#swr critique

[infinimin2]

Because of the sequels, everything we see the Specters fight for feels pointless. Like it was for nothing. And yes, Hera deserves her family back!

It kinda feels like a lot of us are still working out our final feelings about Star Wars Rebels. I mean, I’ve seen a resurgence of art, and fic, and meta–especially meta related to the finale–crossing my dash recently. Or maybe by “a lot of us” I just mean me. I’m still working out my final feelings about Star Wars Rebels. I’m not on board with the Filoni-hate, I’ll say that up front. It feels too similar to the personal slagging David Gaider or Jennifer Hepler endured in the Dragon Age fandom (from two different factions, but similar in viciousness). I feel nothing but love and gratitude towards the Rebels creative team. I miss “Rebels Recon” something fierce, god, I have so much affection for Pablo Hidalgo and Andi Gutierrez and the whole team. I think they all put their heart in the work and did their best to make something the fans would love. I also think that, empirically, they did not succeed. The show failed to attract a large audience, and of the audience it garnered, a significant portion feels angry and betrayed by the ending. I feel angry and betrayed by the ending. Not angry at Filoni or anyone else. Just…just angry, that this is the best they could do for us. The best they could do for Hera, the happy ending for her being a hard life of single parenthood on the front lines of battle. The best they could do for Kanan, a glorious death in sacrifice. The best they could do for the entire galaxy, imagining a war in stasis, that endlessly repeats and loops, different generation but same beats, loss compounded upon loss compounded upon loss. This is…this is the “hope” you promised us? Ultimately this story rendered me more cynical and despairing at the end of it than I was going in. And that’s what I think about Star Wars Rebels.

[swwebels]

I keep thinking about sabine growing up in that grey house.... i hope they found her a wall to draw on eventually

[frdaejeon]

바흐 무반주 컬렉션 II_첼리스트 쟝-기엔 케라스 / Récital de violoncelle de Jean-Guihen Queyras

바흐 무반주 컬렉션 II_첼리스트 쟝-기엔 케라스 Jean-Guihen Queyras sera à Daejeon le 14 octobre dans le cadre d’une série de concerts dédiés à Bach.

공연구분 : 기획공연 공연기간 :  2017년 10월 14일(토) 공연시간 : 15:00 공연장소 : 대전예술의전당 앙상블홀                   Daejeon Art Center 

                                                                    http://www.djac.or.kr/html/kr/performance/performance_010101.html?mode=V&code=2378

이 시대 최고의 거장들이 들려주는 바흐 무반주 음악의 진수, 2017 바흐 무반주 컬렉션! BACH SOLO II, 바흐 무반주 첼로 모음곡 전곡 연주

2016년 젊은 거장들에 이어 2017년 <바흐 무반주 컬렉션 BACH SOLO>은 이 시대 최고의 경륜 있는 거장들의 무대로 소개할 예정이다. 시대를 넘나드는 통찰력, 광범위한 레퍼토리를 자랑하는 첼리스트 쟝 기엔 케라스(Jean-Guihen Queyras)가 두 번째 무대의 주인공으로, 특히 2007년 출시한 『바흐 무반주 첼로 모음곡』은 ‘황금 디아파종상’과 ‘르 몽드 드 라 뮈지크’상 등을 수상하며 명반으로 호평 받았다. 이미 2015년 ‘국제바흐페스티벌’에서 무반주 첼로 모음곡 전곡을 연주해 음반에 이어 실황에서도 명성을 입증한 쟝 기엔 케라스의 우아한 바흐를 확인 할 수 있는 시간이 될 것이다.

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// 쟝-기엔 케라스  / Jean-Guihen Queyras

쟝-기엔 케라스는 특출한 음악적 재능과 진실성을 두루 겸비한 현재 최고의 전성기를 구가하고 있는 첼리스트 중 한 명이다. 그는 세계 유수의 오케스트라들과 지휘자들 사이에서 수 차례 러브콜을 받고 있는 협연자이자 실내악과 솔로 무대에서도 종횡무진 활동하고 있는 다재 다능한 연주자로 그가 표현해 낼 수 있는 음악의 범위는 한계가 없을 정도로 넓다.

