“The Magellan and Pioneer space probes near Venus have reported through radar imagery (or radio-based imaging) that “snow” on the surface of Venus contains large quantities of lead sulphide. It is not hard to imagine a situation that certain geological tracts of this metallic snow act as a coherer in the presence of radio waves from outer space, clumping together to mark forever the arrival of a message from distant stars, like an interstellar telegraph in Morse Code. Two years before Karl Jansky’s discovery of the cosmic radiophony, Hart Crane wrote in the poem Cape Hatteras:
“(…) perhaps the crash will look like a string of blockbuster movies pandering to right-wing conspiracies and survivalist fantasies, from quasi-fascist superheroes (Captain America and the Batman series) to justifications of torture and assassination (Zero Dark Thirty, American Sniper). In Hollywood, studios run their scripts through the neural networks of a company called Epagogix, a system trained on the unstated preferences of millions of moviegoers developed over decades in order to predict which lines will push the right – meaning the most lucrative – emotional buttons. Their algorithmic engines are enhanced with data from Netflix, Hulu, YouTube and others, whose access to the minute-by-minute preferences of millions of video watchers, combined with an obsessive focus on the acquisition and segmentation of data, provides them with a level of cognitive insight undreamed of by previous regimes. Feeding directly upon the frazzled, binge-watching desires of news-saturated consumers, the network turns upon itself, reflecting, reinforcing and heightening the paranoia inherent in the system.
Game developers enter endless cycles of updates and in-app purchases directed by A/B testing interfaces and real-time monitoring of players’ behaviours until they have such a finegrained grasp on dopamine-producing neural pathways that teenagers die of exhaustion in front of their computers, unable to tear themselves away. Entire cultural industries become feedback loops for an increasingly dominant narrative of fear and violence.”
New Dark Age: Technology and the End of the Future
Dark City is a 1998 neo-noir science fiction film directed by Alex Proyas. The screenplay was written by Proyas, Lem Dobbs and David S. Goyer. The film stars Rufus Sewell, Kiefer Sutherland, Jennifer Connelly, and William Hurt. Sewell plays John Murdoch, an amnesiac man who finds himself suspected of murder. Murdoch attempts to discover his true identity and clear his name while on the run from the police and a mysterious group known only as the “Strangers”.
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(themes)Theologian Gerard Loughlin interprets Dark City as a retelling of Plato‘s Allegory of the Cave. For Loughlin, the city dwellers are prisoners who do not realize they are in a prison. John Murdoch’s escape from the prison parallels the escape from the cave in the allegory. He is assisted by Dr. Schreber, who explains the city’s mechanism as Socrates explains to Glaucon how the shadows in the cave are cast. Murdoch however becomes more than Glaucon; Loughlin writes, “He is a Glaucon who comes to realize that Socrates’ tale of an upper, more real world, is itself a shadow, a forgery.”
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Murdoch defeats the Strangers who control the inhabitants and remakes the world based on childhood memories, which were themselves illusions arranged by the Strangers. Loughlin writes of the lack of background, “The origin of the city is off–stage, unknown and unknowable.” Murdoch now casts new shadows for the city inhabitants, who must trust his judgment. Unlike Plato, Murdoch “is disabused of any hope of an outside” and becomes the demiurge for the cave, the only environment he knows.
The city in Dark City is described by Higley as a “murky, nightmarish German expressionist film noir depiction of urban repression and mechanism”. The city has a World War II dreariness reminiscent of Edward Hopper‘s (0049) works and has details from different eras and architectures that are changed by the Strangers; “buildings collapse as others emerge and battle with one another at the end”. The round window in Dark City is concave like a fishbowl and is a frequently seen element throughout the city. The inhabitants do not live at the top of the city; the main characters’ homes are dwarfed by the bricolage of buildings. (wiki)
Mr. Hand: We’re very lucky when you think about it. / Emma Murdoch: I’m sorry? / Mr. Hand: To be able to revisit those places which have meant so very much to us. / Emma Murdoch: I thought it was more that we were haunted by them. / Mr. Hand: Perhaps. But imagine a life Alien to yours. In which your memories were not your own, but those shared by every other of you kind. Imagine the torment of such an existence….no experiences to call your own. / Emma Murdoch: If it was all you knew, maybe it would be a comfort. / Mr. Hand: But if you were to discover something different…Something….better.
Olivier de Sagazan (born 1959 in Brazzaville, Congo) is a French artist, painter, sculptor, and performer. De Sagazan’s work typically centers around the artist building layers of clay and paint onto his own face and body. His work was featured in the 2011 documentary film Samsara by Ron Fricke. He has collaborated with the likes of Mylène Farmer inspiring and appearing in her video for À l’ombre and FKA Twigs (567) for her Performance Piece Rooms, he collaborated with Nick Knight and Gareth Pugh on the fashion film presenting Pugh’s S/S 18 collection. (wiki)
TimeSpace Warps 