NO TELEVISION
MaraB. (Violator3) Italy
Thursday, August 30, 2007
Monday, August 6, 2007
Sin señal
NO TELEVISION
Nicolas Díaz, Chile
Interferencias que confunden la señal de mi ser, de mi alma y de mis sentimientos programados que abren una confusión cambiado por el operador que transmite el canal hacia el receptor que nunca campatara y entenderá el sentido de la explosión de información...
Nicolas Díaz, Chile
Interferencias que confunden la señal de mi ser, de mi alma y de mis sentimientos programados que abren una confusión cambiado por el operador que transmite el canal hacia el receptor que nunca campatara y entenderá el sentido de la explosión de información...
TV the drug of the nation
Sunday, August 5, 2007
Saturday, August 4, 2007
Wednesday, August 1, 2007
Broken channel streamer television
NO TELEVISION
Chistian Longo,
Italy
Broken channel streamer television by Christian Longo is a simple but impressive abstract image mapping experiments used to produce glitch audiovisual grooves.. This beautyful interface load and parse corrupt televison images and capture the output. used datasets include memory dumps, television screen captures, catch phrases, mapping techniques: compression algorithms, bit translations, color swapping, pixel modulations, and deliberate data corruptions. The original streamed sound is corrupt to produce semi-sinchronyzed techno loops for a real-time emotional reaction. As these operations are known, theoretically inversion is possible to the original data, that means that is possible to make fascinating _glitch visual liveset,_ with an unique harsh rave mood, only using the awful old video source, aka tv.
Chistian Longo,
Italy
Broken channel streamer television by Christian Longo is a simple but impressive abstract image mapping experiments used to produce glitch audiovisual grooves.. This beautyful interface load and parse corrupt televison images and capture the output. used datasets include memory dumps, television screen captures, catch phrases, mapping techniques: compression algorithms, bit translations, color swapping, pixel modulations, and deliberate data corruptions. The original streamed sound is corrupt to produce semi-sinchronyzed techno loops for a real-time emotional reaction. As these operations are known, theoretically inversion is possible to the original data, that means that is possible to make fascinating _glitch visual liveset,_ with an unique harsh rave mood, only using the awful old video source, aka tv.
Gating III
NO TELEVISION
Per pegelow
Germany
A photo based Video Installation that is concerned with Globalization.
Attachment is the draft of a Talk artist gave at the International Symposium for Interactive Media Design in April 2007 at the Yeditepe University in Istanbul. It describes three Projects that are concerned with the media aspect of the third industrial revolution [called "globalization"].
Per pegelow
Germany
A photo based Video Installation that is concerned with Globalization.
Attachment is the draft of a Talk artist gave at the International Symposium for Interactive Media Design in April 2007 at the Yeditepe University in Istanbul. It describes three Projects that are concerned with the media aspect of the third industrial revolution [called "globalization"].
Tuesday, July 31, 2007
Within the Culture of No Context
by Dunja Radosavljevic (part 1)
“The truth is often complex”, says prof. Bernstein of University of Texas in one of his lectures on the web, because “meaning is not inherent”. He follows this by, ”The greatest single failing of journalism today is lack of context. Facts by themselves are not truth.” Paraphrasing Bernstein, by adding context to content, you add meaning to fact, and with that, you attempt to assemble the closest version of the truth. Note here that Bernstein never says that truth does not exist, or that truth is completely subjective or relative, or that one can never know it. He simply says, finding the truth, or the closest version of it, is a complex endeavor, and nevertheless journalists should strive to reach that goal. It’s surprising how much this differs from the current postmodern discourse, which mostly wants to discredit and dispose of the concept of truth and meaning all together, by equating the very difficulty of finding it with its impossibility. This is the well-known fallacy of throwing the baby out with the bathwater, which will rear its ugly head throughout this paper. I am well aware of some of the valuable contributions of postmodernism, however what I am talking about here is its worst and most dangerous trait – absolute relativity. In relation to media and journalism (even this division is already controversial and questionable), it means a consistent lack of context. In relation to democracy, it means a brainwashed voter.
