“No, it’s not Webcam DeathStar battling it out in monetary meteorite showers of 50 Euro or more… it is not immanent junkspace collapsing in on itself in a Great Crush after Star Wars merged with Disney Universe. It is Bogdan Marcu trying to bail out your soul! We know he was manuscripting his way out of cyber corporate dungeons, while trying to rewrite the Bible in vernacular Romanian according to 3D Genesis and CGI creationist FX …and what do u know, he might have done it with COCALAR COSMOLOGY! Bless you BM!” |°¦::¦..¦¦¦::||¦÷¦||:::¦¦°.¦|::|¦|:::¦¦|.°°|¦||
“Bella Ciao (Goodbye Beautiful)” by Marc Ribot (feat. Tom Waits) from the album ‘Songs Of Resistance 1942 – 2018,’
“Bella ciao“ (“Goodbye beautiful”) is an Italian folk song that was adopted as an anthem of the anti-fascist resistance. It was used by the Italian partisans between 1943 and 1945 during the Italian Resistance, or the resistance of Italian partisans against the Nazi German forces occupying Italy, and during the Italian Civil War, or the Italian partisan struggle against the fascist Italian Social Republic and its Nazi German allies. “Bella ciao” is used worldwide as an anti-fascist hymn of freedom and resistance. The song has much older origins though in the hardships of the mondina women, the paddy field workers in the late 19th century who sang it as a protest against harsh working conditions in the paddy fields in North Italy. (wiki)
timespace coordinates: 2010’s SwedenBorder (Swedish: Gräns) is a 2018 Swedish fantasy film directed by Ali Abbasi with a screenplay by Abbasi, Isabella Eklöf and John Ajvide Lindqvist based on the short story of the same name by Ajvide Lindqvist from his anthology Let the Old Dreams Die.
http://liminal.earth/ (Liminal Cartography)
Kalyi Jag (Romani for “Black Fire”) is a Hungarian Romani folk music group. The group was founded in Budapest by Vlach Roma members who originated from the Szatmár county. It had roots in the Táncház movement. They were named Young Masters of Folk Art in 1979. The first album was released in 1987 and became a success.
The music is based on traditional Romani music, primarily Vlach Roma music, with some modernization in the interpretations and the group has included instruments as the guitar and the mandolin. (wiki)
timespace coordinates: 1673 Lithuanian village
“In 1915, the first of a trilogy of silent films was produced. The Golem, based on Gustav Meyrink’s 1914 novel mixed with general European folklore, is the first in a trilogy all written and directed by Paul Wegner (along with others, specific to each film). The first movie is partially lost, though it is possible to watch the clips that do remain for free online. Its first sequel is lost, again, save for a few pieces. The third film, commonly referred to as The Golem as well, released in 1920, is a prequel and is the most well known, in part because the whole thing is intact. It also happens to be my favorite German Expressionist horror film from that timeframe. Aside from that notable early movie, the magically-created creature has been mainly out of the popular culture sphere. It has shown up on occasion in a random horror movie here, an X-Files episode there, or in a book every once in a while, but compared to its other terror-inducing brethren, it is not as well known or iconic. Now, thanks to horror imprint Dread (formerly Dread Central Presents) a new horror movie based around the ancient Jewish monster is being released.” Bobby LePire (read more)
The Golem is a 2018 Israeli/American supernatural horror feature film directed by Doron and Yoav Paz (JeruZalem). The movie stars Hani Furstenberg, Ishai Golan and Alex Tritenko. It was produced by Shalom Eisenbach in conjunction with Shaked Berenson and Patrick Ewald of Epic Pictures Group. (horrorpedia)
As the world around us increases in technological complexity, our understanding of it diminishes. Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world.
In reality, we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the apparent accessibility of information, we’re living in a new Dark Age.
From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.
In his brilliant new work, leading artist and writer James Bridle surveys the history of art, technology, and information systems, and reveals the dark clouds that gather over our dreams of the digital sublime. (VERSO)
man always makes it clear to himself: “You are using things which have the intention of not being penetrable.” 1180