CONTENTS

 
   about
   MICHAEL BETANCOURT NEWS
   movies: AESTHETICS
   movies: NEWS & REVIEWS
   movies: SHOWS & SCREENINGS
   random art notes
   random how-tos
   research: AVANT-GARDE MOVIES
   research: MOTION GRAPHICS
   research: VISUAL MUSIC
   theory: CRITICAL OBSERVATIONS
   theory: DIGITAL CAPITALISM
   theory: GLITCH & POSTDIGITAL
   theory: working notes

 

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SEARCH ARCHIVES

archives begin in 1996

  

Agnotology wins (as always)

story © Michael Betancourt | published November 9, 2016 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: DIGITAL CAPITALISM

The problem posed by a dominant regime of agnotology is that it makes challenges to established patterns of thought difficult if not impossible: the affect of agnotology, perversely, is a reinforcement of certainty since it undermines alternatives that could challenge those ideas; thus, it leads to an unwillingness to compromise, and an inflexibility of thoughtboth essential features of how digital capitalism is an ideological construction capable of governing what would otherwise appear as incompatible, mutually exclusive groups.






 
Generative Color and Time Displacement

story © Michael Betancourt | published September 7, 2016 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



movies: NEWS & REVIEWS

OtherZine 31 is running my discussion of using digital tools to create a movie with the same kind of RGB-based generative color used by Len Lye in Rainbow Dance .






 
The New Alienation of Digital Capitalism

story © Michael Betancourt | published August 19, 2016 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: DIGITAL CAPITALISM

Historically, alienation has been understood as a disassociation of an individual from their agency. It is a well-theorized result of industrial production and the assembly-line in particular, but is common to historical capitalism generally. In digital capitalism, a new type of alienation has arisen not based in disassociations of agency. This contemporary alienation originated with an apparent surplussage of agency created by digital systems. The new alienation resides not in a loss of agency, but in the insignificance of that agency. The aura of the digitals separation of action from result reveals a this alienation in the paradoxical dispersal of efficacy and immediacy of control. Introducing a seemingly unbounded agency, it creates an alienation utterly distinct from that of historical capitalism. This changed alienation masquerades as fantasies of empowerment and autonomy associated with digital technologies.




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Antag|Protag screening in Chaos and Order, August 26 @ 8PM

story © Michael Betancourt | published August 16, 2016 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



movies: SHOWS & SCREENINGS

The iotaCenter is showing my movie Antag|Protag at Artists Television Access in San Francisco as part of Chaos and Order.

Witness a collection of visual music from across time and from around the world that represent the spectrum of rationality. Order on the one side and chaos on the other. Are really polar opposites? Is there order in total chaos or chaos in highly organized forms? Tell them your thoughts in this night of films and discussion.




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Article on my Glitch movies

story © Michael Betancourt | published July 16, 2016 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



theory: GLITCH & POSTDIGITAL

José Manuel García Perera, painting professor at Universidad de Sevilla, wrote an interesting article on my glitch work that was published earlier this year.

Abstract: In recent times, artistic creation has come closer to the media image proposed by Internet, thus seriously altering an aesthetic experience based before on movement of the viewer around the work and now defined by screens that induce passivity. Michael Betancourts video work, part of the so-called glitch art, which focuses on the failure that can occur within the digital realm, has been here the basis for a comparative study between different concepts of movement in art, as well as between a current and a past art, a comparison that allows us to see clearly how technological advances have produced radical changes in the physical, spatial and mobile nature of the artwork. Betancourts investigation proposes a new kinetic art that becomes critical through error, mimics the real-time movement that contemporary culture demands, and uncovers the artificiality of images that mimic reality as if they wanted to replace it.

The full article is available as a pdf online: "El movimiento como simulacro en el mundo virtual: Michael Betancourt y el arte de la inmediatez" published in Espacio, Tiempo y Forma, Serie VII - Historia del Arte no. 4, 2016, pp. 143-158.




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