Curiously, what I first choose to address in this paper is the rise of TV culture in the US, since I see it, along with Postman, Trow and Berman, as the backbone for the rise of ideology of no context. Consequently, I will explore TV’s prolonged success in creating and sustaining a civilization of immature and uneducated adults who, along with corporate conglomerates, become the greatest barrier to sane democratic processes. Emphasizing this political, economic, social and psychological analysis, I want to show that, in order for any sustainable change to occur, in conjunction to the insightful changes and improvements related to media that Gans mentions in his book, major change needs to happen within the dynamics of American values, exemplified by a more rewarding family life, as well as improved and more wide-spread education. On (not so much) a side note, this should be coupled, as explored by McKibben, with a renewed interest in nature and complex processes that govern it, so people can learn to better appreciate their place within the context of a planetary ecosystem. I will mention as well, that this should parallel and spring from a new awareness and acceptance of female voices whose impact on the Western Civilization, and the world in general, has been minimal, usually denied or suppressed, and which should now be more fervently explored and brought to integration. In order to limit though, the already large scope of this paper, I will leave the topic of feminism for another more in-depth study.
I am aware that the changes I am naming require almost a complete restructuring of the capitalist system in the US, which might be a sizable if not too large a bite for any individual to swallow. Nevertheless, I feel that only deep structural shifts can help us regain the lack of context, which so obviously plagues the media, and more alarmingly almost every other aspect of modern life.
The nature of the TV medium
I feel it’s pertinent to the discussion to describe the characteristics of the TV medium, so that one can understand the implications of its introduction to the American culture. Many, including Berman, have concluded that television generally works against depth and self-reflection, in that the flow of images and radiation lull the viewer into a sort of passive, almost narcotic state, where one literally abandons oneself to the experience (49). This happens primarily because of low radiation that the television set emits at a consistent rate inducing the human psyche, after prolonged use, into a kind of hypnosis. With this quality TV pacifies the viewer, yet simultaneously induces a kind of perpetual anxiety and nervousness, which is obvious in the example of children, who as a result of watching too much TV, develop ADD (attention deficit disorder).
As for the content of programming, it is in the nature of the medium to suppress the subject matter in favor of visual stimuli, as visuality is, basically, TV’s essence. What follows, as Postman explains, is that what becomes truly relevant on TV is not reality but visual credibility, where the test for truth becomes not the truth itself, but its visual representation. Does the reporter look sincere, authentic, vulnerable, attractive? Those are the questions and impressions in viewer’s mind, not whether the reporter is saying anything of substance or not (Amusing Ourselves to Death, 102). Granted, I am taking this a bit to the extreme, but suffice it to say that in a predominantly visual medium, substance can easily slip out the back door. The TV medium also requires a certain speed of communication, in order to be efficient and remain stimulating to its viewers. Hence, it becomes oriented towards short, fragmented pieces of information, which are mixed in a mosaic of dramatic stories propelled to grab attention. This fast changing pace of images, whether advertisements, news, or any other programming, coupled with the never-ending musical score, makes it very difficult for any story, especially a news story, to have a lasting impact, continues Postman (103).
This all leads into Trow’s metaphor about there being many choices that are presented in a context that is never described, so that what seems to be moving is not only the foreground, but the background as well (67). Nothing is stable or static for too long, for the screen must move and be dynamic. As a result we lose our ability to measure something against another fixed point, in order to place it in a related context and determine its value. With this loss of context, Postman reiterates, we also lose our ability to discern a contradiction, which means telling the difference between a lie and truth (Amusing, 109). The tragic consequences of this mediumistic failing can be seen in the American culture and public life, ranging from massive disinformation and misinterpretation among the American population, to illogical and manipulative arguments amongst politicians and policy makers. Within such a system, can we really expect a true democracy? And who is to be blamed? To clarify, what I am saying is not that TV technology is necessarily bad, or that it produces lies and bad policy makers, but that when over-consumed or fetishized, its limitations as a medium greatly exceed its benefits. The fetishization of TV, prevalent in the US, means using television for purposes it was never intended for and can never in its nature truly satisfy. This is the inherent fallacy I am interested in exploring further.
“The truth is often complex”, says prof. Bernstein of University of Texas in one of his lectures on the web, because “meaning is not inherent”. He follows this by, ”The greatest single failing of journalism today is lack of context. Facts by themselves are not truth.” Paraphrasing Bernstein, by adding context to content, you add meaning to fact, and with that, you attempt to assemble the closest version of the truth. Note here that Bernstein never says that truth does not exist, or that truth is completely subjective or relative, or that one can never know it. He simply says, finding the truth, or the closest version of it, is a complex endeavor, and nevertheless journalists should strive to reach that goal. It’s surprising how much this differs from the current postmodern discourse, which mostly wants to discredit and dispose of the concept of truth and meaning all together, by equating the very difficulty of finding it with its impossibility. This is the well-known fallacy of throwing the baby out with the bathwater, which will rear its ugly head throughout this paper. I am well aware of some of the valuable contributions of postmodernism, however what I am talking about here is its worst and most dangerous trait – absolute relativity. In relation to media and journalism (even this division is already controversial and questionable), it means a consistent lack of context. In relation to democracy, it means a brainwashed voter.
