Roger Ebert seems to think this documentary is authentic. Others are speculating that it could be a big artistic hoax, something similar to Banksy’s Exit Through The Gift Shop documentary. But Casey Affleck says it’s all true (Time). Watch the trailers and visit the official website.
About this project:
Often love affairs are instable, fleeting and unpredictable. It seems emotions change in a chaotic way. On this assumptions some mathematicians recently modeled a love relationship in terms of dynamic system. One of the case study of this kind of works is Jules et Jim, the autobiographical novel of Henri Pierre Roché and his cinematographic version by François Truffaut. The main psycho-physical features of the three characters and their long and turbulent triadic relationship have been synthesized in a mathematical model enlightening the relationship as a real chaotic system.
Since we strongly agree with Kurt Richardson that «there exists an infinitude of equally valid, non-overlapping, potentially contradictory descriptions» for any complex system. And there is «the need for synthesizing a wide variety of perspectives in an effort to better understand the problem at hand, and how we might collectively act to solve it» and we strongly agree with Paul Cilliers that when: «dealing with complexity there are simultaneous roles for the natural and the human sciences, for both mathematics and imagination», we asked our student to model the Jules, Jim and Catherine System form their point of view, using the designer visual attitude, to better understand it. (Density Design: “Jules et Jim” by Donato Ricci, January 23rd, 2009)
About Density Design:
Density Design is a research and teaching program. Born as a laboratory course in the final year of the Master Degree in Communication Design at the Politecnico di Milano, it develops into a research group. Using complexity as a keyword to understand reality, combining it with a continuous research for information aesthetics and representation, DensityDesign explores the emergent relationships among communication design, information visualization and complex systems. (more)
At first, I found those visualizations much more confusing than the film. Thus, the problem of modeling or representing : a guy (Henri Pierre Roché) lived his life, tried to understand it, to make some sense out of what he experienced. He than tried to create a model so that he could explain what he thought he knew about his life to other : a novel was born our of this effort. Truffaut read the novel, he experienced it and tried to make sense of the story he read, maybe using his own experiences. Than, he proposed himself to show what he thought and felt by the means of movie making, BW film, Cinemascope ratio, fixed frame, voice over reading, music, etc. Finally, design students watch the film (I don’t know if they read the book) and tried to visually represent in a static form, using science and imagination, the way they felt about the film, the way they understand it. It’s a big challenge, to say the least.
 | We have only to speak of an object to think that we are being objective. But, because we chose it in the first place, the object reveals more about us than we do about it. What we consider to be our fundamental ideas concerning the world are often indications of the immaturity of our minds. Sometimes we stand in wonder before a chosen object; we build up hypotheses and reveries; in this way we form convictions which have all the appearance of true knowledge. But the initial source is impure: the first impression is not fundamental truth. In point of fact, scientific objectivity is possible only if one has broken first with the immediate object, if one has refused to yield to seduction of the initial choice, if one has checked and contradicted the thoughts which arise from one’s first observation. |
Here’s the original French text:
Il suffit que nous parlions d’un objet pour nous croire objectifs. Mais par notre premier choix, l’objet nous désigne plus que nous le désignons et ce que nous croyons nos pensées fondamentales sur le monde sont souvent des confidences sur la jeunesse de notre esprit. Parfois nous nous émerveillons devant un objet élu; nous accumulons les hypothèses et les rêveries; nous formons ainsi des convictions qui ont l’apparence du savoir. Mais la source initiale est l’impure: l’évidence première n’est pas une vérité fondamentale. En fait, l’objectivité scientifique n’est possible que si l’on a d’abord rompu avec l’objet immédiat, si l’on a refusé la séduction du premier choix, si l’on a arrêté et contredit les pensées qui naissent de la première observation. (éd. Gallimard, coll. Idées, Paris, [1938]1949, p. 9)
Gaston Bachelard was a French epistemologist. Learn more on Wikipedia.
