If we look at the proliferation of collaborative art practices today, it seems that many no longer have the oppositional and anti-authoritarian punch they had in the late 1960s and 1970s – when radical theatre, community arts and critical pedagogy emerged in opposition to dominant modes of social control. Today participation is used by business as a tool for improving efficiency and workforce morale; it is all pervasive in the mass-media in the form of reality television; and it is a privileged medium for government funding agencies seeking to create the impression of social inclusion. Collaborative practices need to take this knot of conventions on board if they are to have critical bite. Rethinking the Conventions of Participation If we look at the proliferation of collaborative art practices today, it seems that many no longer have the oppositional and anti-authoritarian punch they had in the late 1960s and 1970s – when radical theatre, community arts and critical pedagogy emerged in opposition to dominant modes of social control. Today participation is used by business as a tool for improving efficiency and workforce morale; it is all pervasive in the mass-media in the form of reality television; and it is a privileged medium for government funding agencies seeking to create the impression of social inclusion. Collaborative practices need to take this knot of conventions on board if they are to have critical bite. It would argue that the best socially collaborative art does not derive from a superegoic injunction to “love thy neighbor,” but from the position of “do not give up on your desire.” In other words, pursue your unconscious desire, as far as you can. It would argue that the best socially collaborative art does not derive from a superegoic injunction to “love thy neighbor,” but from the position of “do not give up on your desire.” In other words, pursue your unconscious desire, as far as you can. Claire-Bishop_Antagonism-and-Relational-Aesthetics <img src="http://payload.cargocollective.com/1/0/24547/2153311/Minsheng Site.png" border="0" width="670" height="452" width_o="1065" height_o="720" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Minsheng Site_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 10.png" border="0" width="670" height="468" width_o="1179" height_o="825" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 10_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 9.png" border="0" width="670" height="469" width_o="1173" height_o="822" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 9_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 15m.png" border="0" width="670" height="472" width_o="1176" height_o="829" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 15m_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Public Relations M.png" border="0" width="670" height="471" width_o="1183" height_o="833" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Public Relations M_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Tea Time.png" border="0" width="670" height="551" width_o="961" height_o="791" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Tea Time_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/picture 9ml.png" border="0" width="670" height="374" width_o="1197" height_o="669" src_o="http://payload.cargocollective.com/1/0/24547/2153311/picture 9ml_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 13.png" border="0" width="551" height="737" width_o="551" height_o="737" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 13_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 21mm.png" border="0" width="670" height="464" width_o="1178" height_o="817" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 21mm_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 1m.png" border="0" width="670" height="471" width_o="1182" height_o="832" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 1m_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 3m.png" border="0" width="670" height="467" width_o="1182" height_o="824" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 3m_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 11.png" border="0" width="670" height="468" width_o="1179" height_o="824" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 11_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 7m.png" border="0" width="670" height="467" width_o="1188" height_o="829" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 7m_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 10 copy.png" border="0" width="670" height="243" width_o="1267" height_o="460" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 10 copy_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 11m.png" border="0" width="670" height="473" width_o="1182" height_o="835" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 11m_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 7.png" border="0" width="670" height="475" width_o="834" height_o="592" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 7_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 14m.png" border="0" width="670" height="471" width_o="1178" height_o="829" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 14m_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 9m.png" border="0" width="670" height="470" width_o="1181" height_o="830" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 9m_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 6.png" border="0" width="670" height="197" width_o="1148" height_o="339" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 6_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 12m.png" border="0" width="670" height="472" width_o="1184" height_o="835" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 12m_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/2153311/Picture 16m.png" border="0" width="564" height="797" width_o="564" height_o="797" src_o="http://payload.cargocollective.com/1/0/24547/2153311/Picture 16m_o.png" align="left" /> http://cargocollective.com/marclafia/My-Double-My-Self http://cargocollective.com/marclafia/following/marclafia/My-Double-My-Self Sat, 15 Oct 2011 22:18:51 +0000 marclafia 2035190 My Double My Self A man and a woman, husband and wife, their parents, and their children are closely and intimately observed as these two films unfold, doubling each other and the marriage they look at, revealing a deep interdependence and fragility in love. While commencing an operation a father and husband reflects on his children and his fathers decay as he moves closer to death. While on vacation a young mother traveling with her extended family is overtaken by anxiety. Together the two stores fold into each other doubling and intertwining revealing the tenativeness of life and love. 