More electronic colour

Digital/analog

How often have we been told digital is the new freedom

analog the old out of date no longer needed lacking freedom

the exchange of women with electronic code
proof of this digital freedom we all have

an epistemology, declared a closet, store your latest
electronic digital commodity freedom, queer guy
buys a straight man television, encourage

theft to increase market
in between human bodies squashed
flat as electronic colour toward future
behind old analog (we are told)

Freak

flung at you
a damning insult

           some
                kind of inhuman freak.

a few words; abjection, dejection, freak, eccentric, monster, queer,

painful non reply needed


looking inside double standards
              high intelligence           worth some
of that freak number
                investigated

(Gender, homophobia listed in
scientific journals. homosexual  schizoid asperger)


 hostile reaction,
freak.

from a generation passed,  
                did things a different way
               another monstrosity

Electronic colour

These images are scans of leaves and twigs from my garden. I used an Epson V30 and played with the software's mechanics. The colour is flat, electronic flat. A new way colour is thought; dated around the 1960s. Also thinking of David Hockney, A bigger splash.

studio desk

studio wall

a book BBQ

The photos, the silver gelatin
on a studio wall

make a book (D&G could say)

Dupuytren's contracture

with electronic noise

silver

and fight my cat for keyboard words

        with silver
         prints a sort of depth that you can fall into like

alice in wonderland.
when the penny drops in the strict
sense, b&w film not       analog. While digital is
obviously
        digital,
in the strict sense it is not so
How little we
know about a human eye; digital teaching.

it is the flatness of electronic images which attract
      so obviously digital/electronic.

I have 15 minutes formal instruction in film

homophobic structure

In quoting this section of the earlier quote; in Sedgwick's analysis, one could say this is the homophobia of new media advertising. Technology as the body of women which is new media exchange. Which is to say, homophobia.

[quoted from below] it sells itself in terms of a liberating technology built especially for the consumer, and designed to virtualise her body, to free her from the constraints of time and space, and to place her in control of the resources of capital (easy credit, fluid social arrangements, unlimited opportunities for expansion, compliant technology, in short a world without struggle or travail, a world especially designed just for her)

The Figural as Interface in Film and the New Media:

From:
Film-Philosophy
Journal | Salon | Portal (ISSN 1466-4615)
Vol. 7 No. 56, December 2003
Warwick Mules
The Figural as Interface in Film and the New Media:
D. N. Rodowick's _Reading the Figural_

Advertising captures what might otherwise have been a radical aesthesis of the body within emerging virtual communities outside the range of capital, and refashions it in answer to the desire of the individual consuming self in terms of a total experience, where distances in time and space are collapsed, and everything magically appears at the command of the consumer. [5] New media advertising does not sell products, it sells itself in terms of a liberating technology built especially for the consumer, and designed to virtualise her body, to free her from the constraints of time and space, and to place her in control of the resources of capital (easy credit, fluid social arrangements, unlimited opportunities for expansion, compliant technology, in short a world without struggle or travail, a world especially designed just for her). To counteract the power of capital to capture the figural, Rodowick calls for 'a critical philosophy of technology to unlock its historical image and to make legible the strategies of resistance and lines of flight that are created within it' (223).