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YAST : Yet Another Sizing Tool : go to the Add_forms to nourish the YAST : free art software [ ABOUT_&_DISCLAIMER | GAZE_FULLSCREEN | MAP | CONTACT_ | GUESTBOOK | YAST_GNU/GPL] [ Add_HDTEXTS | Add_IMAGES | Add_WWWIMAGES | Add_TEXTS | Add_URLS | Add_MUSEUM ] [ YARVBT | view_p4's_YAIT | p4's_id | Galer(y)ie |Fresh_Colors | TxT_disorder | YAAA(scii)T | Add_ASCII] |
cleaned:July 21st 2003
next YAST
cleaning up
will occur around
end of august 2003
next random target :
YOUR CHOICE !
:--->
add a Museum !
winner Museum
or 3rd YAST !
En tant qu'espace de lutte internationale, l'économie est devenue une guerre sans règles, où civils et guerriers ne se distinguent pas, où le contrat qui peut toujours être dénoncé se substitue à la loi, où la piraterie s'est généralisée, et où les arsenaux ont essentiellement évolué en sorte que cette guerre est devenue une guerre essentiellement esthétique - qui non seulement n'empêche pas les guerres militaires, religieuses, interethniques ou internationales, mais qui de toute évidence les prépare et les annonce. Cette guerre esthétique, qui est aussi et d'abord une guerre du temps, c'est le coeur de ce que Deleuze avait nommé les sociétés de contrôle conçues ici et d'abord comme contrôle des affects. Bernard Stiegler, De la misère symbolique, 1. L'époque hyperindustrielle. Glailée, Paris, 2004 via bituur esztreym
Illich's answer to the question, "Why do you not appear in the media?", was that he refused to disappear in the media. One cannot appear in "the media" in one's true subjectivity (and the political is the personal just as much as the personal is the political); therefore one should refuse the Media any vampiric energy it might derive from the manipulation (or simply the possession) of one's image. I cannot "seize the media" even if I buy it, and to accept publicity from, say, the New York Times, Time magazine, or network TV, would simply amount to the commodification of my subjectivity, whether aesthetic ("feelings", art) or critical ("opinions", agitprop). If I wish to bring about this commodification-if I want money and fame-there might be some reason to "appear in the Media"-even at the risk of being chewed up and spat out (for the Gaze is cold and bored and easily distracted). But if I value my subjectivity more than the dubious gamble for 15 minutes of fame and twice that many pieces of silver-I will have one very good reason not to "appear", not to be gazed upon. If I wish my own "everyday life" to be the site of the marvels I desire, rather than wishing to project those desires into a bodiless progression of images for public consumption (or rejection), then I will have another good reason to evade the media rather than try to "seize" it. If I desire "revolution" I have an urgent motive not to exchange the chance of social change for the image of change, or (even worse) the image of my desire for revolution, or (worse yet) the image of the betrayal of my desire.