'A rare insight into the intimacy of a New York family. How they live, how they love.' Iki Nakagawa, filmmaker My Double My Self, excerpt, 7:57min My Double My Self, Film 49:45 <img src="http://payload.cargocollective.com/1/0/24547/2035190/Picture 3.png" border="0" width="670" height="490" width_o="693" height_o="507" src_o="http://payload.cargocollective.com/1/0/24547/2035190/Picture 3_o.png" align="left" /> http://cargocollective.com/marclafia/Project-Proposals http://cargocollective.com/marclafia/following/marclafia/Project-Proposals Sat, 15 Oct 2011 22:11:48 +0000 marclafia 2154447 On this page are projects in different stages of collaboration and development The Infinities of the Universe Marc Lafia, Federico Ciacci, Francesco Snoriguzzi 'The Infinities of the Universe,' is a performance and installation work made to energize Giordano Bruno’s ideas of infinities, simultaneity and the immutable. The work reads backwards today’s idea of social media and networked society and extends them into Bruno’s idea of a networked universe of open and extraordinary beauty. Marc Lafia and Federico Ciacci will work with 23 Italians (poets, chefs, bankers, farmers, academics, the elderly, the young) to record poetic explorations of 23 places that stretch across Italy to include its many landscapes, country sides, urban sites, architectures and sea, to put forward a sense of the great richness of its contemporary society all over the Italian country. Each short video will be a brief and personal reading of Bruno’s profound ideas, and each will be recorded illuminated by candles made as they were in the 16th century in the time of Giordano Bruno. On Summer Solstice the work will be staged in Campo del Fiori, Rome (where Bruno was burned at the Stake). 23,000 candles will illuminate Campo de’ Fiori, and there the simple and intimate recordings will be shown to a 3-part libretto composed by a new generation of contemporary Italian composers. The architectonic of the piece amplifies and performs Bruno's ideas of an ars memorativa and collectively done the idea of love returning to love into the 21st century. The work is a celebration of contemporary Italy and the richness of its past connected to its future. Collaborators The oldest Italian factory of candles in Rome, http://www.cereriadigiorgio.it/storia.html The American Embassy in Rome Giordano Bruno (1548 – February 17, 1600), born Filippo Bruno, was an Italian Dominican friar, philosopher, mathematician and astronomer. His cosmological theories went beyond the Copernican model in proposing that the Sun was essentially a star, and moreover, that the universe contained an infinite number of inhabited worlds populated by other intelligent beings.[1] He was burned at the stake in Campo de' Fiori, by civil authorities in 1600 after the Roman Inquisition found him guilty of heresy for his pantheism and turned him over to the state, which at that time considered heresy illegal. After his death he gained considerable fame; in the 19th and early 20th centuries, commentators focusing on his astronomical beliefs regarded him as a martyr for free thought and modern scientific ideas. Remake/Unmake A short description of the project: 'Remake/Unmake' is a multi-screen video installation bringing together young people and their parents in conversation and performance around film, history, memory, art, revolution and society. 15 minutes of 4 international films are remade in 4 international cities, becoming a starting point for recordings and conversation across continents and generations. The project in longer detail: The films 'Quitting,' directed by Zhang Yang, 2001 (China); 'The Discreet Charm of the Bourgeoisie,' directed by Luis Buñuel, 1972 (France); 'Network,' directed by Sidney Lumet, 1976 (USA); 'Umut,' directed by Yilmaz Gunney, 1970 (Turkey) are our starting point. Though each film speaks to a specific cultural milieu, there are shared thematic concerns–intimate and generational upheaval, post-Tiananmen; social tumult in the United States; the pre-revolutionary consciousness of an ordinary Turkish man; the absolute solidity of Bunuel's bourgeoisie – each film concerns class, history, revolution, film form and social change. These four films, though originating in different countries, together show us shared representations of class, desire, pleasure, and a host of aspirations and conflicts – which take new and similar turns and transformations through time, cultures, and subsequent generations. The groups of two generations selected to discuss, disassemble and reassemble each film are drawn from theatre, political groups, artists and everyday people. The first generation came of age during the period depicted in the films; the second, the children of that generation. After the two generations screen and discuss their country's film together (which will be recorded), each generation gets to work staging the re-enactment of select scenes and small moments of the film specific to that country. Both generations watch the re-enacted scenes together, discussing past and present, their children, their generation, and the ensuing divergences between each version of the film. The multi-screen video brings all this together past and present, fiction, documentation, giving insight to a contemporary "now." In context: The work can be situated in the context of cinema, installation, performance art, emergent systems and contemporary philosophies on constructing subjectivities. Artists/projects of influence include The Bidoun Library, Pierre Huyghe, Omar Fast, Eve Sussman, Ai Weiwei, Carsten Holler, Lygia Clark, Rags Media Collective, Blind Dates, curated by Defne Ayas, the writings of Gao Shiming, Giorgio Agamben, Claire