is truth the sum of what we see and hear?
can reality be represented?
to the observer, what makes the represented object real, credible, or more precisely, worthy of being believed?
what is the responsibility of the puppet master if the puppet perfectly imitates real life?
in the world of moving pictures are illusion and deception twins or merely closely related?
are the answers lies?
are the questions answers?
is the fragment the aesthetic response to the incomplete nature of our perception?
is editing the simulation of the whole?
is precision an aesthetic or a moral category?
can illusion replace description?
is that which is off camera more precise than that which is on?
michael haneke, from the commentary on the dvd, “an attempt to try out some of the solutions that one might put forward”.
Posted by f | more »the news –<晚报，晚报
it’s only a small gesture 。只是一个小小的手势 。‘t is slechts een klein gebaar
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forgetting “understanding the culture of collaboration”, propaganda, and a boy that looks a lot like Lucio
after and/or in collaboration with: participants of the ‘visionairs studio‘ (sng tong beng, minfu, konstantin, daniel, dirk, amit, helen, stefan, and sylvie), tino sehgal, michel houellebecq, malgven gerbes and david brandstätter (and their dancers Simone, Eva, Pedro, Ixchel and I-Fen) …and fotini
a series of solos later put together, a one week work-in-progress kind of workshop worked out a priori, a discussion.最后一天，他回答我，“没用啊…”
“and what do you think?” asks the situationist to the audience. a collective holding of breath before the girl that looks like litty speaks. “and what is it that you were expecting from our educational institutions?” he is held responsible. but, “WE were talking about” …something else. we welcome you to this situation. but now she must feel stupid.
regard the distinction. a series of solos that collide on occasion, when it’s a butterfly—–he holds his fingers to his lips—–‘amazing’, but otherwise, precisely unaware of the other.
and a series of presentations about the future, the aesthetics of work and collaboration go a long way. but she doesn’t want to talk about the fear of aging. not right now.
i was constantly in fear that it would be like this. two bodies curled in fear of the infinity of three dimensions turn, clockwise. they must have been over aware, acutely, but he did not like to use the word ‘execution’. a series of solos passing on occasion.
let’s work hard. it turns autumn again.
remembering “understanding the culture of collaboration”, propaganda, and girly stuff
hola s,
i don’t know yet exactly what kind of resolution you will need for the final, but i am going to send you now at least a low-res version you can send easily to everyone else.
also haven’t decided on a final layout, as i don’t know the size/proportions of printing, or if these editorial decisions will be purely left to you, because i also had the thought of just trimming the whole image down to only two pictures, blown up very big and very digitized.
what do you think?
hope you like it, and looking forward to hearing more from the others…cheers, 丫
那岩壁上你刻下的字啊
因为再美的画面都会成为过去，再痛的感触都将成为回忆。
things we say we’ll do and never do | things we do and never speak of again
路路生日快乐…yeh-啦
往 | commuter | 来
每天坐在公共汽车上睡觉。有时候提前一两站偶尔能醒过来，看到刚过五环的一部分模糊的森林。窗外是绿的，灰的。每天上班的路线跟别人相反。早上往城外走。下班再回城里。在车上小睡时总不记得梦中的事。可能是美好的。也可能是日常生活的琐碎小事。在大家的生活日程里，坐车上下班是最经常的东西。这是小时候连做梦也没想过的事。
.在公共汽车上睡觉，有时醒来刚好到站，于是赶紧挤过去下车。别人用奇怪的眼睛光看着我。我真不知道他们看到了什么。是不是他们看到以后就满足了他们的好奇心？但我看到他们脸上的表情都是空白的。或许他们脑子里的想法也是空白的，或许他们的想法离这辆车很远很远。远到看不到的地方。无论如何，我们每天这样来来往往。.在公共汽车上睡觉，有时也坐过站。每次刚醒的前几分钟都认不出是在什么地方，眼睛半睁半闭地。车外的世界也把我当成陌生人。眼睛也是半睁半闭地。如果售票员知道我坐过了站，也会埋怨我：“问了好几次有人下车没有，都没人答应！” 有时候，他也会笑：“哈哈，睡过哦？！” “恩。” 我们都无奈了。于是下车后过吗路，在等。这里离五环已经很远，路上到处尘土飞扬，包括我刚从车里出来的脑子，分不出外面和里面。不知道这样过了多少天。醒了睡睡了醒，时间过的很快。maurice blanchot说，“日常生活是摸不着的。它属于无足轻重的，而且无足轻重得没有其实，没有存在，没有秘密，但所有可能的意义都是从那里来的。日常生活永远在逃脱”。.恩。很快，很快。
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