When a Code War strikes on plants and transforms them into bits and bytes, there will be only left 0 and 1. Digital fragments of memories reproduce themselves into inherent loops of mutations painting dreams of peace and freedom. What will be our new reality?
The Screenplay of this “Recombinatory Film” is narrated entirely by the original Subtitles of the movies based on the Keyword: “Film” – A filmmaker who is also either a cinema programmer and a free time actress for arthouse movies decides to direct her first recombinatory film – will she succeed?
Reversed gender surrender of an acid society that obeys mainstream restrictions and prescriptions of how and what to be.
Strange things occur tonight whether the paranormal phenomenon is the invisible invasion of aliens from outer space or light flashes of another dimension? We will never know. Are we alone or may we encounter extraterrestrial species that are coming at night to conquer our dreams, our body and mind? What are you afraid of?
Furio’s Furious Fragments & Friends – Furio Jesi (1941 Turin -1980 Genoa), enfant prodige moving between a plethora of disciplines – egyptology, history of religions, German philology, literary criticism – passed away prematurely, not without leaving bright fragments which throw light on mechanisms beneath many socio-cultural practices, for instance regarding cultural belonging, the functions of myth in modern society. He saw kind of “mythological machines” at work underneath our cultural production of meanings, historically determined, departing from a void, something that is still in culture but as residue, a missing link to an alleged authentic experience nowadays compromised up to the point to became just rhetoric, a byword, which is in no way neutral, but a tool, a macchina, for maintaining the status quo and serving the power apparatus. As in the case of holidays, celebrations and festivals.
Hauntology of the Retrodromomania is an essayistic motion picture, a locomotory legwork, a deambulatory non-rural land survey, a casual journeying in a punctual dissertation around the phenomenon of the nostalgic feeling, discoursing on a late capitalistic landscape of social emotions, which are of yore, yet coloured of the postmodern tint of pixelated neo-noir, a socio-philosophical flâneur’s trip in critical theory escorted by the spirits of French post-structuralists. For a Sociology of Nostalgia revisited.
Pegasus viz. incorruptibility undergoes a stress test to prove its name. Will his code of chivalry stand the attempts at corruption? Here we have four situations in which he gets proved. Criminal solicitations interfere digitally in the shape of data moshing. He takes a rough ride onto the mosh pit of the blockchain. Cybercryptocy video art meets classical Greek mythology.
To fly a – way from/out of death, don’t hire a taxidermist but take a ride in this taxidrome! Series of 41 Moving Images – this analogy is possible being conservation at its core rescuing what really matters in the world, like nature, habitats, science and art. It is vital. Yet in a continuously changing environment, the flipside of conservation becomes and here it is where the vital feature of conservation becomes its lifelike trait, a fictive life, a fake life. The embalming process consists of 1) imparting a balmy essence to the dead body, as in the ancient world, 2) by filling its blood vessels with formaldehyde to prevent putrification, as in the modern world, although recently with more regard towards more natural treatments, as for instance in bio-art. To embalm also means to “preserve from oblivion”, and “to cause to remain unchanged”, “to prevent the development of something”.
If a machine would possess a soul it might be a beach. Every single sand corn symbolizes a data-set of a memory captured in the world wide web saved deep down in the ocean. From there the bytes condense and finally reach the cloud. But how would it feel for a machine to see the glitch waves and feeling the shore stones on its case? What would be the colours of the coastline? Glitching Offshore tries to portrait the soul of an AI and the universe behind it. Glitching offshore, alike drifting away as in a psychogeographical dérive (furthermore, away from the “rive”: bank) where human intentional yet chaotic action is substituted by pixels’ stirrings of the soul.
The world is an enduring war theatre. Perhaps because it’s a men’s world? When cast in such a set women try to play out all their means, even performing a sad joy division or bowing down like a poor little thing. This in spite of being a fierce partisan or a tactical guerrilla expert. The world is either a repeating making up of the same actions, as in the movements necessary for the make-up moment, every single day. Persisting like a waterproof mascara – but will it alike prove itself bulletproof too? I guess no, a mascara can only be more or less dramatic. Like in a recrudescing war against more natural habits, occurring at large in the world theatre.