Bishop, Slavoj Sizek, Jacques Ranciere, the cinema and writings of Pasolini, Bunuel. My work seeks to bring culture in conversation, and to be attuned to what is unique to particular histories and peoples. In past works exhibited in ZKM’s ‘Future Cinema’ and ‘Net Condition’ and in my commission, ‘This Battle of Algiers’, for the Tate and Whitney museums, I worked with existing films and brought them into new forms and context. ‘Remake/Unmake’ extends this questioning of how we come to narrate ourselves, and the mediums enabling this, their histories, properties and possibilities. Content and form: 'Remake/Unmake' brings the content of four national cinemas to four cross-generational groups in four countries to create a participatory work generating new content and a new structure. The multi-screen installation form structures and composes scenes from the original films, the generational re-enactments of private and atmospheric moments, and the group critiques and conversations about the re-enactments, ultimately forging a new work that provokes thought about histories, cultures and shared forms. The multi-screen mise-en-scene works through ideas of distinct representations and subjectivities, how similar ideas can be differently lived and inflected, about our bodies as history and memory, aging and youth. Artistic, intellectual, communal, civic, social impact you hope your project will have: I want to give insight into the varying representations of history and subjectivities found in national cinemas, across themes of living history as they happen concurrently at different places across the globe. I want to give form to the simultaneity of the particulars of peoples in the world and their varying affective registers of the melding of past and future, and of the continuity of generations, manifested communally and socially. My desire is to create a new form for an image of a plural world, a film that multiplies and gives forth an all-at-once and multitudinous state of becoming global. http://cargocollective.com/marclafia/New-Media-Works http://cargocollective.com/marclafia/following/marclafia/New-Media-Works Fri, 23 Sep 2011 18:24:54 +0000 marclafia 2003548 Though this site focuses on films, here are select net art pieces, computational films, conceptual and photographic works. Cyberia, 1994 http://vimeo.com/26328605 Alphaville Hotel 8:10 OCEANIC TIME * this type fades up on the script image-writer machine. ‘... I’ve tried to fight it for many days. Slowly I’m disappearing behind the machine.... *Iris widens: Hotel desk, stationary. The machine’s probing camera lense snorkles out almost snapping at you hungry to be fed. This camera is mounted on the image machine. ‘I don’t want to be seen. No.’ The lens iris closes. ‘I’ve become a horribly disfigured thing. Like her.’ Horrible sucking sounds. VIEWS OF THE MACHINE ‘For the longest time, I thought it was a magic trick, an illusory synthetic prestidigitation. How could such a thing remain beloved. A binary construction. Captured in a digital bottle. In my yearning for her form I found that she was formless. Like me now -- the boundaries of my flesh dissolving away. <img src="http://payload.cargocollective.com/1/0/24547/2003548/1.png" border="0" width="500" height="335" width_o="500" height_o="335" src_o="http://payload.cargocollective.com/1/0/24547/2003548/1_o.png" align="left" /> World Picture Clock, 1996 http://vimeo.com/26328829 http://artport.whitney.org/commissions/idealine/textonly.html The World Picture Clock', it is an engine that gives forth a portrait of the world as a place of multiplicity, simultaneity and emergence. It does not privilege a single point of view, but rather a proliferation of views. It is an interface that allows the participant to arrange the world in associative ways emphasizing duration and presence. Simultaneity, juxtaposition, the world in its all-at-once-ness, the world clock is a polyoptic viewfinder amplifying the many properties of the time-world network and the web. At once active and passive, the World Clock pushes the world while acting as a surfboard, a navigational interface: the metabolic function of the world. <img src="http://payload.cargocollective.com/1/0/24547/2003548/2.png" border="0" width="500" height="315" width_o="500" height_o="315" src_o="http://payload.cargocollective.com/1/0/24547/2003548/2_o.png" align="left" /> HyperHyper, The Unbounded Wor(l)d, 1997 HyperHyper is a writing machine that distributes a writing reading experience in a computational hypertextual platform. It plays in and out of the spaces of meaning and sense. One could say that meaning relies on depth while sense is a surface phenomenon.In the new space of computation, language is ever more clearly virus, a contamination, but also as a typography, a visual force, a playground, a plaything, a place of discovery, of creation: a metabolic function doing its thing. This visual and graphic essay explores this new space of reading-writing while curating practices and reflections of the word at the same time. <img src="http://payload.cargocollective.com/1/0/24547/2003548/Picture 471 copy.png" border="0" width="670" height="418" width_o="1440" height_o="900" src_o="http://payload.cargocollective.com/1/0/24547/2003548/Picture 471 copy_o.png" align="left" /> Art and Culture, 1999 http://vimeo.com/18680600 http://vimeo.com/18678895 From here I became interested in mapping my interest and love of the arts, from pop culture to more obscure things, across all the arts and philosophy, everything I loved, putting all the authors, recordings, images, ideas, artists, musicians architects, choreographers, operas, in a new reading space. a computational space that allowed one to move both hierarchically through knowledge and at the same time laterally or associatively allowing for discovery at surprising angles. the ideas of chance, any possible way, this way and that way, order and emerging order, all the many advances that delighted me in these other mediums could be furthered and played with in the space of computation and the network. The first artandculture was beautiful. We had an extraordinary group of people and met with much success. It was sold unfortunately in distress in the heady dot com years and