세계적인 오케스트라와의 협연무대 쟝-기엔 케라스는 프란츠 브뤼헨(Franz Bruggen), 귄터 헤르비히(Gunther Herbig), 이반 피셔(Ivan Fisher), 필립 헤레베헤(Philippe Herreweghe), 이리 벨로흘라베크(Jiri Belohlavek), 올리버 너센 (Oliver Knussen), 로저 노링턴 경(Sir Roger Norrington) 등의 지휘로 필하모니아 오케스트라(The Philharmonia), 파리 오케스트라(Orchestre de Paris), NHK 심포니 오케스트라(NHK Symphony), 도 쿄 심포니 오케스트라(Tokyo Symphony), 필라델피아 오케스트라(The Philadelphia), 취리히 톤할레 오케스트라(Tonhalle Orchester Zurich), 라이프치히 게반트하우스 오케스트라(Leipzig Gewandhaus), 부다페스트 페스티벌 오케스트라(Budapest Festival Orchestra), 스위스 로망드 오케스트라 (Orchestre de la Suisse-Romande), 네덜란드 필하모닉 오케스트라(Netherlands Philharmonic) 등 세계 최고의 오케스트라들과 협연하였으며, 프라이부르크 바로크 오케스트라(Freiburg Baroque), 베를린 고음악 아카데미(Akadamie fur Alte Musik Berlin) 같은 여러 고음악 앙상블들과 정기적으 로 협연해 왔고, 2004년 3월에는 콘체르��� 쾰른(Concerto Koln)과 뉴욕 카네기홀 데뷔 무대를 치 른바 있다.

현대 레퍼토리에 대한 무한한 애정 그의 광범위한 레퍼토리는 수많은 현대 작품들은 포함하는데, 레너드 슬래트킨(Leonard Slatkin) 의 지휘로 프랑스 국립 오케스트라(Orchestre National de France)와 Ivan Fedele의 첼로 협주곡을, 도쿄 산토리 홀에서 도쿄 심포니 오케스트라(Tokyo Symphony Orchestra)와 질베르 아미(Gilbert Amy)의 첼로 협주곡을 세계 초연했다. 또한, 자르브뤼켄 라디오 심포니 오케스트라(the Saarbrucken Radio Sinfonieorchester)와 브루노 만토바니(Bruno Mantovani)의 첼로 협주곡을, SWR 프라이부르크-바덴바덴 심포니 오케스트라와(the SWR Sinfonieorchester Baden-Baden und Freiburg) 필립 쉘러(Philippe Schoeller)의 Wind’s Eyes를 초연하고 녹음했다. 그는 또한 12/13 시즌에 Michael Jarrell의 새로운 첼로 협주곡을 우타, 리옹, 룩셈브룩, 스위스 로망에서 초연할 예정이다.

솔로이스트이자 실내악 연주자로서 활발한 연주활동 한편, 솔로 레퍼토리에 초점을 맞추고 있는 그는 ‘Six Suites, Six Echos’ 라는 프로젝트를 창안했는데, 이는 쟝-기엔 케라스가 6명의 현대 작곡가들 (쿠르탁, 하비, 모치즈키, 에이미, Nodaira & Fedele) 에게 바흐의 6개의 첼로 무반주 모음곡을 각각 상기시켜 곡을 쓰도록 위촉한 특별 프로젝트로 그들이 작곡한 현대곡과 바흐의 곡을 커플링하여 파리의 ‘씨테 드라 무지크’, 함부르크의 ‘무지크할레’, 베를린의 콘체르트하우스 같은 유명 극장에서 연주하기도 하였다.

또한, 그는 2008년 하이든을 연주해 만장일치의 극찬을 받으며 BBC 프롬스 데뷔 무대를 치뤘고, 올드버러 페스티벌(Aldeburgh Festival)에서도 정기적으로 연주해 왔다. 또한, 정기적인 실내악 파트너로 피아니스트 알렉산더 멜니코프와 알렉상드르 타로 그리고 바이올리니스트 이자벨 파우스트와 오랫동안 호흡을 맞춰왔다. 그는 타베아 짐머만(Tabea Zimmermann), Antje Weithaas 그리고 다니엘 제페크(Daniel Sepec)와 함께 아르칸토 콰르텟(Arcanto Quartet)의 멤버로 활동하기도 하였으며, 타악기인 자르브(Zard) 스페셜리스트 Kevan과 Bijan Chemirani과도 정기적으로 연주해 오고 있다.

