Yun Chen Hsu

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on the atlas · 31

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They spread pleasure or death threats, conspiracy theories or bootlegs, resistance or stultification.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
This aura is no longer based on the permanence of the “original,” but on the transience of the copy.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
Apart from resolution and exchange value, one might imagine another form of value defined by velocity, intensity, and spread
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
Poor images are thus popular images—images that can be made and seen by the many.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
Altogether, poor images present a snapshot of the affective condition of the crowd, its neurosis, paranoia, and fear, as well as its craving for intensity, fun, and distraction.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
The networks in which poor images circulate thus constitute both a platform for a fragile new common interest and a battleground for commercial and national agendas. They contain experimental and artistic material, but also incredible amounts of porn and paranoia. While the territory of poor images allows access to excluded imagery, it is also permeated by the most advanced commodification techniques. While it enables the users’ active participation in the creation and distribution of content, it also drafts them into production. Users become the editors, critics, translators, and (co-)authors…
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
the development of video technology will jeopardize the elitist position of traditional filmmakers and enable some sort of mass film production: an art of the people.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
While some nation states are dismantled or fall apart, new cultures and traditions are invented and new histories created. This obviously also affects film archives—in many cases, a whole heritage of film prints is left without its supporting framework of national culture.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
Poor images are the contemporary Wretched of the Screen, the debris of audiovisual production, the trash that washes up on the digital economies’ shores.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
It often defies patrimony, national culture, or indeed copyright.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
a lumpen proletarian in the class society of appearances, ranked and valued according to its resolution. The poor image has been uploaded, downloaded, shared, reformatted, and reedited. It transforms quality into accessibility, exhibition value into cult value, films into clips, contemplation into distraction. The image is liberated from the vaults of cinemas and archives and thrust into digital uncertainty, at the expense of its own substance.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
Its quality is bad, its resolution substandard. As it accelerates, it deteriorates.
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
The poor image is a copy in motion
In Defense of the Poor Image - Journal #10 November 2009 - e-flux
So Gainsborough’s portrait hangs near one of Sancho’s own coruscating letters: “I am Sir an Affrican – with two ffs – if you please.” And Turner’s paintings of tumultuous oceans, in which so many lives would be lost on horrific transatlantic slave voyages, appear alongside Ellen Gallagher’s apparently abstract paintings, in which tiny details prove to be drowning limbs and faces.
Entangled Pasts: Art, Colonialism and Change review – the most radical show in the RA’s history | Art | The Guardian
A key to these figures is supplied; and it remains, alas, necessary. Which goes to a question almost imperceptibly raised at the very start of this show.
Entangled Pasts: Art, Colonialism and Change review – the most radical show in the RA’s history | Art | The Guardian
using the art and its subjects – spanning 250 years, from Turner to Lubaina Himid – rather than the wall texts to shock and enlighten
Entangled Pasts: Art, Colonialism and Change review – the most radical show in the RA’s history | Art | The Guardian
A whole gallery of Black subjects: this has never happened at the Royal Academy before. It is an ideal start to the most dramatic, enthralling and radical exhibition to jolt the RA out of its 256-year history.
Entangled Pasts: Art, Colonialism and Change review – the most radical show in the RA’s history | Art | The Guardian
Throughout the exhibition, contemporary artists of colour, like Marshall, stand in for the erased artists and voices of the past.
Is the Royal Academy's 'Entangled Pasts' exhibition radical? Yes—for the Royal Academy
The historical art is judiciously selected to shock.
Entangled Pasts: Art, Colonialism and Change review – the most radical show in the RA’s history | Art | The Guardian
This is creative, absorbing and highly intelligent: ideas embodied through art itself rather than via the deadening wall texts that instruct us round similar shows. For there have been other such institutional self-interrogations of late, including last year’s rehang of Tate Britain in the light of its foundations in colonial slavery. Nothing in that reorganisation, however, is quite so devastatingly direct as the triangulation of three works in the gallery here devoted to whiteness.
Entangled Pasts: Art, Colonialism and Change review – the most radical show in the RA’s history | Art | The Guardian
The section entitled ‘Beauty and Difference’ examines aesthetic norms through the mass media of the day. By looking at representations of Black and Brown bodies, the visual language of the Abolitionist movement, and how far-flung colonial spaces were represented, we learn a lot about the people and politics which created these images.
Entangled Pasts, 1768-now - Royal Academy, London – Salterton Arts Review
Reader, I was not disappointed.
Entangled Pasts, 1768-now - Royal Academy, London – Salterton Arts Review
Wiley is subverting the traditions of European portraiture, challenging who gets to be portrayed as noble and virtuous. Is the exhibition radical? Yes and no. Objectively, there’s nothing radical about saying that British artists living in the age of empire produced work that erased the horrors of slavery and imperial expansion—it’s just stating the obvious. However, stating the obvious is something that the RA has not done for most of its existence, so Entangled Pasts is a radical exhibition for the RA.
Is the Royal Academy's 'Entangled Pasts' exhibition radical? Yes—for the Royal Academy
The juxtaposition works. It gives each room a tension that would be lacking if the exhibition was arranged purely chronologically. The works produced by academicians of the past were mostly the art of the establishment. There are a lot of portraits of rich white people dressed in sumptuous clothing.