Curiously, what I first choose to address in this paper is the rise of TV culture in the US, since I see it, along with Postman, Trow and Berman, as the backbone for the rise of ideology of no context. Consequently, I will explore TV’s prolonged success in creating and sustaining a civilization of immature and uneducated adults who, along with corporate conglomerates, become the greatest barrier to sane democratic processes. Emphasizing this political, economic, social and psychological analysis, I want to show that, in order for any sustainable change to occur, in conjunction to the insightful changes and improvements related to media that Gans mentions in his book, major change needs to happen within the dynamics of American values, exemplified by a more rewarding family life, as well as improved and more wide-spread education. On (not so much) a side note, this should be coupled, as explored by McKibben, with a renewed interest in nature and complex processes that govern it, so people can learn to better appreciate their place within the context of a planetary ecosystem. I will mention as well, that this should parallel and spring from a new awareness and acceptance of female voices whose impact on the Western Civilization, and the world in general, has been minimal, usually denied or suppressed, and which should now be more fervently explored and brought to integration. In order to limit though, the already large scope of this paper, I will leave the topic of feminism for another more in-depth study.
I am aware that the changes I am naming require almost a complete restructuring of the capitalist system in the US, which might be a sizable if not too large a bite for any individual to swallow. Nevertheless, I feel that only deep structural shifts can help us regain the lack of context, which so obviously plagues the media, and more alarmingly almost every other aspect of modern life.
The nature of the TV medium
I feel it’s pertinent to the discussion to describe the characteristics of the TV medium, so that one can understand the implications of its introduction to the American culture. Many, including Berman, have concluded that television generally works against depth and self-reflection, in that the flow of images and radiation lull the viewer into a sort of passive, almost narcotic state, where one literally abandons oneself to the experience (49). This happens primarily because of low radiation that the television set emits at a consistent rate inducing the human psyche, after prolonged use, into a kind of hypnosis. With this quality TV pacifies the viewer, yet simultaneously induces a kind of perpetual anxiety and nervousness, which is obvious in the example of children, who as a result of watching too much TV, develop ADD (attention deficit disorder).
As for the content of programming, it is in the nature of the medium to suppress the subject matter in favor of visual stimuli, as visuality is, basically, TV’s essence. What follows, as Postman explains, is that what becomes truly relevant on TV is not reality but visual credibility, where the test for truth becomes not the truth itself, but its visual representation. Does the reporter look sincere, authentic, vulnerable, attractive? Those are the questions and impressions in viewer’s mind, not whether the reporter is saying anything of substance or not (Amusing Ourselves to Death, 102). Granted, I am taking this a bit to the extreme, but suffice it to say that in a predominantly visual medium, substance can easily slip out the back door. The TV medium also requires a certain speed of communication, in order to be efficient and remain stimulating to its viewers. Hence, it becomes oriented towards short, fragmented pieces of information, which are mixed in a mosaic of dramatic stories propelled to grab attention. This fast changing pace of images, whether advertisements, news, or any other programming, coupled with the never-ending musical score, makes it very difficult for any story, especially a news story, to have a lasting impact, continues Postman (103).
This all leads into Trow’s metaphor about there being many choices that are presented in a context that is never described, so that what seems to be moving is not only the foreground, but the background as well (67). Nothing is stable or static for too long, for the screen must move and be dynamic. As a result we lose our ability to measure something against another fixed point, in order to place it in a related context and determine its value. With this loss of context, Postman reiterates, we also lose our ability to discern a contradiction, which means telling the difference between a lie and truth (Amusing, 109). The tragic consequences of this mediumistic failing can be seen in the American culture and public life, ranging from massive disinformation and misinterpretation among the American population, to illogical and manipulative arguments amongst politicians and policy makers. Within such a system, can we really expect a true democracy? And who is to be blamed? To clarify, what I am saying is not that TV technology is necessarily bad, or that it produces lies and bad policy makers, but that when over-consumed or fetishized, its limitations as a medium greatly exceed its benefits. The fetishization of TV, prevalent in the US, means using television for purposes it was never intended for and can never in its nature truly satisfy. This is the inherent fallacy I am interested in exploring further.