아모니아 문디의 간판 첼리스트 쟝-기엔 케라스는 수많은 음반을 아모니아 문디에서 발매했는데, 그 중 가장 성공작은 2008년에 녹음한 바흐 무반주 첼로 모음곡 음반으로 ‘황금 디아파종 상’, 르 몽드 드라 뮈지크 ‘쇼크 상’ 수상, 및 ‘디아파종 이달의 음반’으로 선정되는 등 극찬을 받았고, 최근 발매 된 피아니스트 알렉상드르 타로와 함께 녹음한 드뷔시-풀랑크 음반 역시 2008년 ‘황금 디아파종 상’을 수상하였으며, 2010년에는 21세기 첼로 협주곡만 모아서 녹음한 음반을 발매하기도 하였다. 이전에 발매된 음반으로 알렉상드르 타로와 녹음한 베르크와 베베른의 곡들과 함께 슈베르트 아르페지오네를 녹음한 음반은 그라모폰 에디터스 초이스, BBC 뮤직 매거진과 스트라드지가 선정한 최우수 실내악 음반으로 뽑혔으며, 이리 벨로흘라베크(Jiri Belohlavek) 지휘로 프라하 필하모닉과 함께 녹음한 드보르작 첼로 협주곡 음반은 2005년 11월 BBC 라디오3의 ‘이 주의 음반’으로 선정되기도 하였다. 또한, 시대 악기로 프라이부르크 바로크오케스트라와 함께 녹음한 결정반인 하이든과 몬의 첼로 협주곡 음반은 인디펜던트 선데이지와 텔레그라프에서 찬사를 받은 바 있다.

쟝-기엔 케라스는 앙상블 앵테르콩탱포랭의 솔로 첼리스트로 활동하면서 피에르 불레즈가 지휘한 리게티 첼로 협주곡 음반(DG)으로 그라모폰상 현대음악 부문에서 수상하였고, 뒤티외의 Tout un Monde Lointain(Arte Nova/BMG)와 그라모폰상 현대음악 부분에서 수상한 불레즈의 Messagesquisse(DG)를 녹음하였다. 2002년 11월에 그는 글렌 굴드 재단에서 수여한 토론토 국제 글렌 굴드 영재상을 받았으며, (같은 해에 피에르 불레즈는 명예상을 수상했다) 최근에는 the French Classical Music Awards 에서 ‘올해의 아티스트(기악부문)’로 선정, 디아파종 매거진에서도 ‘올해의 아티스트로’로 선정되었다.

레지던스 아티스트 활동 및 후학 양성 네덜란드 위트레흐트에 있는 Muziekcentrum Vredenburg, 암스테르담 콘세르트허바우, 벨기에 겐트에 있는 De Bijloke의 레지던스 아티스트로 활동했던 쟝-기엔 케라스는 2010/11 시즌 이래 함부르크를 기반으로 하고 있는 실내악 앙상블인 앙상블 레조난츠(Ensemble Resonanz)와 함께 퀼른 필하모니에(Koln Philharmonie), 파리 뷔페 뒤 노르 극장(Theatre des Bouffes du Nord Paris), 비엔나 콘체르트 하우스(the Konzerthaus Wien) 에서도 레지던스 아티스트로 활동해왔다. (최근 이 레지던스 아티스트 활동은 2012/13년까지 연장되었다.) 또한, 2011/12와 2012/13시즌에는 네덜란드 필하모닉 오케스트라(Netherlands Philharmonic)의 레지던스 솔리스트로 활동한다.

그는 현재 독일 프라이부르크 음악대학에서 교편을 잡고 있으며, 매년 7월에 포카퀴에에서 열리는 ‘Rencontres Musicales de Haute-Provence’의 예술감독 중 한 명으로도 활동하고 있으며, 지난 2005년 11월부터 ‘프랑스 메세나 협회(Mecenat Musical Societe Generale)’에서 대여받은 1696년에 제작된 Gioffredo Cappa로 연주한다.