| I thought all these other people. I thought how did they get to be who they are. It’s banks and car parks. It’s airline tickets in their computers. It’s restaurants filled with people talking. It’s people signing the merchant copy. It’s people taking the merchant copy out of the leather folder and then signing it and separating the merchant copy from the customer copy and putting their credit card in their wallet. This alone could do it. |
Previously on Skandalon: Cosmopolis, Don DeLillo
Altered States by Ken Russell, 1980 [IMDb]
| Mais l’accusation a buté sur le pourquoi des actes de celui qui, comme l’avait indiqué à l’audience le témoin Jean-Pierre Mustier, « vivra et mourra comme étant le trader au monde ayant fait perdre le plus d’argent à sa banque ». « Fou ou incompétent?” a demandé Jean-Michel Aldebert. Philippe Bourion avait évoqué une autre hypothèse: celle d’une « variante financière du bovarysme, qui consiste à se voir autrement que l’on est, à se donner des sensations fortes”. “Il y aura un avant et un après Kerviel dans les banques”, a affirmé le procureur, tout en s’interrogeant sur la capacité du système à lutter contre un nouveau « génie dévastateur ». |
| ‘For me gravity doesn’t exist,’ said Dr. Verlinde, who was recently in the United States to explain himself. Not that he can’t fall down, but Dr. Verlinde is among a number of physicists who say that science has been looking at gravity the wrong way and that there is something more basic, from which gravity “emerges,” the way stock markets emerge from the collective behavior of individual investors or that elasticity emerges from the mechanics of atoms. |
In his paper, Dr. Verlinde never wrote “gravity doesn’t exist”. Instead, he wrote:
Note, however, that from our point of view the existence of gravity or closed strings is not assumed microscopically: they are emergent as an effective description. (“On the Origin of Gravity and the Laws of Newton” PDF)
To say gravity doesn’t exist is one thing. To say it’s not real is something else. To say it’s an emergent phenomenon is yet another thing. In his New York Times essay, Dennis Overbye observes:
Dr. Verlinde is not an obvious candidate to go off the deep end. He and his brother Herman, a Princeton professor, are celebrated twins known more for their mastery of the mathematics of hard-core string theory than for philosophic flights.
| The things that made him who he was could hardly be identified much less converted to data, the things that lived and milled in his body, everywhere, random, riotous, billions of trillions, in the neurons and peptides, the throbbing temple vein, in the veer of his libidinous intellect. So much come and gone, this is who he was, the lost taste of milk licked from his mother’s breast, the stuff he sneezes when he sneezes, this is him, and how a person becomes the reflections he sees in a dusty window when he walks by. He’d come to know himself, untranslatably, through his pain. He felt so tired now. His hard-gotten grip on the world, material things, great things, his memories true and false, the vague malaise of winter twilights, untransferable, the pale nights when his identity flattens for lack of sleep, the small wart he feels on his thigh every time he showers, all him, and how the soap he uses, the smell and feel of the concave bar make him who he is because he names the fragrance, amandine, and the hang of his cock, untransferable, and his strangely achy knee, the click in his knee when he bends it, all him, and so much else that’s not convertible to some high sublime, the technology of mind-without-end. |
Let’s say for the moment that this quote relate to the general problem of the representation of the self: of the innumerable and diverse experiences I had, in my lifetime, how and under which conditions am I able to elaborate a stable representation of myself. Or, to put it in other words : How did I came up with a sense of my own identity?
Compare it with David Hume’s thoughts on mankind, Derrida’s view on the grammar of dreams (after Freud), who Pablo Neruda think he is (along with an excerpt from Paul Valery’s Mr. Teste), Quadrophenia, and finally the problem of translation from the perspective of media theorist Friedrich A. Kittler.
Previously on Skandalon: Don DeLillo
From The New York Times:
““Exit” is billed as “a Banksy film,” but Banksy, the notoriously reclusive British street artist, appears only rarely, face hooded and voice distorted. Even so, it is Banksy whom audiences will come hoping to see, stimulated by the canopy of hype that this artist has carefully erected, in interviews and on the festival circuit. What they will find is, like Banksy’s best work, a trompe l’oeil: a film that looks like a documentary but feels like a monumental con.” (more)
Visit the film’s official website.
