Photojournalism can be like “trying to play Rachmaninoff while wearing boxing gloves,” as former photojournalist Simon Norfolk put it.

Or: The tail that wags the dog. A discourse on digital 3-D cinema. Film scholar Thomas Elsaesser on a revolution in perception.

I was commissioned to write the essay for Mishka Henner‘s solo show, Black Diamond, at Carroll/Fletcher Gallery, London. The exhibition will run until 31st May, 2014. Excerpt from the essay : If linear perspective centred the World on the Earthly beholder – rendering the artist, viewer or owner of a painting as master of all they purveyed – then its replacement, a tumbling or “dynamic viewing space” imposes a kind of vertigo on the subject, causing us to misjudge the social and political ground of our perceptions. Henner’s 51 US Military Outposts places viewers in the position of Gods above a toy-like World, the fidelity of which is wholly reliant on the resolution of the sourced images. In line with his Feedlots and Oil Fields series, the resolution of the images – appropriated from Google Earth, and painstakingly stitched together – gives us a clue as to where their socio-political ground is located. Just as a pixel attains significance only within the context of the image grid, so the relatively plain surface of Earth is politically meaningless, is without form and void, until its geometries and textures, its biological traces and material densities, are caught and defined in the vast, inconceivable, territories of the database. Download as PDF More info : mishkahenner.com and carrollfletcher.com

Produced by W+K 東京LAB The film provides a glimpse of the type of creative culture that exists online behind the language barrier on the backstreets of the Internet in Japan.

Will Japanese Internet culture have an impact on global pop culture the way that Japanese street culture did? Are all Internet memes secretly manufactured in a warehouse in the Japanese countryside? No-one can say. But perhaps this video will allow you to form your own point of view.

「インターネットヤミ市」や「どうでもいいねボタン」を生み出した、100年前から続くインターネット上の秘密結社　IDPW（アイパス）。 このユニークな活動を海外に紹介すべく、インタビューを元に作られ­たドキュメンタリーフィルム「Back street of the Internet」。 「いいね」や「RT」に縛られない、インターネット本来の楽しさを追求する彼らの姿勢は、国内外を問わず現代のネット社会­に生きる人々へのメッセージになることでしょう。

With a large enough sample, any outrageous thing is likely to happen. The point is that truly rare events, say events that occur only once in a million [as the mathematician Littlewood (1953) required for an event to be surprising] are bound to be plentiful in a population of 250 million people. If a coincidence occurs to one person in a million each day, then we expect 250 occurrences a day and close to 100,000 such occurrences a year.

Going from a year to a lifetime and from the population of the United States to that of the world (5 billion at this writing), we can be absolutely sure that we will see incredibly remarkable events. When such events occur, they are often noted and recorded. If they happen to us or someone we know, it is hard to escape that spooky feeling.

Imagine you are falling. But there is no ground.

Many contemporary philosophers have pointed out that the present moment is distinguished by a prevailing condition of groundlessness.1 We cannot assume any stable ground on which to base metaphysical claims or foundational political myths. At best, we are faced with temporary, contingent, and partial attempts at grounding. But if there is no stable ground available for our social lives and philosophical aspirations, the consequence must be a permanent, or at least intermittent state of free fall for subjects and objects alike. But why don’t we notice?

Paradoxically, while you are falling, you will probably feel as if you are floating—or not even moving at all. Falling is relational—if there is nothing to fall toward, you may not even be aware that you’re falling. If there is no ground, gravity might be low and you’ll feel weightless. Objects will stay suspended if you let go of them.

The shift that has happened in 40 years which mainly has to do with climate change. Forty years ago, I could say in the Whole Earth Catalog, "we are as gods, we might as well get good at it". Photographs of earth from space had that god-like perspective.

What I'm saying now is we are as gods and have to get good at it. Necessity comes from climate change, potentially disastrous for civilization. The planet will be okay, life will be okay. We will lose vast quantities of species, probably lose the rain forests if the climate keeps heating up. So it's a global issue, a global phenomenon. It doesn't happen in just one area. The planetary perspective now is not just aesthetic. It's not just perspective. It's actually a world-sized problem that will take world sized solutions that involves forms of governance we don't have yet. It involves technologies we are just glimpsing. It involves what ecologists call ecosystem engineering. Beavers do it, earthworms do it. 

With tongues in cheeks, Rich­ard Daw­kins, Chris­to­pher Hitch­ens, Sam Har­ris, and Dan­iel Dennett are embracing their reputation as the "Four Horsemen." Lampoon­ing the anx­i­eties of evan­geli­cals, these best-sell­ing athe­ists are em­brac­ing their "dan­gerous" sta­tus and dar­ing be­liev­ers to match their for­mi­da­ble philo­soph­i­cal acu­men.

Ac­cord­ing to these sol­diers of rea­son, the time for re­li­gion is over. It clings like a bad gene rep­li­cat­ing in the pop­u­la­tion, but its use­ful­ness is played out. Sam Har­ris's most re­cent book, The Moral Land­scape (Free Press, 2010), is the lat­est in the continuing bat­tle. As an ag­nos­tic, I find much of the horse­men's cri­tiques to be healthy.