Jean-Guihen Queyras, né le 11 mars 1967 à Montréal au Canada, est un violoncelliste classique français.

Elu « Artiste de l’Année » par les lecteurs du Diapason et « Meilleur Soliste Instrumental » pour les Victoires de la Musique Classique en 2008, Jean-Guihen Queyras se distingue par un éclectisme musical qui lui est cher. Longtemps soliste de l’Ensemble Intercontemporain où son travail avec Pierre Boulez l’influence profondément (celui-ci le choisira d’ailleurs pour recevoir le Glenn Gould Protégé Prize à Toronto en novembre 2002).

Le répertoire joué par Jean-Guihen est à la mesure de sa curiosité musicale: il a créé les concertos d’Ivan Fedele, de Gilbert Amy, de Bruno Mantovani et de Philippe Schoeller, réunis sur un CD harmonia mundi paru au printemps 2009.  Ses récitals solos offrent un écho contemporain au répertoire plus ancien qu’il présente au Triphony Hall à Tokyo ou au Théâtre du Châtelet à Paris, comme les Suites de Bach et les Echos qu’il a commandés auprès de Kurtag, Amy, Fedele, Nodaïra, Mochizuki et Harvey sous le titre « Six Suites, Six Echos ».

Son interprétation des suites pour violoncelle seul de BACH chez harmonia mundi couronne une série d’enregistrements magistraux tels que le CD « Arpeggione » avec le pianiste Alexandre Tharaud qui a obtenu les meilleures récompenses de la presse internationale (Editor’s Choice du Gramophone, « E » (excepcional) de Scherzo, « Chamber Music Choice » pour le BBC Music Magazine et « Strad Selection »), les concertos pour violoncelle de Haydn et de Monn sur l’instrument d’époque avec le Freiburger Barockorchester qui fit l’unanimité de la critique française et internationale (Top CD – BBC Music Magazine, Diapason d’Or, CHOC du Monde de la Musique, 10 de Classica/Répertoire) et le magnifique concerto de Dvořák avec le Philharmonia de Prague sous la direction de Jiří Bělohlávek.  Il a ajouté un petit joyau de musique française (Debussy – Poulenc) dont il interprète les sonates assorties de pièces diverses avec au piano Alexandre Tharaud (Diapason d’Or de l’année 2008). Son premier enregistrement solo consacré aux suites pour violoncelle seul de Britten et suivi d’un récital « Magyar » composé d’une sélection d’œuvres de Kurtag, Veress et Kodály lui a permis d’obtenir un Diapason d’Or. Sa discographie comprend également le concerto pour violoncelle de Ligeti et Messagesquisse de Pierre Boulez (Deutsche Grammophon) et Tout un Monde Lointain…d’Henri Dutilleux réalisé avec l’Orchestre de Bordeaux-Aquitaine pour Arte Nova.

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Sources

- Daejeon Art center http://www.djac.or.kr/html/kr/performance/performance_010101.html?mode=V&code=2378

- Institut Français http://www.institutfrancais-seoul.com/ko/portfolio-item/%ec%9e%a5-%ea%b8%b0%ec%97%94-%ec%bc%80%eb%9d%bc%ec%8a%a4-%ec%b2%bc%eb%a1%9c-%eb%a6%ac%ec%82%ac%ec%9d%b4%ed%8b%80/

[reyturnofbensolo]

Ya know I’ve heard critiques that say the show’s biggest flaw is that it was made with the assumption that the audience has already seen the other shows(TCW and SWR)and to that I say…if anything Ahsoka was perfectly designed to make the viewer want to watch those other shows! If Ahsoka gets the people who don’t watch the animated series to go back and take a look then I say that’s a beautiful thing(the animated stuff is the BEST)! The absolute coolest thing about Star Wars has always been that you don’t have to experience the story in chronological order(GL started the dang thing in the middle)! The cast is so great in this. I love them!

