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⊖no windows

⊖no windows

see also the arrows works by Gordon Matta-Clark, shown here, which don't resemble those of another artist known for arrows, for example, Tàpies, whose textures are rough, Whiteread, who fills a lived volume, Matta-Clark, whose most well-known work is severed and cut, something it is said to do

① what part of words fall within bodily perception?

① what part of words fall within bodily perception?

theory

Bergson, Deleuze & Cinema (to be contd.)

Bergson, Deleuze & Cinema (to be contd.)

Enduring Dreams: a note on cinematic time CINEMATIC TIME In their introduction to Henri Bergson: Key Writings, Bloomsbury 2021, John Ó Maoilearca and Keith Ansell Pearson offer in answer to Bergson’s solution to Zeno’s paradoxes Bertrand Russell’s own: A cinematograph in which there are an infinite number

freedom, distraction, the interval & emotion

freedom, distraction, the interval & emotion

Minus workshop 7, part 1: naturalism / gesture

Minus workshop 7, part 1: naturalism / gesture

Thus, the AI on embodied perception in Minus Theatre

Thus, the AI on embodied perception in Minus Theatre

human virtual multiplicity and AI’s singular expectancy

human virtual multiplicity and AI’s singular expectancy

a tree imagines it's a tree

a tree imagines it's a tree

"We are allowing the proliferation of a technology which will not destroy humanity but will destroy its thought."

"We are allowing the proliferation of a technology which will not destroy humanity but will destroy its thought."

journal

in the library, in the hood, in the mall, in the park

in the library, in the hood, in the mall, in the park

disembarking the blue line at the station designated and dedicated to the National Library I circumnavigated the building looking for an opening, a revolving door, a be-thobed figure approached, and, on the strength of Jo's experience of being asked for academic credentials to become a library member, I

outside the palace inside the museum cats & chairs

outside the palace inside the museum cats & chairs

in the hood, as sahafa.

in the hood, as sahafa.

on the street & at the game: النصر

on the street & at the game: النصر

Boulevard City, Riyadh, the Western consensus & the hypocritical oaf

Boulevard City, Riyadh, the Western consensus & the hypocritical oaf

shoe shopping night swimming

shoe shopping night swimming

KSA's 30 years of reunification 1902–1932, Al Masmak most resembles a castle, & stinky cycling

KSA's 30 years of reunification 1902–1932, Al Masmak most resembles a castle, & stinky cycling

poetry

what do you want to say, Shirley*

what do you want to say, Shirley*

It's so quiet here and although a force of light and love has left the world I can't hear any laughter the loved one died and everything she touched is distant Shirley kept her in a plastic bag which we planted under a tree when our

some lines after Jim Moore*

some lines after Jim Moore*

moieties*

moieties*

A Piece of Fabric, Tell it to the birds & lying in long grass - for my parents

A Piece of Fabric, Tell it to the birds & lying in long grass - for my parents

enantiomorphosis: the messianic | Danaë, or resistance

enantiomorphosis: the messianic | Danaë, or resistance

a journey (2016)

a journey (2016)

fr. Sweetheart, over____ (2006)

fr. Sweetheart, over____ (2006)

otherwriting

moving image: theory | context: lecture 10

moving image: theory | context: lecture 10

The last lecture raises two questions. One of them I hope to have made at least a partial answer to by the end of this lecture. One of them will be left more or less open. The question of the assassination by visual effects, CGI, of film: sounds criminal. But

moving image: theory | context: lecture 9

moving image: theory | context: lecture 9

moving image: theory | context: lecture 8

moving image: theory | context: lecture 8

moving image: theory | context: lecture 7

moving image: theory | context: lecture 7

moving image: theory | context: lecture 6

moving image: theory | context: lecture 6

moving image: theory | context: lecture 5

moving image: theory | context: lecture 5

moving image: theory | context: lecture 4

moving image: theory | context: lecture 4