Riding the Storm

Guy Debord:

"The spectacle cannot be understood as an exaggeration of a world of looking, as a product of the techniques of the mass dissemination of images. Rather, it is a world view that has become actual, transferred into the material. It is a view of the world that has become objectified."

ATTENTION! Theoretically we know this. An image is not an incontestable guarantor of a past. Images unfold their own dynamics...
For decades, photography was considered the ultimate image of reality. Hardly any other medium, neither text nor sound, is considered as authentic, i.e. as "real", and makes such a claim to truth as the image.

And today: A picture lies more than a thousand words

With a superficial and hurried glance, some ai images can no longer be distinguished from "real" images. This also applies to text, video and audio. A quick, initial assessment of credibility and/or authenticity of whether content is "fake" or not is becoming increasingly difficult.
Media forensics is also using artificial intelligence to detect false information. In particular, the focus is on politically motivated disinformation, which ultimately undermines trust in democracy.

Even though ai images can certainly reflect reality, they usually offer us a variety of interpretative approaches. In the end, it is up to the users to make a judgement.

The world is still burnings and there is a killer on the road:

...and the classics are also already on fire...

...listen:

The visibility of the gesture and the invisibility of the individual

Invisibility can be a more important tool than visibility. The use of invisibility is an active choice.

What You Get Is What You See!

Mieke Bal:
"While the subject matter - what you study - has changed, the method - how you do it - has not."

The use of images, especially now the use of images created by algorithms (images that no longer need a "real", "genuine" object in front of the lens) is an indication of the gullibility and superficiality of how we take in and store information today. It is these deceived glances that can be used to manipulate the individual's own ability to act. It is becoming increasingly difficult to make one's own individual decisions.

Images determine our everyday life and our perception. They structure our memory and our understanding of history. Like hardly any other object, the image can refer to an analytical tradition of description. What was once intended as a documentation of a moment is later subject to the interpretations of its viewers. And the interpretation of the viewer is pure politics...

Images have a tremendous, truly believable effect on the human brain. Studies on the processes that take place in the brain when looking at an image have shown: Information in pictures is received like information from our real environment. Regardless of whether we are looking at reality or an image of (supposed) reality: Exactly the same areas of the brain are always activated and also evoke the same reactions.

Visual information is assigned to different levels in the brain according to its relevance for survival

A multidirectional view: the concept of restistance

The term restistance cannot be formulated unambiguously. Its ambiguity refers to both violent and non-violent political actions.
Resistance is based on will and action. The motivation of resistance can aim at a fundamental and perhaps revolutionary transformation of the existing society, but it can also want to maintain or restore the status quo.

Resistance has facets and therein lie the guarantors of enforcement

Restistance means: reaction, insurrection, defence, rejection, opposition, repulsion, problematic, utterance, hindrance, obstacle, defensiveness, counter-force, barrier, resilience,
toughness, counter-pressure, disapproval, counter-force, hurdle, disobedience, aggravation, frictional resistance, renitence, reluctance, stalling tactics...

This variety of meanings shows how differently resistance can express itself in different gestures. They are very specific proposals, adapted to the situation, to show that one does not agree with something.

So if we look more closely at what the term contains in terms of such gestures, it becomes clear that these attitudes and thus actions can be used in everyday life.

So riding the storm can also mean having the reins in your (own) hand. Many small gestures - many, small but consistent postures and actions. You finally have to decide what you will or will not do.

The romantic image of the apocalypse

from the 1970s has not been able to hold up in the flood of events of recent years. The events became a flood of data and images. Debord wrote about the manipulation by as early as the 1970s. Neil Postman also warned that we were amusing ourselves to death. Image manipulation thrives on the great trust placed in images.

And we still think they are just pictures. Resistance starts in the eye.

start

The private view:
images

Guy Debord:

"The spectacle cannot be understood as an exaggeration of a world of looking, as a product of the techniques of the mass dissemination of images. Rather, it is a world view that has become actual, transferred into the material. It is a view of the world that has become objectified."

The visibility of the gesture and the invisibility of the individual

Invisibility can be a more important tool than visibility. The use of invisibility is an active choice.

What You Get Is What You See!

A multidirectional view: the concept of restistance

The romantic image of the apocalypse

There are more pages:

Guy Debord:"The spectacle cannot be understood as an exaggeration of a world of looking, as a product of the techniques of the mass dissemination of images. Rather, it is a world view that has become actual, transferred into the material. It is a view of the world that has become objectified."

The visibility of the gesture and the invisibility of the individual

Invisibility can be a more important tool than visibility. The use of invisibility is an active choice.

What You Get Is What You See!

A multidirectional view: the concept of restistance

The romantic image of the apocalypse

There are more pages:

Guy Debord:

"The spectacle cannot be understood as an exaggeration of a world of looking, as a product of the techniques of the mass dissemination of images. Rather, it is a world view that has become actual, transferred into the material. It is a view of the world that has become objectified."