picnolepsy

Wednesday, November 30, 2011

glitches from "blue valentine"



Posted by Nina Wenhart ... at 7:48 AM No comments:
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Labels: blue valentine glitches

glitches from "breaking bad"






Posted by Nina Wenhart ... at 6:51 AM No comments:
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"picnolepsy"—the epileptic state of consciousness produced by speed.
"Suddenly, before me, new objects appeared, bizarre figures cut out, notched, a set of articulations has become suddenly visible and these observed objects were no longer banal, whatever, insignificant; they were on the contrary, diversified in the extreme. They were everywhere, all space, all the world was filled with new forms. They were nested in the hollows of the least forms. It was like an unknown vegetation that grew around me. Industrial objects without value provoked the appearance of objects temporarily given a great complexity. The position of things triggered new exotic forms, forms that escaped us despite their evidence. Accustomed as we are to trivial geometries, we perceive perfectly the circle, the sphere, the cube or the square, we perceive infinitely less well intervals, the interstices between things, between people." (P.Virilio, L'horizon négatif)

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  • ▼  2011 (2)
    • ▼  November (2)
      • glitches from "blue valentine"
      • glitches from "breaking bad"

About Me

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Nina Wenhart ...
... is a Media Art historian and researcher. She holds a PhD from the University of Art and Design Linz where she works as an associate professor. Her PhD-thesis is on "Speculative Archiving and Digital Art", focusing on facial recognition and algorithmic bias. Her Master Thesis "The Grammar of New Media" was on Descriptive Metadata for Media Arts. For many years, she has been working in the field of archiving/documenting Media Art, recently at the Ludwig Boltzmann Institute for Media.Art.Research and before as the head of the Ars Electronica Futurelab's videostudio, where she created their archives and primarily worked with the archival material. She was teaching the Prehystories of New Media Class at the School of the Art Institute of Chicago (SAIC) and in the Media Art Histories program at the Danube University Krems.
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