Yeah it’s not perfect, but I freakin love this show!

bonus:

🥹

[nofomoartworld]

Hyperallergic: A Multimedia Jungle of Moving Images

After Oskar Schlemmer, “Das Triadische Ballett” (Triadic Ballet, 1970), 35mm film transferred to video, color, sound, 29 min (courtesy Global Screen, Munich, produced by Bavaria Atelier for the Südfunk, Stuttgart, in collaboration with Inter Nationes and RTB); Director: Helmut Amann; Choreography and costume designs: Oskar Schlemmer, 1922; Artistic advisors: Ludwig Grote, Xanti Schwinsky, and Tut Schlemmer (© 1970 Bavaria Atelier for SWR in collaboration with Inter Nationes and RTB)

Dreamland was one of three Coney Island amusement parks where early-20th-century audiences could experience the “technology of the fantastic,” as architect Rem Koolhaas defines it, in his 1978 book Delirious New York. More than just carousels and trampolines, the attractions exhibited on Dreamland’s grounds were so many examples of early and expanded cinema. These attractions, Koolhaas writes, could “reproduce experience and fabricate almost any sensation,” as well as “sustain any number of ritualistic performances that exorcise the apocalyptic penalty of the metropolitan condition.”

Russian writer Maxim Gorky visited the Coney Island parks in a widely publicized 1906 trip (local papers dubbed him “the Bitter One”). He collected his reflections in “Boredom,” a piece whose haughty crankiness set the tone for generations of intellectual distaste for popular culture and cinema. The spectacle of the parks, writes Gorky, “drags tens of thousands of people into its somber dance, and sweeps them into a will-less heap, as the wind sweeps the rubbish of the streets.” The nerves of the masses, he continues, are “racked by an intricate maze of motion and dazzling fire.” Mentions of fire abound in Gorky’s commentary; as he memorably concludes, the disappointing parks ultimately inspire a “desire for a living, beautiful fire, a sublime fire, which should free the people from a varied boredom.”

In May 1911, following a short circuit in the lighting system powering the “End of the World” attraction, Dreamland burned to the ground. Three years later, the space became a parking lot.

*   *   *

The short-lived Dreamland park is at once namesake, model, and muse for Dreamlands: Immersive Cinema and Art, 1905–2016, a large-scale exhibition running at the Whitney Museum in New York. Dreamlands uses immersion as a catchall for a more expansive conception of moving image art, one that cuts across time and technology, encompassing early tinkering and contemporary directions alike. Curated by Chrissie Iles, Dreamlands maps this immersive moving image art as a play of experimental sight and utopian sense, as well as a dance of light, shadow, and sound. The exhibition deftly shows how this art was — and still is — engendered and molded by its relationship with a host of different technologies, from material film to digital photogrammetry and virtual reality, from hand-drawn animation to 3D modeling, sculptures of pure light, and beyond.

Not unlike Gorky’s “intricate maze of motion and dazzling fire,” Dreamlands is a multimedia jungle teeming with droning sound and flashing light, featuring the work of almost 40 different artists, from contemporary practitioners like Hito Steyerl and Lynn Hershman Leeson to such mid-20th-century figures as Oskar Fischinger and Walt Disney.

Bruce Conner, frame enlargement from “CROSSROADS” (1976), 35mm film transferred to video, black-and-white, sound, 37 min (image courtesy Conner Family Trust and Kohn Gallery, Los Angeles; © Conner Family Trust)

Perhaps the loudest, largest, and most unambiguously immersive work on display is Bruce Conner’s “CROSSROADS” (1976). The film’s pulsating synth score, composed by Terry Riley and Patrick Gleason, has an almost gravitational pull to it. Our perception of the film’s imagery — slow-motion replays of US atomic bomb testing off the Bikini atoll — is decisively affected by the swirl of its magnetic sounds. Simply put, what otherwise would seem horrifying is instead spellbinding. Conner’s brand of hippieish Dada distorts world-historical destruction into an entrancing phantasmagoria, a sleight of hand that can’t help but seem all the more ominous today. Straightaway, Conner’s film demonstrates one of the more ambivalent qualities of immersive moving image art: a stupefaction that inhibits or melts away thought. As Gorky recounts of his Dreamland experience, “The visitor is stunned; his consciousness is withered by the intense gleam; his thoughts are routed from his mind; he becomes a particle in the crowd.”