TV Dinner 2
NO TELEVISION Jeremy Hight, USA
this is a commentary on the dumbing down of news and how globalization is
also making all news networks the same... essentially a winking singular dumb entity
this is a commentary on the dumbing down of news and how globalization is
also making all news networks the same... essentially a winking singular dumb entity
the404.org
NO TELEVISION
shixa, lilly von, babel, chutiwongpeti, champking, escha romain,
royce icon, artEficial and phooty raskel.
Canada, USA, UK.
www.the404.org/interactive/testcards/
shixa, lilly von, babel, chutiwongpeti, champking, escha romain,
royce icon, artEficial and phooty raskel.
Canada, USA, UK.
www.the404.org/interactive/testcards/
Media person (video)
NO TELEVISION
G. H. Hovagimyan
New York, USA
PERSONA CAUTIVA DE LOS MEDIOS
Brian Caiazza & G.H. Hovagimyan - 2006
Traducción: Fabian Giles
Es una imagen que está en tu mente.
Eres la perfecta persona cautiva de los medios.
Has perdido contacto con la realidad.
Todo es imagen, todo es ilusión.
Persona cautiva de los medios.
Todo es falso. Todo son símbolos.
Compras el logo. Compras la realidad. Compras la imagen.
Persona cautiva de los medios.
Has perdido contacto con la realidad.
Pero no existe la realidad porque es sólo una imagen en tu mente.
Tu mundo no es nada sino palabras e imagenes.
Todo es imagen sin contenido.
Imagenes y juegos.
Todo es imagen, todo es ilusión. Compras el logo.
Todo es imagen sin contenido.
Todo es rápido. Todo es superficial. Todo es una falacia.Todo es falocracia.
Estás en el siglo 21. Compras el logo.
Estás perdido en el juego. El juego es un juego de lenguaje.
Crees en el lenguaje. Estás enganchado.
La mente crea la realidad.
El juego es la realidad.
El juego está en tu mente.
Estás enganchado en el juego.
La mente. La mente.
Tu la has comprado. Compras el significado. No hay contenido.
Todo es superficial.
Todo es imagen.
Ellos crean la realidad para tí. Eres la perfecta persona cautiva de los medios.
G. H. Hovagimyan
New York, USA
PERSONA CAUTIVA DE LOS MEDIOS
Brian Caiazza & G.H. Hovagimyan - 2006
Traducción: Fabian Giles
Es una imagen que está en tu mente.
Eres la perfecta persona cautiva de los medios.
Has perdido contacto con la realidad.
Todo es imagen, todo es ilusión.
Persona cautiva de los medios.
Todo es falso. Todo son símbolos.
Compras el logo. Compras la realidad. Compras la imagen.
Persona cautiva de los medios.
Has perdido contacto con la realidad.
Pero no existe la realidad porque es sólo una imagen en tu mente.
Tu mundo no es nada sino palabras e imagenes.
Todo es imagen sin contenido.
Imagenes y juegos.
Todo es imagen, todo es ilusión. Compras el logo.
Todo es imagen sin contenido.
Todo es rápido. Todo es superficial. Todo es una falacia.Todo es falocracia.
Estás en el siglo 21. Compras el logo.
Estás perdido en el juego. El juego es un juego de lenguaje.
Crees en el lenguaje. Estás enganchado.
La mente crea la realidad.
El juego es la realidad.
El juego está en tu mente.
Estás enganchado en el juego.
La mente. La mente.
Tu la has comprado. Compras el significado. No hay contenido.
Todo es superficial.
Todo es imagen.
Ellos crean la realidad para tí. Eres la perfecta persona cautiva de los medios.
Empty V
NO TELEVISION
Cesar Martínez Silva
México
Cesar Martínez Silva
México
“De los MEDIOS de comunicación masiva a los ENTEROS de comunicación sin IVA” o “Las perversas Relaciones entre Corcolito del tío Gamboín y el Big Brother de George Orwell; ó fue Corcolito, ¿el Small Brother…?”
Por César Martínez Silva
Corcolito o el primer medio de control mediático en la infancia.
