The earlier ability to consider machine labor as an extension of human actionas the mechanical amplification of human laboris replaced by models where the machine does not augment but supplant, in the process apparently removing the human intermediary that historically lies between the work of designer-engineers and the human production required in the fabrication of their plans.
The MisALT Screening Series returns this Sunday, October 16th at a new location and with an exciting program of experimental film and video that explore and celebrate the distortion, destruction, and decomposition of their respective media.
The nineteenth century protestant work ethic is the conceptual starting point for the development of a new ideology of automation that merges the nineteenth century ideology of autonomous achievement with digital technology to eliminate human labor from production, apparently rendering human agency obsolete for the generation of value in the digital information economy.
I recently acquired a copy of the rare Tinting and Toning of Eastman Positive Motion Picture Film, second edition from 1918. I have made a .pdf of the text and it's posted (3.4 Mb download) as a service for anyone interested in the details of how these colorizing processes worked. It contains the instructions and formulae for creating the hues used in the early decades of film production.
Clement Greenbergs essay, Modernist Painting, appearing as a Voice of America pamphlet in 1960, then reprinted in 1966, implicitly conditions how artists understood the idea of formal during the beginning of the institutional period for the avant-garde film. His basis in philosopher Immanuel Kants self-critical approach tempers the construction of Modernism:
