ĸ[safer sex scenes only in MI case]ĸĸ°Birds In Row – You, Me & The Violence [Full Album] ade…Bundesfrauen

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Footage of the actual event, much of which was shot from a closed-circuit video camera mounted inside a customized „tail-fin,“ is framed and juxtaposed with news coverage by the local television stations. Doug Hall, introduced as John F. Kennedy, assumes the ironic role of the Artist-President to deliver a speech about the impact of mass media monopolies on American life: „Who can deny that we are a nation addicted to television and the constant flow of media? Haven‘t you ever wanted to put your foot through your television?“

The spectacle of the Cadillac crashing through the burning TV sets became a visual manifesto of the early alternative video movement, an emblem of an oppositional and irreverent stance against the political and cultural imperatives promoted by television, and the passivity of TV viewing. Examining the impact of mass media in American culture, Media Burn exemplifies Ant Farm’s fascination with the automobile and television as cultural artifacts, and their approach to social critique through spectacle and humor.

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Radiation Burn
(1 of 7)

http://critical-art.net/books/flesh/flesh5.pdf

Free Radio FSK 93,o MHz and converts plus:“²³Agamben’s difference-affirming rejoinder is that:

a theory of experience truly intended to posit the problem of origin in a radical way would then have to start beyond this ‚first expression‘ with experience as ’still mute so to speak‘ – that is, it would have to ask, does a mute experience exist, does an infancy [in-fancy] of experience exist? And, if it does, what is its relationship to language? (42).

The „History“ of the book’s title then, refers to the temporal enframing within which the Aristotelian antinomies have been situated, pointing out the importance of the ever-increasingly „mechanical experience“ of mass media and technology, the origin of which Benjamin „located in the catastrophe of the First World War“ (15). However, rather than acquiesce to some pregiven chronological time (as though what the War bequeathed were the only potentiality), Agamben follows the more redemptive Benjamin of The Work of Art in the Age of Mechanical Reproduction, elaborating how through the profanation of play, History might be transmogrified into event, or „cairological“ time (115), thus enabling a personal and collective authority beyond that presently monopolized by the state and capital.

[10] One such instance, he says, might be located in the child’s experience of toys, which as miniaturized instances of real objects in the adult world, necessarily subtract the instrumental function they otherwise serve (thereby again deploying the Beautiful of the third Critique against the Reason of the first and second). In doing so, the objects are necessarily also subtracted from the synchrony of the adult world, releasing them into the diachrony of the child’s: a move that emboldens Agamben to assert that while „ritual fixes and structures the calendar, play on the other hand, though we do not yet know how and why, changes and destroys it“ (77). „²³.-cos.-

Bela Muham|SochKhaat R.-S.


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