Is the Royal Academy's 'Entangled Pasts' exhibition radical? Yes—for the Royal Academy
This is humanism, because we remind man that there is no legislator but himself; that he himself, thus abandoned, must decide for himself; also because we show that it is not by turning back upon himself, but always by seeking, beyond himself, an aim which is one of liberation or of some particular realisation, that man can realize himself as truly human.
Existentialism is a Humanism, Jean-Paul Sartre 1946
The one thing that counts, is to know whether the invention is made in the name of freedom.
Existentialism is a Humanism, Jean-Paul Sartre 1946
In every purpose there is universality, in this sense that every purpose is comprehensible to every man.
Existentialism is a Humanism, Jean-Paul Sartre 1946
These limitations are neither subjective nor objective, or rather there is both a subjective and an objective aspect of them. Objective, because we meet with them everywhere and they are everywhere recognisable: and subjective because they are lived and are nothing if man does not live them – if, that is to say, he does not freely determine himself and his existence in relation to them. And, diverse though man’s purpose may be, at least none of them is wholly foreign to me, since every human purpose presents itself as an attempt either to surpass these limitations, or to widen them, or else to…
Existentialism is a Humanism, Jean-Paul Sartre 1946
what never vary are the necessities of being in the world, of having to labor and to die there.
Existentialism is a Humanism, Jean-Paul Sartre 1946
By his condition they understand, with more or less clarity, all the limitations which a priori define man’s fundamental situation in the universe.
Existentialism is a Humanism, Jean-Paul Sartre 1946
although it is impossible to find in each and every man a universal essence that can be called human nature, there is nevertheless a human universality of condition.
Existentialism is a Humanism, Jean-Paul Sartre 1946
the intimate discovery of myself is at the same time the revelation of the other as a freedom which confronts mine, and which cannot think or will without doing so either for or against me.
Existentialism is a Humanism, Jean-Paul Sartre 1946
The other is indispensable to my existence, and equally so to any knowledge I can have of myself.
Existentialism is a Humanism, Jean-Paul Sartre 1946
Our aim is precisely to establish the human kingdom as a pattern of values in distinction from the material world.
Existentialism is a Humanism, Jean-Paul Sartre 1946
an ethic of action and self-commitment
Existentialism is a Humanism, Jean-Paul Sartre 1946
Quietism is the attitude of people who say, “let others do what I cannot do.” The doctrine I am presenting before you is precisely the opposite of this, since it declares that there is no reality except in action.
Existentialism is a Humanism, Jean-Paul Sartre 1946
In reality, things will be such as men have decided they shall be. Does that mean that I should abandon myself to quietism? No. First I ought to commit myself and then act my commitment, according to the time-honoured formula that “one need not hope in order to undertake one’s work.” Nor does this mean that I should not belong to a party, but only that I should be without illusion and that I should do what I can. For instance, if I ask myself “Will the social ideal as such, ever become a reality?” I cannot tell, I only know that whatever may be in my power to make it so, I shall do; beyond tha…
Existentialism is a Humanism, Jean-Paul Sartre 1946
I cannot count upon men whom I do not know, I cannot base my confidence upon human goodness or upon man’s interest in the good of society, seeing that man is free and that there is no human nature which I can take as foundational.
Existentialism is a Humanism, Jean-Paul Sartre 1946
we should act without hope.
Existentialism is a Humanism, Jean-Paul Sartre 1946
we limit ourselves to a reliance upon that which is within our wills, or within the sum of the probabilities which render our action feasible.
Existentialism is a Humanism, Jean-Paul Sartre 1946
That is what “abandonment” implies, that we ourselves decide our being. And with this abandonment goes anguish.
Existentialism is a Humanism, Jean-Paul Sartre 1946
You are free, therefore choose, that is to say, invent. No rule of general morality can show you what you ought to do: no signs are vouchsafed in this world.
Existentialism is a Humanism, Jean-Paul Sartre 1946
Dostoevsky once wrote: “If God did not exist, everything would be permitted”; and that, for existentialism, is the starting point. Everything is indeed permitted if God does not exist, and man is in consequence forlorn, for he cannot find anything to depend upon either within or outside himself. He discovers forthwith, that he is without excuse.
Existentialism is a Humanism, Jean-Paul Sartre 1946
It does not prevent their acting, on the contrary it is the very condition of their action, for the action presupposes that there is a plurality of possibilities, and in choosing one of these, they realize that it has value only because it is chosen.
Existentialism is a Humanism, Jean-Paul Sartre 1946
ask oneself what would happen if everyone did as one is doing;
Existentialism is a Humanism, Jean-Paul Sartre 1946
Not that he is simply what he conceives himself to be, but he is what he wills, and as he conceives himself after already existing – as he wills to be after that leap towards existence. Man is nothing else but that which he makes of himself. That is the first principle of existentialism.
Existentialism is a Humanism, Jean-Paul Sartre 1946
existence comes before essence
Existentialism is a Humanism, Jean-Paul Sartre 1946
two kinds of existentialists
Existentialism is a Humanism, Jean-Paul Sartre 1946
Indeed their excessive protests make me suspect that what is annoying them is not so much our pessimism, but, much more likely, our optimism. For at bottom, what is alarming in the doctrine that I am about to try to explain to you is – is it not? – that it confronts man with a possibility of choice. To verify this, let us review the whole question upon the strictly philosophic level.
Existentialism is a Humanism, Jean-Paul Sartre 1946