Lumpentheorist; abolitionist; critic of whiteness, workerist cosmogony, and the ableism of the Left. Masks are empathy fashion. Own it—make it yours. Intricate words fulfill me: Anticipate jargon here. Semantic critique ain't your jam? Don't whinge—just go away. Ace enby aphant WP in #NYC. they/them/gonzo/whatever If you would throw me and mine to the wolves so to claim victory over those wolves, you can take your Democratic National Chamberlain 🤡ass to someone else's mentions.
Lumpentheorist; abolitionist; critic of whiteness, workerist cosmogony, and the ableism of the Left. Masks are empathy fashion. Own it—make it yours. Intricate words fulfill me: Anticipate jargon here. Semantic critique ain't your jam? Don't whinge—just go away. Ace enby aphant WP in #NYC. they/them/gonzo/whatever If you would throw me and mine to the wolves so to claim victory over those wolves, you can take your Democratic National Chamberlain 🤡ass to someone else's mentions.
Yeah, am really interested in the impact on viewers who subsequently made their own visual art.
Movies could be produced for various aspect ratios because a theater projection screen could accommodate that variation. Blow up an analog image large enough, and you can get away with a lot.
Broadcasting those films over television was always going to involve compromises. There are still compromises for digital, just of a different sort. There is no ideal mode of visual representation.
My interest is in how those compromises impact the aesthetic sensibilities of folk who would become visual artists in subsequent generation, using different technologies, with different compromises, but nonetheless having their way of seeing and representing images shaped by the jank of televised Saturday afternoon matinees.
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