timespace coordinates: 1945 seaside town of O’Hare, CaliforniaLittle Boy is a 2015 (Mexico | USA) World War II war-drama film directed by Alejandro Gómez Monteverde. The film stars Jakob Salvati, Emily Watson, David Henrie, Cary-Hiroyuki Tagawa, Michael Rapaport, Ben Chaplin, Eduardo Verástegui, Ted Levine, Abraham Benrubi, and Tom Wilkinson. The title is a reference to Little Boy, the code name for the atomic bomb dropped on Hiroshima, as well as a reference to the main character Pepper’s height. (wiki)
The Pianist is a 2002 biographical drama film produced and directed by Roman Polanski, scripted by Ronald Harwood, and starring Adrien Brody. It is based on the autobiographical book The Pianist, a Holocaust memoir by the Polish-Jewish pianist and composer Władysław Szpilman, a Holocaust survivor. The film was a co-production of France, the United Kingdom, Germany, and Poland.
The story had deep connections with director Roman Polanski because he escaped from the Kraków Ghetto as a child after the death of his mother. He ended up living in a Polish farmer’s barn until the war’s end. His father almost died in the camps, but they reunited after the end of World War II. (wiki)
timespace coordinates: a tour of the Deep South, 1962Green Book is a 2018 American biographical comedy-drama film directed by Peter Farrelly. Set in 1962, the film is inspired by the true story of a tour of the Deep South by Jamaican–American classical and jazz pianist Don Shirley (Mahershala Ali) and Italian-American bouncer Tony Vallelonga (Viggo Mortensen) who served as Shirley’s driver and bodyguard.
The film was written by Farrelly, Brian Hayes Currie and Vallelonga’s son, Nick Vallelonga, based on interviews with his father and Shirley, as well as letters his father wrote to his mother. The film is named after The Negro Motorist Green Book, a mid-20th century guidebook for African-American travelers written by Victor Hugo Green, to help them find motels and restaurants that would accept them at a time of widespread racial segregation and sunset towns. (wiki)
◊ The notion of a black secret technology allows Afrofuturism to reach a point of speculative acceleration. ◊ Blaccelerationism proposes that accelerationism always already exists in the territory of blackness, whether it knows it or not. ◊ Sinofuturism is a darkside cartography of the turbulent rise of East Asia; It connects seemingly heterogeneous elements onto the topology of planetary capitalism. ◊ Shanghai futurism ultimately depends on breaking free from the now common assumption about the nature of time. ◊ T he unfolding story of Gulf Futurism is a strange mitosis happening out of the sight of the master planners and architects; it’s the splitting of worlds, of then and later, us and them, real and unreal. ◊ The Dubaification of the world is already a thing of the present and the recent past, and has completed its ideological mission at lightning speed.
“The purpose of racism is to control the behaviour of white people, not Black people. For Blacks, guns and tanks are sufficient” Otis Madison
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