redone by new management which is what you see today. The original lost on a server in the ether, Here are some videos of this work. http://cargocollective.com/marclafia/Permutations http://cargocollective.com/marclafia/following/marclafia/Permutations Tue, 20 Sep 2011 00:24:59 +0000 marclafia 308874 Permutations For a year I made a small film everyday, called, Permutations. These were every day recording of life. Some stills below. Cinema is identical to life, because each one of us has a virtual and invisible camera which follows us from when we’re born to when we die. In reality cinema is an infinite film sequence-shot. Each individual film interrupts and rearranges this infinite sequence-shot and thus creates meaning, which is what happens to us when we die. It is only at our moment of death that our life, to that point undecipherable, ambiguous, suspended, acquires a meaning. Montage thus plays the same role in cinema as death does in life. Pasolini, “Ora tutto è chiaro, voluto, non imposto dal destino”, Cineforum 68 October 1967, p. 609, but see also Wagstaff’s discussion of Pasolini’s film theory, art. cit A series of films, one produced each day of the year, 2005 and then on a more occasional basis. Here is an essay on the work, 'The Death of the Reel: Harnessing the Image in Marc Lafia’s Permutations' {image 1}<img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 11.png" border="0" width="670" height="378" width_o="1229" height_o="694" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 11_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 12.png" border="0" width="670" height="379" width_o="1228" height_o="695" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 12_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 13.png" border="0" width="670" height="250" width_o="753" height_o="282" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 13_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 14.png" border="0" width="670" height="253" width_o="1233" height_o="467" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 14_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 15.png" border="0" width="670" height="134" width_o="1230" height_o="246" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 15_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 16.png" border="0" width="670" height="745" width_o="725" height_o="807" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 16_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 17.png" border="0" width="670" height="379" width_o="1230" height_o="696" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 17_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 18.png" border="0" width="670" height="503" width_o="1058" height_o="795" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 18_o.png" align="left" /> {image 11}<img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 20.png" border="0" width="670" height="363" width_o="1228" height_o="666" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 20_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 21.png" border="0" width="670" height="165" width_o="1112" height_o="274" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 21_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 22.png" border="0" width="670" height="127" width_o="1228" height_o="233" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 22_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 23.png" border="0" width="670" height="739" width_o="720" height_o="795" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 23_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 24.png" border="0" width="670" height="751" width_o="721" height_o="809" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 24_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 25.png" border="0" width="670" height="253" width_o="1227" height_o="464" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 25_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 26.png" border="0" width="670" height="174" width_o="1124" height_o="292" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 26_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 27.png" border="0" width="670" height="175" width_o="1230" height_o="322" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 27_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 28.png" border="0" width="670" height="172" width_o="1226" height_o="316" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 28_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 29.png" border="0" width="670" height="128" width_o="1231" height_o="236" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 29_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 30.png" border="0" width="670" height="750" width_o="722" height_o="809" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 30_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 31.png" border="0" width="670" height="258" width_o="756" height_o="292" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 31_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 32.png" border="0" width="670" height="379" width_o="1229" height_o="696" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 32_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 33.png" border="0" width="670" height="502" width_o="1071" height_o="803" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 33_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 34.png" border="0" width="670" height="750" width_o="718" height_o="804" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 34_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 35.png" border="0" width="670" height="501" width_o="1068" height_o="800" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 35_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 36.png" border="0" width="670" height="501" width_o="1067" height_o="799" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 36_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 37.png" border="0" width="670" height="257" width_o="749" height_o="288" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 37_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308874/Picture 