Thing Frankfurt Moblog

Received 20. 08. 2006 15:58 from warren corb <= = =>

Dechiffrierung von m e d i e n k ü n s t l e r i s c h e n strategien oder Verhalten

N E R Z S P A N N U N G . O R G : M E D I E N - K U N S T
site by warren corb und alfred 23 harth
Dechiffrierung von m e d i e n k ü n s t l e r i s c h e n strategien
oder Verhalten
bei Menschen oder Tieren Thesen Meinungen Tatsachen
Elemente einer ausgewählten technologie
Themen und teilmengenAnsatz zur Positionsbestimmung

http://nerzspannung.org/

Alfred and me talk Art in sophisticated terms, which means we really
art talk. I'm inserting my own cigarettes, and it snows shreds of
golden crimson braan flakes that expand when you breathe them in. Such
is my desire to fill me with whatever INTERNET can offer. Alfred calls
looking but I can't do much, clean my screens with hot wax thinking
that maybe it's just my eyes, the soft edges of objects defining
themselves but weakly, in Wiki Frankenstein. Alfred reads Jacques
Lacan's The Dread Father -- I wonder what he thinks of such a
scattered, fragile thing? Were those nightmares when I was a kid really
about the hexdump behind offshore cognition? I remember walking down
there the other night, stoned, listening on headphones to a music made
without laptops, and the house of my father died in creamed whip me in
so much I hurried. Two mannish silhouettes will follow you. Why do I
never share with anyone whatever seems sacred to me? You're tailed by
telephone, glitching off the second-story window of the folder my
father died in. You're just right, Alf, because you too are restless
inside, like really restless, and we share an gorgeous insanity,
delicious and ravening. Alfred raves on. You're dread when you were a
butterfly, and you moved fragile wings via hidden tracks.



laibach art institute (lai) - berlin
prof. dr. marina barig

"With new media the variety of the stylistic idioms in the arts
changes. In the sense of the theory of the post-dramatic theatre gives
it an increased, ‚hybrid' theatrality mentioned of the representational
forms, which owes itself the use of intermedially and multimedia
performances. With these intermedially performance shifts in systematic
regard the artistic question about the place of the body and the social
and cultural standards. Central research hypothesis is that the hybrid
performance of media makes a reflection, a shift and a re-entry of
phantasmatic models and self pictures possible of humans (talk shows,
virtual identities in the CyberSpace), from the video art over the body
based choreographies up to the digital plain text picture referrers,
which are used in such a way for their part in ‚alien' media such as
photography, film, video, theatre and literature that a partly
ironical, partly on-kawaraesque (so the definition ‚of the history')
refraction of traditional storytelling ways and symbolic styles to be
observed."



































** warren corb's friendly service **
**** http://nerzwissenschaft.de/ ***
***** http://nerzspannung.org/ ****
**** make 38317.tk not yahoo ****

Received 20. 08. 2006 14:19 from warren corb <= = =>

Re: *zersägte geschlechter*

also ich finde das schon sehr konstruiert. das ist einer der
klassischen fehler der strukturalistischen methode (und feministische
kritik IST angewandter strukturalismus), dass sie eben IMMER stimmt.
vielleicht gibt es eine endliche anzahl anderer filme, ohne
kettensägen, dafür aber auch ohne final girl. es ist immer nur syntax.

xx yyy and the technology (...) of zzz
gender in the modern (...) qqq
modern (...) ppp in focus of gender criticism

übrigens: stefan beck ist ein atavistisches, frauenfeindliches
rindvieh. so wie felicia herrschaft.



Am 20.08.2006 um 13:42 schrieb zora krasnova:

sorry, das ganze findet im ivi, kettenhofweg 130, ffm, statt...

zora krasnova <miss_trust99 [at] yahoo [dot] com> wrote: Horror-Filmabend,
Sonntag, 20.08.2006, 20.oo

Texas Chain Saw Massacre 2; R: Tobe Hooper, USA 1986; Final Girl:
Vantia "Stretch" Brock (Caroline Williams)

Texas Chain Saw Massacre 2 liefert ein Beispiel f�r den filmischen
Topos des "final girl", der in der feministischen Filmtheorie von
Bedeutung ist.

weiterf�hrende Literatur:
Clover, Carol: Men, Women and Chainsaws. Gender in the Modern Horror
Film. Princeton, N.J. 1992.
Halberstam, Judith: Skin Shows. Gothic Horror and the Technology of
Monsters. Durham/London 1995.



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Received 20. 08. 2006 13:42 from zora krasnova <= = =>

Re: *zersägte geschlechter*

sorry, das ganze findet im ivi, kettenhofweg 130, ffm, statt...

zora krasnova <miss_trust99 [at] yahoo [dot] com> wrote: Horror-Filmabend, Sonntag, 20.08.2006, 20.oo

Texas Chain Saw Massacre 2; R: Tobe Hooper, USA 1986; Final Girl: Vantia "Stretch" Brock (Caroline Williams)

Texas Chain Saw Massacre 2 liefert ein Beispiel f�r den filmischen Topos des "final girl", der in der feministischen Filmtheorie von Bedeutung ist.

weiterf�hrende Literatur:
Clover, Carol: Men, Women and Chainsaws. Gender in the Modern Horror Film. Princeton, N.J. 1992.
Halberstam, Judith: Skin Shows. Gothic Horror and the Technology of Monsters. Durham/London 1995.



---------------------------------
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Received 20. 08. 2006 13:37 from zora krasnova <= = =>

*zersägte geschlechter*

Horror-Filmabend, Sonntag, 20.08.2006, 20.oo

Texas Chain Saw Massacre 2; R: Tobe Hooper, USA 1986; Final Girl: Vantia "Stretch" Brock (Caroline Williams)

Texas Chain Saw Massacre 2 liefert ein Beispiel f�r den filmischen Topos des "final girl", der in der feministischen Filmtheorie von Bedeutung ist.

weiterf�hrende Literatur:
Clover, Carol: Men, Women and Chainsaws. Gender in the Modern Horror Film. Princeton, N.J. 1992.
Halberstam, Judith: Skin Shows. Gothic Horror and the Technology of Monsters. Durham/London 1995.



---------------------------------
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