But most friends and even en­e­mies of the new athe­ism have not yet no­ticed the pro­vin­cial­ism of the cur­rent de­bate.

The starting point of the book is that the label “New Media Art” does not identify an art genre or an art movement, and cannot be viewed – as it usually is – as a simple medium-based definition. On the contrary, a work of art – whether based on technology or not – is usually classed as New Media Art when it is produced, exhibited and discussed in a specific “art world,” the world of New Media Art. This art world came into being as a cultural niche in the Sixties and Seventies, and became a bona fide art world in the Eighties and Nineties, developing its own means of production and distribution, and cultivating an idea of “art” that is completely different from that entertained by the contemporary art world. If you are familiar with Lev Manovich's distinction between “Duchamp Land” and “Turing Land” (1996), you already get the point. According to Manovich, Duchamp Land (the contemporary art world) requires art objects that are “oriented towards the 'content'”, “complicated” 

Is there a secular body? Or, in somewhat different terms, is there a particular configuration of the human sensorium—of sensibilities, affects, embodied dispositions—specific to secular subjects, and thus constitutive of what we mean by “secular society”? What intrigues me about this question is that, despite its apparent simplicity, the path toward an answer seems not at all clear. For example, are the scholarly sensibilities and the modes of affective attunement that find expression here elements of a secular habitus? What would be indicated by calling such expressive habits “secular”?

Clearly, they have been learned in a secular institution (i.e., a secular university). Would we say, therefore, that I am displaying the embodied aptitudes and habits of a secular person, and that a study of the educational techniques employed at the university would tells us how secular subjects are formed? If that were the case, then why, despite the plethora of studies on the education system in th

The structure of the film is that of a heist movie, but if the film were to be slotted into a genre, that genre would have to be science fiction. Personally, I would say it’s cyberpunk. But it’s a strange kind of cyberpunk where the emphasis is less on technology and more on the film-noir mood and transcendental possibilities of the genre.

In fact, technology in Inception is notable by its absence. There is a piece of hardware to enable the central premise of the film, but it’s of no more importance than the hardware used in Eternal Sunshine Of The Spotless Mind—the last great science fiction film to cover similar territory.

Both films also avoid making any reference to specific dates. We assume that the narrative plays out in the very near future but we’re never explicitly told that. It strikes me that both films are attempting to place the action in a kind of continuous present.

Inception is particularly adept at avoiding anything that would date the film. Nothing dates a story qu

At the age of 17 he began dissecting corpses from the church graveyard. Between the years 1508 and 1512 he painted the ceiling of the Sistine Chapel in Rome. Michelangelo Buonarroti—known by his first name the world over as the singular artistic genius, sculptor and architect—was also an anatomist, a secret he concealed by destroying almost all of his anatomical sketches and notes. Now, 500 years after he drew them, his hidden anatomical illustrations have been found—painted on the ceiling of the Sistine Chapel, cleverly concealed from the eyes of Pope Julius II and countless religious worshipers, historians, and art lovers for centuries—inside the body of God.

In 1990, physician Frank Meshberger published a paper in the Journal of the American Medical Association deciphering Michelangelo’s imagery with the stunning recognition that the depiction in God Creating Adam in the central panel on the ceiling was a perfect anatomical illustration of the human brain in cross section.

It is misleading — and dangerous — to think that religions are different paths to the same wisdom.

At least since the first petals of the counterculture bloomed across Europe and the United States in the 1960s, it has been fashionable to affirm that all religions are beautiful and all are true. This claim, which reaches back to “All Religions Are One” (1795) by the English poet, printmaker, and prophet William Blake, is as odd as it is intriguing. No one argues that different economic systems or political regimes are one and the same. Capitalism and socialism are so self-evidently at odds that their differences hardly bear mentioning. The same goes for democracy and monarchy. Yet scholars continue to claim that religious rivals such as Hinduism and Islam, Judaism and Christianity are, by some miracle of the imagination, both essentially the same and basically good.

This view resounds in the echo chamber of popular culture, not least on the “Oprah Winfrey Show” and in Elizabeth Gilber

A head spinning new take on the classic videogame. Play it until your sense of direction explodes.

Empathy involves, in part, the ability to simulate the internal states of others. The authors hypothesized that our ability to manipulate, rotate and simulate mental representations of the physical world, including our own bodies, would contribute significantly to our ability to empathize.

"Our language is full of spatial metaphors, particularly when we attempt to explain or understand how other people think or feel. We often talk about putting ourselves in others' shoes, seeing something from someone else's point of view, or figuratively looking over someone's shoulder," Sohee Park, report co-author and professor of psychology, said. "Although future work is needed to elucidate the nature of the relationship between empathy, spatial abilities and their potentially overlapping neural underpinnings, this work provides initial evidence that empathy might be, in part, spatially represented."

"We use spatial manipulations of mental representations all the time as we move through the phys

A surreal spectacle of a game, balanced half-way between the whole and the gap

Books that redefine reality - or - How to redefine the book...

Imagine a cube-shaped building, with ten cube-shaped rooms along each side (10 rooms long, 10 high & 10 deep). Each cubular room has 4 walls, 1 ceiling and 1 floor. Each of the 6 interior surfaces in all 1000 cubular rooms is decorated with a different pi