Installation view, Dreamlands: Immersive Cinema and Art, 1905-2016 at the Whitney Museum of American Art, New York, October 28, 2016–February 5, 2017, showing Stan VanDerBeek, “Movie Mural” (1968) (photo by Ronald Amstutz)

Steve VanDerBeek’s “Movie Mural” (1968) is right around the corner from “CROSSROADS.” An early experiment in multichannel film and video installation, “Movie Mural” features 10 projectors splashing looping and flashing images of all kinds onto seven screens and the walls around them. It might be tempting to see in “Movie Mural” something like the contemporary condition of the image — a sort of rudimentary Tumblr-scape or a glitched-out Times Square. But its positioning in Dreamlands gives its significance another turn. Occupying a leaky hallway between several rooms, with sound and light pouring in from every opening, “Movie Mural” is best characterized not by immersion, but by distraction. Riley and Gleason, for example, are still in earshot, inviting us linger a little longer among mushroom plumes and atomic tidal waves.

Observing this hectic scene (one among several others in the show), we’re introduced to a theme that runs to Dreamlands’ core: there’s no such thing as immersion without distraction. A review in the Wall Street Journal begrudges the latter, noting that “some works feel lost in [Dreamlands’] dense, at times cacophonous labyrinth” — a sentiment echoed by critics elsewhere. Doubtless, Dreamlands isn’t readily allowing of contemplative appreciation of many of its individual works. Though this may be an indication of mediocre curatorial practice elsewhere, in Dreamlands, it feels very much like a deliberately manufactured effect. Here, the ghost of Coney Island’s Dreamland can be discerned in full force: if the show is packed too tightly with light and sound, it’s exactly as an exhibitionist, fairground-style cinema of attractions would be. More than a nod to a forgotten relic of popular entertainment, Dreamlands’ chaos is also reflective of a psychological state. The spaces between each artwork are animated with an ambient clamor, one analogous to the constant rustling of our always distracted, ever connected 24/7 time. This energy is broadcast in Lorna Mills’s Ways of Something, a playful, epic work that runs John Berger’s famous BBC documentary through the mesh of our weird, anxious, and sensory overloaded ecosystem.

Alex Da Corte and Jayson Musson, “Easternsports” (2014), four-channel video, color, sound, 152 min, with four screens, neon, carpet, vinyl composition tile, metal folding chairs, artificial oranges, orange scent, and diffusers; score by Devonté Hynes (collection of the artists; courtesy David Risley Gallery, Copenhagen, and Salon 94, New York). Installation view at Institute of Contemporary Art, University of Pennsylvania, 2014 (© Alex Da Corte; image courtesy the artist and Institute of Contemporary Art, University of Pennsylvania)

As it happens, many of the newer works on display in Dreamlands seem cannily aware of the inevitable threat of distraction, even guarding against it at the architectural level by snugly ensconcing audiences in their folds. “Easternsports” (2014) — a collaboration between Alex Da Corte (sets, costume, video), Jayson Musson (script), and Devonté Hynes (score) — is a four-channel, 152-minute video projected onto four walls that make up a porous, disjointed pavilion. The work’s absurdist, metronomic choreography — Tim and Eric meets Oskar Schlemmer, slowed by half — marries well with Hynes’s droning musical piece, which envelopes “Easternsports” in a sort of sonic cocoon. A more literal cocoon is presented by Ben Coonley’s “Trading Futures” (2016), perhaps the most technically adventurous work in Dreamlands. It’s a 360-degree 3D video — a sardonic “lesson” in market strategy and the dialectics of seeing — projected onto the interior of a cardboard geodesic dome.

Hito Steyerl’s “Factory of the Sun” (2015), meanwhile, is housed in a totally enclosed, darkened, motion-capture studio adorned with a Tron-like luminescent grid. Like a lot of Steyerl’s other work, “Factory” is brimming with speed, intensity, rhythm, fucked-up parody, scathing critique, and manic disorientation. Labor exploitation, surveillance, extrajudicial execution, and the future of war and policing (the two rendered almost indistinguishable) are approached via compulsively dancing YouTube bedroom celebrities decked out in full-body spandex, newscasts featuring a “German twat, full-on Fritz,” and casual references to Japanese role-playing games. Scenes of Fritz delivering a special news report are intercut with drone shots of a laborer-dancer being assassinated over and over again by the same unmanned aerial vehicle that’s filming him. Each time the worker is murdered and the video cuts back to Fritz’s commentary, the markets can be seen rising (+150, +200, and so on). “He was most probably a terrorist,” Fritz blusters. “OK, maybe … But we have to strike preliminarily. This is democracy. I can say anything I want.”