El gran cineasta italiano Federico Fellini comentó alguna vez: “La televisión es el espejo en donde se refleja la derrota de todo nuestro sistema cultural”. Es así, la T.V. es un espejo, y en ese espejo nos miramos todos reflejados. Sin embargo también apuntó: “Condenar la televisión sería tan ridículo como excomulgar la electricidad o la teoría de la gravedad”. Sobre el aprovechamiento del medio hay mucho que decir. La televisión no es culpable de nada, salvo el hecho de cómo es utilizada y el cómo es consumida.
La cultura local es también un reflejo visualizado en ella. Por lo regular cada sociedad refleja en ella una forma de realidad. Muchas ciudades tienen su propio canal local y también sus propios canales porno. A la vez de sus propios exhibicionismos, noticieros, “Realitys Shows” locales e internacionales. Una forma de tolerar el aburrimiento o bien una manera de hacer del aburrimiento un espectáculo. Y con ello lo que conlleva eso.
Un grave problema sería el de cómo la T.V. trivializa ciertas situaciones, o como convierte en basura aspectos de gran valor junto a la posible dependencia que ella genera. A pesar de su tiempo de transmisión en vivo, y por tanto su realidad real, los hechos mismos ahí vertidos pueden tener cierto carácter y cierto matiz que influyan en nuestra manera misma de “consumir la realidad” o de “cómo estar en ella”.
Se transforma en una hipnosis cerebral cuando la televisión se convierte en la base de la opinión pública, haciendo de esto una gran esquizofrenia social. Un peligro inmediato. La distancia entre la realidad y la ficción son somatizadas. La ficción puede ser confundida con la manera en que ésta es transmitida. La realidad se vuelve espectáculo, inclusive.
También es una manera de hacer público ciertos secretos. Lo privado publicado transgrede un orden, ciertas formas a la vez son denunciables y la T.V. puede ser para ello el mejor medio. Es el control del desorden, pero también es el desorden del control. “Te ve o no te ve”.
How ever, el gran Groucho Marx comentaba que “encontraba a la televisión muy educativa, cada vez que alguien la encendía, se retiraba a otra habitación a leer un libro”. Sobre este “marxismo histórico” hay una gran recomendación de “marxismo cómico” para persuadirnos de como consumir de otra manera lo que ahí se transmite.
Cuando niños, -en el caso particular de la generación que aquí exponemos en esta muestra y por el hecho de ser mexicanos-, había un personaje ficticio llamado CORCOLITO. Era un vigilante que solía posarse sobre los hombros casposos de un conductor de televisión llamado Tío Gamboín. Corcolito era un televigilante. Chale. Este mismo denunciaba públicamente delitos infantiles que podían llevar a la vergüenza o a la humillación pública. Así mismo, este cinismo de personaje aplaudía a todos aquellos que llevaban un comportamiento regular. Y vuelvo a escribir “regular”, entre comillas. ¡Fanfarrias para los chamacones que estaban alienados!.
Los niños no teníamos la culpa de ser niños. Otra vez el Tío GamBOLÍN. Y con ello mismo el hecho de no tomarse la sopa suscitaría la burla de nuestros amiguitos o compañeritos en la escuela o de quienes veían el programa que se transmitía entre caricatura y caricatura. Quizás el hecho real era que nuestra madre no era buena cocinera, -y que en mi caso si lo era y lo es- o bien que la sopa se había enfriado mientras espiamos a la vecina. La fortuna fue que nunca fuimos denunciados por el riesgo a salirnos un pelo en la mano. Eso era llegar muy lejos. La denuncia era otro tipo de masturbación, aquí había una masturbación social. GamBOLÍN era un intermediario entre la voluntad de nuestros padres y el control de los medios.
“Aún hay más” solía decir unos de los conductores predilectos de la televisión privada en la década de los 80’s y parte de los 90’s. Raúl Velasco era el Don Francisco de ahora. Pero yo nunca lo veía, y la vez que lo ví ese “más” se ausentaba conforme el programa se transmitía. ¿más que?, ¿más basura?, ¿mas-turbación o chaqueta mental?.
En otros casos, artistas como Andy Warhol, consideraron que “la televisión era una inspira- ción”. Él mismo defendió esta postura con su obra, y con ello fundamentó una tesis que convirtió en filosofía de vida, estableciendo un estilo artístico influyente que permitió ver otro lado del consumismo.
Cada uno de nosotros debe de ser conciente de cómo consumir o construir su bienestar. En sus “Bitácoras del cruce” el performero MexTerminator Guillermo Gómez Peña apunta: …“TV or not TV”…
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