Deconstructing Harry, directed by Woody Allen (1997).
“Wer Gemälde wirklich sehen will, geht ja schließlich auch ins Museum,” Frankfurter Allgemeine Zeitung, June 14, 2007. Conversation between Harun Farocki and Alexander Horwath.
Sven Lütticken’s excellent text “Viewing Copies: On the Mobility of Moving Images,” in e-flux journal, no. 8 (May 2009), drew my attention to this aspect of poor images. See →.
Thanks to Kodwo Eshun for pointing this out.
Of course in some cases images with low resolution also appear in mainstream media environments (mainly news), where they are associated with urgency, immediacy, and catastrophe—and are extremely valuable. See Hito Steyerl, “Documentary Uncertainty,” A Prior 15 (2007).
Hito Steyerl, “Politics of the Archive: Translations in Film,” Transversal (March 2008), →.
From correspondence with the author via e-mail.
See Paolo Virno, A Grammar of the Multitude: For an Analysis of Contemporary Forms of Life (Cambridge, MA: MIT Press, 2004).
See Alex Alberro, Conceptual Art and the Politics of Publicity (Cambridge, MA: MIT Press, 2003).
See Félix Guattari, “Capital as the Integral of Power Formations,” in Soft Subversions (New York: Semiotext(e), 1996), 202.
All these developments are discussed in detail in an excellent text by Simon Sheikh, “Objects of Study or Commodification of Knowledge? Remarks on Artistic Research,” Art & Research 2, no. 2 (Spring 2009), →.
See also Alan Sekula, “Reading an Archive: Photography between Labour and Capital,” in Visual Culture: The Reader, ed. Stuart Hall and Jessica Evans (London/New York: Routledge 1999), 181–192.
See Alberro, Conceptual Art and the Politics of Publicity.
The Pirate Bay even seems to have tried acquiring the extraterritorial oil platform of Sealand in order to install its servers there. See Jan Libbenga, "The Pirate Bay plans to buy Sealand," The Register, January 12, 2007, →.
Dziga Vertov, “Kinopravda and Radiopravda,” in Kino-Eye: The Writings of Dziga Vertov, ed. Annette Michelson (Berkeley: University of California Press, 1995), 52.
Vertov, “Kinopravda and Radiopravda,” 52.
At least from the perspective of nostalgic delusion.
An earlier version of this text was improvised in a response at the “Essayfilm—Ästhetik und Aktualität” conference in Lüneburg, Germany, organized by Thomas Tode and Sven Kramer in 2007. The text benefitted tremendously from the remarks and comments of Third Text guest editor Kodwo Eshun, who commissioned a longer version for an issue of Third Text on Chris Marker and Third Cinema to appear in 2010 (co-edited by Ros Grey). Another substantial inspiration for this text was the exhibition “Dispersion” at the ICA in London (curated by Polly Staple in 2008), which included a brilliant reader edited by Staple and Richard Birkett. The text also benefitted greatly from Brian Kuan Wood’s editorial work.