38.png" border="0" width="670" height="254" width_o="1230" height_o="468" src_o="http://payload.cargocollective.com/1/0/24547/308874/Picture 38_o.png" align="left" /> http://cargocollective.com/marclafia/Empires http://cargocollective.com/marclafia/following/marclafia/Empires Thu, 15 Sep 2011 00:40:51 +0000 marclafia 2004658 Empires The film and online project brings together international philosophers, scientists, artists and business leaders to give description and analysis to the contemporary moment as defined by computational tools and networks. It states that networks are not new and have been forever with us in the evolution of our cities, trade, communications and sciences, in our relations as businesses and nation states, in the circulation of money, food, arms and our shared ecology. Yet something has deeply changed in our experience of time, work, community, the global. Empires looks deeply to unravel how we speak to the realities of the individual and the notion of the public and public 'good' in this new world at the confluence of money, cities, computation, politics and science. Through varied formats the hybrid work seeks out to present a layered account of the multiplicity of speeds, systems and affects interwoven and intermeshed that define today's global politics and culture. A note on the new clip (the one on the top): From the beginning of this project I'd wanted to include groups using new technologies to consider new forms of participation, asking and questioning what is their promise, their reality. can they constitute new kinds of actions, create a new kind of public, a new social fabric, a new politics, new forms of assembly; this within a framework and perspective of history and theory. i had spent some time over the years at 16beaver and began a conversation with them and then occupywallstreet happened, presenting a very complex event testing all theoretical assumptions and bringing a living reality to the complex of questions with which the film was engaged. in the next chapter we'll look at algorithms, and the logic of money in computation and how these instruments have in a sense a logic and end game of their own. whereas this first part (which will play out and be much longer) has a sense of a very human dimension, perhaps our instrumentation has its very own end game. Trailer for film, 4:04 First cut of film, 2:45:05 Clip with Occupy Wall Street footage Clip with only academics http://cargocollective.com/marclafia/Computations http://cargocollective.com/marclafia/following/marclafia/Computations Thu, 15 Sep 2011 00:26:25 +0000 marclafia 2005535 Computations These computational films are as much works of generative sound as they are of algorithmic image. It was for me a new way to do films, to work with my photographs, to find a new rhythm and new sound. But it also led to a way to radically reconsider the very nature of the image and recording, not as playback but something generative. Of course many visual DJ's. have taken this much much further, as I remain in a narrow range of image and the manipulation of the surface and territories of the screen. I made numerous tapes in the space of such experiments while a student of Shirely Clarke and Max Almy playing with the electronics of the grass valley switcher while in film and art school. Here below are recordings of these simple iterative films that in computation go on and on and on. http://cargocollective.com/marclafia/Confessions-Of-An-Image http://cargocollective.com/marclafia/following/marclafia/Confessions-Of-An-Image Tue, 13 Sep 2011 19:26:30 +0000 marclafia 309714 Confessions of an Image, 2001(Video, 47 min, SF screening, Atlantic Center for the Arts) A visual essay about the image, cinema and imaging. The 21 confessions ask what is to make images at the end of cinema with the pervasiveness of digital recording, How do images tell us about ourselves. This work is made mostly from still images and its narrational track an imaginary letter to Chris Marker, wherein it asks the question 'what is it to constitute an image?' 'what is it to move, to stop?'. The image is constructed in constancy with an idea of love. Confessions of an Image, excerpt <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 7.png" border="0" width="670" height="500" width_o="839" height_o="627" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 7_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 15.png" border="0" width="670" height="499" width_o="860" height_o="641" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 15_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 18.png" border="0" width="670" height="502" width_o="861" height_o="646" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 18_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 17.png" border="0" width="670" height="501" width_o="856" height_o="641" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 17_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 8.png" border="0" width="670" height="493" width_o="841" height_o="619" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 8_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 9.png" border="0" width="670" height="497" width_o="844" height_o="627" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 9_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 10.png" border="0" width="670" height="499" width_o="841" height_o="627" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 10_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 11.png" border="0" width="670" height="502" width_o="841" height_o="631" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 11_o.png" align="left" /> <img 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src="http://payload.cargocollective.com/1/0/24547/309714/Picture 24.png" border="0" width="670" height="497" width_o="845" height_o="627" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 24_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 25.png" border="0" width="670" height="493" width_o="848" height_o="625" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 25_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 26.png" border="0" width="670" height="498" width_o="842" height_o="627" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 