Elisa Mancioli
Carlotta Cossutta
Intersectionality, representations, positionings. A conversation starting from Silvia Federici’s Caliban and the Witch
Chronicles
Intersectionality, representations, positionings. A conversation starting from Silvia Federici’s Caliban and the Witch
Elisa Mancioli
Carlotta Cossutta
Nature of Disappearance: Parallel I-IV, by Harun Farocki
About Harun Farocki’s Parallel I-IV
Behind every image, something has disappeared. And that is the source of its fascination. Behind virtual reality in all its forms (telematics, IT, digitization, etc.), the real has disappeared. And that is what fascinates everyone. According to the official version, we worship the real and the reality principle, but – and this is the source of all the current suspense – is it, in fact, the real we worship or its disappearance?
Second Life/Afterlife
Raymond Bellour sur Chris Marker et Victor Burgin.
Dans son essai sur Chris Marker et La Jetée, Victor Burgin démarque par trois fois en début de paragraphe la phrase liminaire du film (“La Jetée est l’histoire d’un homme marqué par une image d’enfance”), déjà attestée d’emblée sous sa forme originale par la reproduction d’un photogramme : “Ceci est l’histoire d’un homme marqué par une image d’enfance.”
Solidarity in practice: Algiers’ Red Years
Cultural expression was a major element of resistance in the Third World. The intertwining of armed struggle and cultural production was assumed on many levels.
The Instrumentarian Power of Artificial Intelligence in Data-Driven Fascist Regimes
An interactive map of Gaza issued by the IDF slips the territory into hundreds of numbered zones. Credit: IDF. Artificial Intelligence has two main functions in the Israeli war on besieged Gaza: sustain propaganda and generate more targets. While debates on machine learning question the threat of AI for humanity, AI assisted bombardments reveal a new […]
Scapeg(h)o(s)at
The first time I read “Casa tomada,” the short story by Julio Cortázar, I was puzzled because the takeover takes place in a “simple manner and without perfunctory circumstances.” Cortázar wrote the story back in 1946; when I told it to the prophet he just smiled, as there are many parallels with his story, except for the simplicity of the takeover and how little resistance its inhabitants displayed as they were gradually expelled.