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<div>Maisa Imamoviç,</div>
<div><i>Aesthetics of Boredom in Times of Corona</i></div>
<div
>https://networkcultures.org/livingindustry/2020/03/31/aesthetics-of-<span
></span>boredom-in-times-of-corona/</div>
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<div>x</div>
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<div><i>README.first</i></div>
<div>Essays on film and technology,</div>
<div>catalogue produced with<i> Institute of Network Cultures</i> for
the first (cancelled) edition of the Amsterdam-based<i> Plokta</i>
festival, now celebrating its online-only start as
https://plokta.nl/tv .</div>
<div><i>README.first</i> is a bilingual (ENG/NL) collection of
mini-essays, published in the run up to the<i> Plokta</i>
filmfestival. We've asked writers, researchers, theorists, artists,
programmers, and others to pick an online video that functions as a
stepping stone for their thought and practice and to comment shortly
on why they find the video so significant, funny, or outright
disturbing.</div>
<div><i>Plokta</i> showcases film as a frame of socio-technological
themes and discussions. With these essays we want to broaden the scope
to one of the most significant developments in visual culture of the
past decades: the rise of online video. At the<i> Institute of Network
Cultures</i> (INC), online video has been a research topic already
since 2007, in a continuous project named<i> Video Vortex</i>.
Together, Plokta and INC, hope to stimulate reflections before, during
and after the festival on what the moving image has to say to us<br>
https://networkcultures.org/blog/publication/readme-first-essays-on-f<span
></span>ilm-and-technology-essays-over-film-en-technologie/</div>
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<div>x<br>
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<div>Ana Periaca,</div>
<div><i>The Age of Total Images: Disappearance of a Subjective
Viewpoint in Post-digital Photography,</i></div>
<div>Institute of Network Cultures, 2020<br>
<br>
The Age of Total Images, art historian Ana Peraica focuses on the
belief that the shape of the planet is two-dimensional which has been
reawakened in the late 20th and early 21st centuries, and the ways in
which these 'flat Earth' conspiracy theories are symptomatic of
post-digital image culture. Such theories, proven to be false both in
Antiquity and Modernity, but once held to be true in the Medieval
Period, have influenced a return to a kind of 'New
Medievalism'.<br>
By tracing visual representations of the planet across Western history
and culture, Peraica provides support for a media-based explanation
behind the reappearance of flat Earth theories. Through an adventurous
exploration of the ways the Earth has been represented in sculptural
globes, landscape painting, aerial photography, and even new media
art, she proposes that a significant reason for the reemergence today
in the belief that the world is flat lies in processes and practices
of representation which flatten it during the compositing of
photographs into 'total images'. Such images, Peraica argues, are
principally characterized by the disappearance of the subjective point
of view and angle of view from photography, as the perspectival tool
of the camera is being replaced with the technical perspective of the
map, and human perception with machine vision, within a
polyperspectival assemblage. In the media constellation of these total
images, photography is but one layer of visual information among many,
serving not to represent some part of the Earth, but to provide an
illusion of realism.<br>
</div>
<div
>https://networkcultures.org/blog/publication/tod34-the-age-of-total-<span
></span
>images-disappearance-of-a-subjective-viewpoint-in-post-digital-photo<span
></span>graphy/<br>
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<div><i>The Cloud Sailor Diary--Shanghai Life in Times of
Coronavirus</i></div>
<div>by Tsukino T. Usagi,</div>
<div>a very personal account of these times, published as INC
Longform.</div>
<div
>https://networkcultures.org/longform/2020/03/19/the-cloud-sailor-dia<span
></span>ry-shanghai-life-in-the-time-of-coronavirus/</div>
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<div>x</div>
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<div><i>Covid-19 Diary</i> by Ruth Les</div>
<div>https://networkcultures.org/nofun/2020/04/02/covid-19-diary-01/</div
>
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