Remote Playlist: 18-24 May 2020
Vdrome 186: Danaya Chulphuthiphong’s Demos, Floraphilia – Revolution of Plants, Krach der Roboter Live streaming, Between Bridges’ 2020 Solidarity.
Troubles
This morning a spider greeted me from the Tsing printout. I had gone to bed with her quote: “We are stuck with the problem of living despite economic and ecological ruination. Neither tales of progress nor of ruin tell us how to think about collaborative survival. It is time to pay attention to mushroom picking. Not that this will save us – but it might open our imaginations.”
Remote Playlist: 11-17 May 2020
Since Februar 2020 Covid-19: Ein Virus bedroht die Welt RiffReporter There are many reasons to read RiffReporter, a “lively quality journalism” cooperative project in German language. The one I want to write about today is one of their thematic series...
Remote Playlist: 28 April – 3 May 2020
Since April 2020 ETAT Netlabel Stefan Juster aka Jung an Tagen, musician and media artists based in Vienna, has just started a new label, ETAT, that will release “dissociative, psychoacoustic, computer music”. All releases will be free to download on...
Remote Playlist: 21-26 April 2020
Since 24 March 2020 Video readings series by Armin Lorenz Gerold IGTV Since March 24, artist and composer Armin Lorenz Gerold has been publishing on his IGTV channel a video series whose recurring elements are a short and dense text...
Editorial Occulto 6: Life
While the Anthropocene is still waiting for its “golden spike”, we can turn our attention to the less sensational yet enlightening story of early-modern seasonal cod fishery in Newfoundland, and to its teachings about the complexity and long-lasting effects of human-animal-plant interplay.
Editorial Occulto Issue h
Occulto Issue h ends with an army of human-robot hybrid creatures going out of control and attacking humans, but don’t panic: it’s only fiction, science fiction, just like Asimov’s Laws of Robotics.
Il Cinema Ritrovato 2018
This year the festival started with a bang: on the opening night, Martin Scorsese himself introduced the crowd on Piazza Maggiore to the screening of that masterpiece of Mexican melodrama, and personal cult of mine, that is Emilio Fernandez’s Enamorada (1946).