26_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 27.png" border="0" width="670" height="502" width_o="846" height_o="635" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 27_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 28.png" border="0" width="670" height="507" width_o="834" height_o="632" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 28_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 29.png" border="0" width="670" height="502" width_o="839" height_o="629" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 29_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 30.png" border="0" width="670" height="493" width_o="841" height_o="620" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 30_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 31.png" border="0" width="670" height="500" width_o="843" height_o="630" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 31_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 32.png" border="0" width="670" height="500" width_o="840" height_o="627" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 32_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 33.png" border="0" width="670" height="503" width_o="835" height_o="627" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 33_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 34.png" border="0" width="670" height="497" width_o="841" height_o="624" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 34_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 35.png" border="0" width="670" height="497" width_o="834" height_o="619" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 35_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 36.png" border="0" width="670" height="503" width_o="842" height_o="633" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 36_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 37.png" border="0" width="670" height="494" width_o="842" height_o="621" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 37_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 38.png" border="0" width="670" height="498" width_o="835" height_o="621" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 38_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 39.png" border="0" width="670" height="505" width_o="839" height_o="633" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 39_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 40.png" border="0" width="670" height="527" width_o="993" height_o="782" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 40_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 41.png" border="0" width="670" height="496" width_o="842" height_o="624" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 41_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 42.png" border="0" width="670" height="498" width_o="840" height_o="625" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 42_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 43.png" border="0" width="670" height="495" width_o="834" height_o="617" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 43_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/309714/Picture 44.png" border="0" width="670" height="492" width_o="838" height_o="616" src_o="http://payload.cargocollective.com/1/0/24547/309714/Picture 44_o.png" align="left" /> http://cargocollective.com/marclafia/Marc-Lafia-1 http://cargocollective.com/marclafia/following/marclafia/Marc-Lafia-1 Sat, 10 Sep 2011 21:35:35 +0000 marclafia 1984557 Marc Lafia Marc's work explores the histories of the photographic, cinema, embodied space and the event of art as they are remade in network and social media to produce new subjectivities, new ways of going in the world. His work emerges in the context of net art, in the condition of the global network and how new technologies and computation bring forward new processes, new metaphors, new social arrangements that refigure our sense of ourselves. His varied online works include, 'This Battle of Algiers' a commissioned work from The Tate Modern and The Whitney Museum of American Art, 'The Memex Engine, or Lara Croft Striped Bare by her Assassins Even' exhibited at The Walker Art Center and Georges Pompidou, 'Ambient Machines' which premiered at the Rotterdam Film Festival and the SFMoMA and 'Variable Montage' exhibited at the Beijing Art Academy. In his many films including 'Exploding Oedipus', 'Love & Art', 'Confessions of an Image', 'Revolution of Everyday Life', 'Paradise' and 'Hi How Are You Guest 10497' as well as numerous smaller computational films, he probes what it is to construct an image, to forge systems of representation, to see and represent ourselves. These works have been exhibited in seminal exhibitions including 'Net Condition', 'Future Cinema' at the ZKM, Germany, the ICC Tokyo, Node-L, The Canary Islands Biennale for Architecture 2007and other international museums, art centers and Festivals including Anthology Film Archives, Rotterdam, SFIFF. He has re-written in software the film projector as a computational engine to examine the still image and its relation to duration and movement, in a series of works entitled, 'Computations' which are each time played, inflected differently and of indefinite duration. Marc has created a new all-at-once, poly temporal cinema with his whimsical and beautiful ongoing series called 'Permutations' which allow for a continual resounding of multiple and simultaneous image tracks. He has also examined the photograph as an index of the performative both in the archive of the web and as an inscription device as the camera has been rewritten by the digital creating a new kind of recording and indexing event. in his works, 'The Event of the Image', 'Memories of Photography', 'American Flags', ‘Still, an Image’ and his recent project, 'F4, The Photography Desktop Collective' he asks us to read the imaging event as much as the image. For Lafia images are also thoughts as well as they are productions of inscription devices. There are no images per se only image formation. Images becoming. Marc's aim is to make things visible, to make and unmake systems, relations and events. His interest is authoring machines, their context and meanings, their relations in social systems. His work