Dec. 12 2017 | High Speed |
You will not be able to stay home, brother
You will not be able to plug in, turn on and drop out
You will not be able to lose yourself on skag and
Skip out for beer during commercials
Because the revolution will not be televised
Gil Scott-Heron, 1970
– “Please wait, a technical support agent will answer your query… In order to optimize the quality of our services, this call is likely to be recorded” (soul-funk music in the background)
– Bouygues Télécom customer service, hello, how may I help you?
– Hello, I’m calling because the Wi-Fi at my house keeps cutting out. I hardly get more than a quarter of an hour or twenty minutes using the net before it cuts out again. I have to keep reconnecting all the time. (Just at that moment a programme comes up on the television with the title ‘Man did not actually walk on the Moon’, the main evidence to support the argument being that, in the famous televised images of the event, the only stars to be seen were not in the sky but on the flag of the United States).
– I understand the problem, Mr. Montazami. We’re going to do a few checks.
Chloe Dewe Mathews, Crude oil bath, 2010, from the series Caspian: the Elements. The artist’s book Caspian:the Elements will be published by Aperture / Peabody Press in 2018, including text by Morad Montazami. http://www.chloedewemathews.com/
“What if man hadn’t found oil,
but oil had found man?” Fritz Leiber
Nov. 30 2017 | Little planet |
Vincent-Mansour Monteil, Iran, Chris Marker (ed.), Paris, Éditions du Seuil, series Petite Planète (“Small World”) n° 13, 1957, p. 184-185. Photos Atlas-photo. All rights reserved.
The small book Iran, appeared in 1957 under the imprint of Editions du Seuil. It was number 13 in the series Petite Planète (“Small World”), a series of travel guides edited by Chris Marker, who, though largely unknown as a filmmaker at the time, displayed a disconcerting spirit of inventiveness in the book. He handled the Iranian iconography like a film editor, tackling the layout of the book the way a film editor would approach the rushes of a film on the editing table. Marker offered his readers a plethora of dazzling analogies and elective affinities between ancient Iran and modern Iran, historical documents and street photography (including a popular iconography of drawings, advertisements, caricatures and so on), ethnographic discourse and a critique of exoticism. He had no scruples about witty comments or puns to describe the pictures, or applying his unbridled taste for anachronism, incongruity, and the astonishing.
INFRASTRUCTURE OF OIL / INFRASTRUCTURES OF ART HISTORY. CONGRUENT NUMBERS AND CONSTELLATIONS OF ARAB AND IRANIAN CITIES. TAXONOMY: MIDDLE EAST, WESTERN ASIA, AFRO-ARAB AREA, POST-OTTOMAN, TRANSMEDITERRANEAN. TOPOGRAPHICAL HYPOTHESIS. DISCOVER A FIELD OF INFRASTRUCTURES GOVERNING THE FLOWS OF UNARCHIVED TRAJECTORIES. FIND THE CULPRITS. FRAME EFFUSIVENESS. MANAGEMENT OF AESTHETIC AND GEOLOGICAL DATA STOCKS. WRITE A NOVEL IN THE FOOTNOTES OF AN ARCHAEOLOGICAL EXCAVATION REPORT. EXPLORE BOOK METAPHORS / THE WORLD AS A BOOK / TRAVEL AS A BOOK / POLITICS AS A BOOK. HISTORY OF ART AS ART OF HISTORY. LIBRARY MONUMENTS AND URBAN CHARTS: ALGORITHMS, CALLIGRAPHY, CRYSTALS. HOW DO YOU WRITE THE BIOGRAPHY OF AN ARTIST WHO HAS SPENT MORE TIME IN PORTS OF CALL THAN SAFELY HOME? PARIS. THINK OUTWARDLY. OIL. OPEN UP A FIELD. INVENT THE RESEARCH.