Dan Olson’s YouTube documentary “Line Goes Up” is like “The Big Short,” except crypto is the housing crisis. Until a few weeks ago, Dan Olson had a pretty comfortable—if niche—thing going on YouTube.

The framing of the term “fake news” orients you toward thinking whether a claim is true or false. By this logic, it assumes that people share things online because they’re 100% concerned about accuracy—but people share because of deeper political allegiances and viewpoints.

Culture matters. Mainstream culture reflects and shapes the dominant ideas and behaviours of our society.

“It’s not that what is past casts its light on what is present, or what is present its light on what is past; rather, image is that wherein what has been comes together in a flash with the now to form a constellation. In other words, image is dialectics at a standstill.

If you haven’t watched YouTube in a while—if you’ve joined the Amish, or you’re Edward Snowden—a lot has changed. Early on, the platform was a salmagundi of out-of-focus lifecasts.

On April 11, 2012, Zeddie Little appeared on Good Morning America, wearing the radiant, slightly perplexed smile of one enjoying instant fame. About a week earlier, Little had been a normal, if handsome, 25-year-old trying to make it in public relations.

Watch the MAN OF STEEL ALIEN INVASION: http://goo.gl/7458e Watch our Trailer Review: http://goo.gl/y78FW Subscribe to TRAILERS: http://bit.ly/sxaw6h Subscribe to COMING SOON: http://bit.ly/H2vZUn Like us on FACEBOOK: http://goo.gl/dHs73 Man of Steel Viral Video

From the official Man of Steel facebook page.

A child sent to Earth from a dying planet is adopted by a couple in rural Kansas. Posing as a journalist, he uses his extraordinary powers to protect his new home from an insidious evil.

The Movieclips Trailers channel is your destination for hot new trailers the second they drop. Whether they are blockbusters, indie films, or that new comedy you've been waiting for, the Movieclips Trailers team is there day and night to make sure all the hottest new movie trailers are available whenever you need them, as soon as you can get them. All the summer blockbusters, Man of Steel, Oblivion, Pacific Rim, After Earth, The Lone Ranger, Star Trek Into Darkness and more! They are all available on Movieclips Trailers.

In addition to hot new trailers, the Movieclips Trailers page gives you original content like Ultimate Trailers, Instant Trailer Reviews, Monthly Mashups, and Meg's Movie News and more to keep you up-to-date on what's out this week and what you should be watching. "Zack Snyder" "Henry Cavill" "Russell Crowe" "Amy Adams" "David S. Goyer" "Kevin Costner" "Diane Lane" "Michael Shannon" "Christopher Meloni" "Laurence Fishburne" "Ayelet Zurer" "Christopher nolan" "superman movie" superman "man of steel movie" "man of steel trailer" "man of steel teaser" "man of steel HD" HD 2013 "DC comics" Metropolis Movieclips movie clips movieclipstrailers movieclipscomingsoon ahegele viral "general zod"

The Phantom Zone

Writing in the early 1990s, Susan Stewart observed that “with the advent of film, interpretation has been replaced by watching … Here we see the increasing historical tendency toward the self-sufficient machine, the sign that generates all consequent signs, the Frankenstein and the thinking computer that have the capacity to erase their authors and, even more significantly, to erase the labor of their authors.”[3] Stewart's diagnosis of the filmic watching-state returns, in a modified form, with the frame-grab GIF. These GIFs are in some sense the ultimate in self-sufficiency, not merely in the eternal return of their endless loop, but also within what Rourke has called the co-ordination of “their own realm of correspondence.”[4]

The quality of the frame-grab GIF is important. Borrowing insights from Hito Steyerl’s analysis of the poor image, the creation and distribution of frame-grab GIFs “enables the user’s active participation in the creation and distribution of content, it also d

Viruses are constantly swarming into our bodies. Sometimes they make us sick; sometimes our immune systems vanquish them; and sometimes they become a part of ourselves. A type of virus called a retrovirus makes copies of itself by inserting its genes into the DNA of a cell. The cell then uses those instructions to make the parts for new viruses. HIV makes a living this way, as do a number of viruses that can trigger cancer. On rare occasion, a retrovirus may infect an egg. Now something odd may happen. If the egg becomes fertilized and gives rise to a whole adult individual, all the cells in its body will carry that virus. And if that individual has offspring, the virus gets carried down to the next generation. At first, these so-called endogenous retroviruses lead a double life. They can still break free of their host and infect new ones. Koalas are suffering from one such epidemic. But over thousands of years, the viruses become imprisoned. Their DNA mutates, robbing them of the abil

In a time when likes, reblogs, and favorites determine what gets seen and what doesn’t, all cultural products, movies, music, writing, and visual art alike, exist in an economy of attention. Instead of critical regard or placement in the right magazines, the most obvious metric of a piece of art’s success is how many eyeballs it attracts and how quickly it gets spread on the internet.

This economy of attention can be a great thing in that artists have the hope of reaching a wider audience than ever, but it also comes with certain creative conflicts. Should work be designed to go viral, in the same way that the Old Spice Guy campaign was crafted to be a YouTube sensation? Has a work failed if it fails to go viral?

Artists working online are forced to confront this attention economy and are responding to it in different ways. There’s a separation to be made between artwork that is created to go viral and art that responds to the conditions created by virality and the communication stru

 Although information spreads, virus-like, through replication, this replication, as Walter Benjamin foresaw, involves a dispersion that allows images or data to be seen in different places, in different contexts (what Benjamin (1969) called “exhibition value”). It is, however, only through the process of consumption that this reproduction and dissemination of data can occur. Consumption, in short, is the means by which information, whether expensive or free, reproduces and spreads. Information, in fact, depends upon consumption for its very existence. Without being consumed, it ceases to be information in any practical sense, becoming merely a static and inaccessible knowledge, an eternal and unreachable verity. Information is, by definition, consumable. It is less the case, then, that “information wants to be free” than that “information wants to be consumed.”

Although the analysis of geek community as a recursive public sharing social imaginary of openness, and a moral order of freedom, is a valid frame to understand geek culture through a sociological point of view, adopting a dialectical perspective in the analysis of network dynamics might open an opportunity to question the notion of artistic intervention itself. This thread connects multiple identities projects and hacker practices of the last decade with business strategies of today, reflecting on the role of activists and artists in social media. Their interventions are thought as a challenge to generate a critical understanding of contemporary informational power (or info-capitalism), and to imagine possible routes of political and artistic action. Furthermore, this analysis questions the methodology of radical clashes of opposite forces to generate socio-political transformation, proposing more flexible viral actions as relevant responses to the ubiquity of capitalism.

Here’s a better model for year-end link lists: Only chose one link! I asked 18 of my favorite professionals to do just this, leaving the subject matter completely at their discretion. The format doesn’t solve the inevitable difference of taste issues between readers and linkers — one person’s trash is another person’s Titian – but it at least eliminates the impossible chore of having to rate 20 unrelated items. It also creates a list in which each link is special to someone. For me, that creates a year-end list worth reflection.

Corey Arcangel is perhaps the internet's most infamous hack, masher-upper, digi/net artist. His work stands for a growing culture of artists who run wildly through animated GIF landscapes populated with corrupted data-compressed bunny rabbits and tinny, MIDI renditions of Savage Garden ballads. As the Lisson Gallery, London, opens its archives to Arcangel's curatorial eye, could digi/net art be set to infect the real, fleshy world, like a rampant Conficker Worm? Has YouTube become the truest reflection of our anthropological selves? Are we destined to roam the int3erw£bs like the mythic beasts of yore, hoping, in time, that digi art can free us from the confines of this fleshy void?

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