Hito Steyerl, “Factory of the Sun” (2015), high-definition video, color, sound, 22:56 min, looped, with environment, dimensions variable. Installation view, Invisible Adversaries at Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York, 2016 (Bard College, Annandale-on-Hudson, New York, Marieluise Hessel Collection; image courtesy of the artist and Andrew Kreps Gallery, New York; photo by Sarah Wilmer)

As may be evident from the small selection of works discussed here, Dreamlands is, thematically, a little all over the place; its net is cast dizzyingly wide. Seemingly every wall text introduces yet another tangle of themes: utopia and dystopia, cyborgs and science fiction, artifice and nature, image culture and patriarchal control, space and surveillance, the materiality of cinema, the extinction of this materiality, the history of seeing, the future of work. But even if it’s at times unwieldy, it’s refreshing to see a large exhibition risk such clumsiness, striving to grasp the whole of what it’s after, rather than reducing its aspects to neatly narrativized, palatable little chunks. (The conjunction of moving image art and immersion and technology is, after all, pretty expansive terrain.) This approach, moreover, only further encourages museumgoers to cleave their own paths through the exhibition and form their own stories — no two the same — yielding an interactivity more potent, if significantly less obvious, than that achieved by the desperate, gimmicky social media campaigns (Instagram this! Snapchat that! Don’t forget to use our hashtag!) regularly foisted on visitors these days. Scorning any pandering route, Dreamlands instead asks us to revel in its disorder and embrace the shape-shifting nature of moving image art’s motley forms.

Dreamlands: Immersive Cinema and Art, 1905–2016 continues at the Whitney Museum of American Art (99 Gansevoort Street, Meatpacking District, Manhattan) through February 5.

The post A Multimedia Jungle of Moving Images appeared first on Hyperallergic.

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[kingdomheartsloversstuff]

All of these points are extremely valid. Filoni promised us hope and gave us.....this. It’s not hopeful it’s depressing. I can’t watch try the last half of season 4 because it’s too depressing and I have to ask myself, what about this is hopeful? And the only thing I can think of is that it’s hopeful for fucking Ahsoka so good enough apparently, and this hurts. This wasn’t her show she shouldn’t have gotten the honor of looking for Ezra this should have been Kanan and Sabine looking for him though I don’t think he should have had to sacrifice himself like that anyways cuz at the end of the day he’s just a fucking teenager.

Sorry I got angry the ending just hurts and damn it they all deserved better.

It kinda feels like a lot of us are still working out our final feelings about Star Wars Rebels. I mean, I’ve seen a resurgence of art, and fic, and meta–especially meta related to the finale–crossing my dash recently. Or maybe by “a lot of us” I just mean me. I’m still working out my final feelings about Star Wars Rebels. I’m not on board with the Filoni-hate, I’ll say that up front. It feels too similar to the personal slagging David Gaider or Jennifer Hepler endured in the Dragon Age fandom (from two different factions, but similar in viciousness). I feel nothing but love and gratitude towards the Rebels creative team. I miss “Rebels Recon” something fierce, god, I have so much affection for Pablo Hidalgo and Andi Gutierrez and the whole team. I think they all put their heart in the work and did their best to make something the fans would love. I also think that, empirically, they did not succeed. The show failed to attract a large audience, and of the audience it garnered, a significant portion feels angry and betrayed by the ending. I feel angry and betrayed by the ending. Not angry at Filoni or anyone else. Just…just angry, that this is the best they could do for us. The best they could do for Hera, the happy ending for her being a hard life of single parenthood on the front lines of battle. The best they could do for Kanan, a glorious death in sacrifice. The best they could do for the entire galaxy, imagining a war in stasis, that endlessly repeats and loops, different generation but same beats, loss compounded upon loss compounded upon loss. This is…this is the “hope” you promised us? Ultimately this story rendered me more cynical and despairing at the end of it than I was going in. And that’s what I think about Star Wars Rebels.