the pitiless repetition of cruel and crude acts of representation to extract maximum virtual profit
However widespread and ubiquitous its effects, virtualization today is almost always and everywhere construed and undertaken from the perspective of actuality. … In the Theatre of Cruelty, by contrast, action can never be measured, either positively or negatively, in terms of actuality. Virtualization, as a defining characteristic of the plague, no
critique of theatre: a representation of theatre as essentially colonial, its crisis
The critique would run like this: the New Zealand theatre is an aspect, a symptom, and an emblem, of colonial culture. In a way, it’s worse than poetry, because it’s expensive. It costs more money for its ephemeral productions than it does to publish the slim volume of
in the key of red
Thoughtfully tucked away in The Business Herald insert, The Insider reports:
Lessons for politicians, No. 1: Learn a little about your audience before you open your mouth. When John Key and National’s Manurewa candidate, Cam Calder, visited the former Homai College (now the Blind and Low Vision Education Network)
The Social Studio is where what happens happened
Artur Żmijewski’s show is covered by we make money not art. The blog talks about two works by the Polish artist. One is a recreation of a scientific study at Stanford to find out what happens to good people in an evil environment. Students volunteered to act, some playing
the missing rhyme reversed
– image [my inversion] courtesy Maurits Cornelis Escher (1898-1972)
IV.vi
This cold grey sea is the sea of my desire. It churns, roils, spumes. It metastasizes. It whorls, gullies, swells. It is grey. It has its own light, a homeostatic lucency. If you were a helicopter, if you were a gull, looking at the swell, you’d see two things.