| The maze of hallucinations that we have created around ourselves. |
| What DeLillo understood, long ago, is the end of the world would be experienced not as the end of the world but rather as a way of thinking and talking about the end of the world. What he understood is that the toxic cloud that has our name on it would be defined by its lack of definition; that we would never have as much information about it as we need to have or that someone else has; that it would turn into a free-floating void, exactly as withholding as it is encompassing; that it would become part of the landscape and that the landscape would become part of it; and that, of course, there would be footage, endlessly recycled but ultimately inconclusive. No, Don DeLillo has never written about what about BP, Transocean, the MMS, and our thirst for oil have wrought in the Gulf of Mexico. But 25 years ago he imagined the name for a disaster that would come with its own excruciating and tantalizing Zapruder, and that would allow us to talk it — and ourselves — to death: The underwater toxic event. |
Jacques Derrida developed a similar idea about the 9/11 attacks. See Philosophy in a Time of Terror
Tom Junod is an American journalist. He’s also the author of the excellent piece : “The Falling Man” (which is also the name of a great novel by Don DeLillo)
| The Big Brother isn’t a person as it turns out, it’s the collective consciousness that watches us. […] It’s not that living in public is going to be impose on us. We’re going to be conditioned to ask for it. |
“The 3rd millenium has been ushered into existence. No apocalypse. No Four Horsemen. No en to the world. No nothing. Nevertheless, Josh Harris, Internet entrepreneur and aspiring artist has decided that the 2nd coming is at hand. And “the new Messiah” is none other than Gilligan, that’s right, the Gilligan, from Gilligan’s Island. No, not Bob Denver, that actor playing Gilligan. He is but an avatar or the messianic life force, which is Gilligan himself. For Harris, life is a sad tug-of-war between those who control reality and those controlled by it. The weapon is media. And Harris, in an all-out onslaught on the world, has decided to make his own torpid existence into a new religion.” (errolmorris.com)
See also the documentary We Live In Public (Ondi Timoner, 2009)
| Cognitive dissonance is an uncomfortable feeling caused by holding two contradictory ideas simultaneously. The theory of cognitive dissonance proposes that people have a motivational drive to reduce dissonance by changing their attitudes, beliefs, and behaviors, or by justifying or rationalizing them. It is one of the most influential and extensively studied theories in social psychology. […] The most famous case in the early study of cognitive dissonance was described by Leon Festinger and others in the book When Prophecy Fails. The authors infiltrated a group that was expecting the imminent end of the world on a certain date. When that prediction failed, the movement did not disintegrate, but grew instead, as members vied to prove their orthodoxy by recruiting converts. |
Learn more about Leon Festinger and his famous book When Prophecy Fails
| Ethical issues aside, the banks also did poorly at their core job, which is managing risk. And, while there are plenty of honest, capable people in finance, the ease with which investors looked past Wall Street’s failings seems like a classic case of what the social psychologist Leon Festinger called “cognitive dissonance.” Festinger argued that when beliefs come into conflict with reality we think up explanations that shape reality to our beliefs, rather than vice versa. He used the example of the Millerites, a millenarian religious sect that came to believe that Jesus Christ would return to earth on October 22, 1844. He didn’t. But not all the Millerites abandoned their faith. Many set about constructing elaborate rationalizations to justify their belief, arguing that Christ had returned spiritually, or that the event had occurred in Heaven, if not on earth. Similarly, when people’s faith in Wall Street as an honest broker, a smart allocator of capital, and a path to personal wealth was disappointed, they managed to explain things away. |
About James Surowiecki:
“James Surowiecki has been a staff writer at The New Yorker since 2000. He writes The Financial Page. Surowiecki came to The New Yorker from Slate, where he wrote the Moneybox column. He has also been a contributing editor at Fortune and a staff writer at Talk. Previously, he was the business columnist for New York magazine. He has contributed to The Wall Street Journal, Wired, the New York Times Magazine, the Washington Post, and Lingua Franca, and has written on subjects ranging from Silicon Valley to college basketball.” (more)
More importantly, James Surowiecki is the author of The Wisdom of Crowds (2004)
About Mona Kuhn:
“Mona Kuhn was born in São Paulo, Brazil, in 1969, of German descent. She earned her degree in the United States from Ohio State University. Since 1998, she has been an independent studies scholar at the Getty Research Institute in Los Angeles. Her work has been exhibited, and is included in public and private collections, internationally and in the United States. Kuhn’s first monograph, Photographs, was debut by Steidl in 2004; immediately followed by, Evidence, published by Steidl and released in Spring 2007. The images appearing in Evidence were photographed entirely in France, where she resides each summer.” (more)
Interesting comments about Kuhn’s work by Joerg Colberg (from his Conscientious’ blog):
“It’s probably not surprising that this kind of photography looks just like advertizing (minus the clothes) and that it usually is described as bringing back “youth” and “freedom” to photography when it is “discovered”. (more)
Colberg is quoting Alexander Adams’ analysis of Ryan McGinley’s work:
“It is here, ever more specifically, that the work continues its travel into the collective Spectacle – the domain of Guy Debord’s societal criticism – it joins product advertising in creating the image of an unattainable lifestyle – the “world vision which has become objectified [17].” McGinley shoots thousands of rolls of film, creates elaborate situations, to attain what he expresses as “the life I wish I was living.” If even he – young, hip, white, famous, and increasingly wealthy – cannot actually attain this lifestyle, it is hard to comprehend it as existing for anyone outside of the shallow frame of his camera.” (much more)
In McGinley’s case, I think it’s really hard to say if this is a weakness or a quality : his work is a symptom of its time. I find the reflexive quality in Kuhn’s work to be less evocative. Some of McGinley’s photos could offer great illustrations for Bret Easton Ellis’ novels. Just like Terry Rogers decadent photorealist paintings.
