Writer
Entangled and haunting, the cyclic poem Chaos Theory focuses on children, parents, and attachment. X (Valentina Di Mondo), the child, is adventurous and associative. The adult, Y/Z (Georgina Dávid/Lucie de Bréchard), appears pensive, yet ever as dedicated to nurturing X.
Director
Entangled and haunting, the cyclic poem Chaos Theory focuses on children, parents, and attachment. X (Valentina Di Mondo), the child, is adventurous and associative. The adult, Y/Z (Georgina Dávid/Lucie de Bréchard), appears pensive, yet ever as dedicated to nurturing X.
Screenplay
Кадры, снятые на юго-восточном Урале и в Северной Македонии, соседствующие с архивными изображениями и анимацией, отправляют зрителя в евразийскую степь — туда, где пролегает Новый шелковый путь. Воображая разобщенный континент, находящийся под контролем самообучающихся data-центров, которые запускают события мирового масштаба, фильм обнажает различные формы мистификации: от шаблонных политических доктрин до неоклассических архитектурных фасадов. Используя форматы научной фантастики, документалистики и народных сказаний, «Евразия» погружает на разные уровни медиапроизводства, оборачивающего факты в вымысел, а вымысел — в факты. Изначально созданная голландским коллективом художников и дизайнеров как инсталляция, «Евразия» — попытка представить евразийство в качестве ландшафта: политического, ментального и виртуального.
Director
Кадры, снятые на юго-восточном Урале и в Северной Македонии, соседствующие с архивными изображениями и анимацией, отправляют зрителя в евразийскую степь — туда, где пролегает Новый шелковый путь. Воображая разобщенный континент, находящийся под контролем самообучающихся data-центров, которые запускают события мирового масштаба, фильм обнажает различные формы мистификации: от шаблонных политических доктрин до неоклассических архитектурных фасадов. Используя форматы научной фантастики, документалистики и народных сказаний, «Евразия» погружает на разные уровни медиапроизводства, оборачивающего факты в вымысел, а вымысел — в факты. Изначально созданная голландским коллективом художников и дизайнеров как инсталляция, «Евразия» — попытка представить евразийство в качестве ландшафта: политического, ментального и виртуального.
Editor
This rich essay searches for new ways of being together in the age of social media. We arrange our lives to impress the gaze of others and have become accustomed to being seen. For many young people, however, the party is over. Neoliberalism has made murderous competition the norm; and in the meantime, the planet is dying. Following the unmasking of Facebook’s real motives, more and more people are deleting their Facebook accounts – but this often results in social death. The first image in POSSESSED sets the tone: liquefied lead runs over burning smartphones, followed by images of a devastated neighbourhood in Aleppo. Even the smartphones have not survived the attack. The chains of social media must be cast off, but the perpetual question remains: Who is looking out for you? Academics Alex Williams (University of East Anglia) and Nick Srnicek (King's College London) address this crucial question, along with other issues
Writer
This rich essay searches for new ways of being together in the age of social media. We arrange our lives to impress the gaze of others and have become accustomed to being seen. For many young people, however, the party is over. Neoliberalism has made murderous competition the norm; and in the meantime, the planet is dying. Following the unmasking of Facebook’s real motives, more and more people are deleting their Facebook accounts – but this often results in social death. The first image in POSSESSED sets the tone: liquefied lead runs over burning smartphones, followed by images of a devastated neighbourhood in Aleppo. Even the smartphones have not survived the attack. The chains of social media must be cast off, but the perpetual question remains: Who is looking out for you? Academics Alex Williams (University of East Anglia) and Nick Srnicek (King's College London) address this crucial question, along with other issues
Director
This rich essay searches for new ways of being together in the age of social media. We arrange our lives to impress the gaze of others and have become accustomed to being seen. For many young people, however, the party is over. Neoliberalism has made murderous competition the norm; and in the meantime, the planet is dying. Following the unmasking of Facebook’s real motives, more and more people are deleting their Facebook accounts – but this often results in social death. The first image in POSSESSED sets the tone: liquefied lead runs over burning smartphones, followed by images of a devastated neighbourhood in Aleppo. Even the smartphones have not survived the attack. The chains of social media must be cast off, but the perpetual question remains: Who is looking out for you? Academics Alex Williams (University of East Anglia) and Nick Srnicek (King's College London) address this crucial question, along with other issues
Director
A poetic psychodrama about vr combining live action and animation. The film is a sequel to Metahaven’s film project “The Sprawl (Propaganda About Propaganda).” Released online at informationskies.com, it's overlaid with subtitles in different languages, and with interfacial ruins that are distinct for the online environment.
Director
This documentary by the Dutch design and research studio Metahaven emphatically argues that the Internet has become a disruptive geopolitical super weapon. The Sprawl is potent propaganda about propaganda, an unbroken digital scream and a paranoid trip of ones and zeroes.
Director
Capture is loosely structured around three connected research fields, and weaves together images of lichen filmed in the forests outside Trondheim, video material from the huge film archive of CERN (the Inter-European Facility for Particle and Nuclear Physics) outside Geneva, as well as bats.