re-writes, re-invents enunciation through rewriting forms. Marc has taught in the graduate schools of Stanford University, the San Francisco Art Institute. Pratt Institute of Design and Art Center College of Design in Pasadena. He is currently teaching at Columbia University. He has also won numerous awards as an information architect, music video conceptualist and exhibited experimental and long form films internationally. He was founder of art+culture.com. He lives in Brooklyn, New York. In images at a glance http://cargocollective.com/marclafia/Harry-Zelda-and-Antoinette http://cargocollective.com/marclafia/following/marclafia/Harry-Zelda-and-Antoinette Fri, 09 Sep 2011 20:04:13 +0000 marclafia 308828 Harry, Zelda and Antoinette, 2005 The work consists of six parts, each composed of some twelve to twenty multi-screen films. You can see it here not composed or compiled as one film but where each film plays simultaneously as a discrete file, one next to the other, cycling through each audio track, one after the other, until finished and the next set of images play. This modality distinct from what you see on your right where the film clip is composited as one film, one file. It is a study for Zanzibar, an illusive place where everything is as it seems, and narrative is a performed event. It explores metaphor for the illumination of reality (and unreality) in our desires, longings and fears. Two brothers, one an intellectual, the other, a man of appetite. Two wives, an artist and a madame. Three children - one shared between them. Each character in love and in search of beauty and ideals. Harry, Zelda and Antoinette, excerpt. starting here you can see the entire piece as a permutation starting here and going to 24, 25, 26. {image 1}<img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 15.png" border="0" width="670" height="259" width_o="1120" height_o="433" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 15_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 12.png" border="0" width="670" height="247" width_o="842" height_o="311" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 12_o.png" align="left" /> {image 4}<img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 16.png" border="0" width="670" height="263" width_o="943" height_o="371" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 16_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 22.png" border="0" width="670" height="140" width_o="1232" height_o="259" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 22_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 23.png" border="0" width="670" height="150" width_o="1231" height_o="276" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 23_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 24.png" border="0" width="670" height="261" width_o="1230" height_o="480" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 24_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 25.png" border="0" width="670" height="270" width_o="756" height_o="305" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 25_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 26.png" border="0" width="670" height="269" width_o="772" height_o="311" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 26_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 27.png" border="0" width="670" height="180" width_o="1136" height_o="306" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 27_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 28.png" border="0" width="670" height="261" width_o="752" height_o="293" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 28_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 29.png" border="0" width="670" height="716" width_o="754" height_o="806" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 29_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 30.png" border="0" width="670" height="169" width_o="1137" height_o="288" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 30_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 31.png" border="0" width="670" height="254" width_o="763" height_o="290" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 31_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 32.png" border="0" width="670" height="267" width_o="776" height_o="310" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 32_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 33.png" border="0" width="670" height="142" width_o="1231" height_o="262" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 33_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 34.png" border="0" width="670" height="142" width_o="1230" height_o="262" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 34_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 35.png" border="0" width="670" height="258" width_o="1230" height_o="474" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 35_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 36.png" border="0" width="670" height="262" width_o="760" height_o="298" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 36_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 37.png" border="0" width="670" height="189" width_o="1134" height_o="321" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 37_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 38.png" border="0" width="670" height="273" width_o="768" height_o="314" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 38_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 39.png" border="0" width="670" height="174" width_o="1136" height_o="296" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 39_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 40.png" border="0" width="670" height="182" width_o="1133" height_o="308" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 40_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 41.png" border="0" width="670" height="255" width_o="774" height_o="295" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 41_o.png" align="left" /> <img src="http://payload.cargocollective.com/1/0/24547/308828/Picture 42.png" border="0" width="670" height="177" width_o="1129" height_o="299" src_o="http://payload.cargocollective.com/1/0/24547/308828/Picture 42_o.png" align="left" />