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August, 2010

Nineteen of Anything

A great passage from J.L.Austin’s review (1950) of The Concept of Mind, a piece of timeless philosophical brilliance clothed in the all too familiar Oxonian wit:

Those who, like Professor Ryle, revolt against  a dichotomy to which they have once been addicted, commonly go over to maintain that only one of the alleged pair of opposites really exists at all. And so he, though he does not believe the body is a machine, does believe that it alone, and not the ‘ghost’, exists: he preaches with the fervour of a proselyte a doctrine of “one world”. Yet what has ever been gained by this favourite philosophical pastime of counting worlds? And why does the answer always turn out to be one or two, or some similar small, well-rounded philosophically acceptable number? Why, if there are nineteen of anything, is it not philosophy?

The Zanni analyses (III): The Fifth Day

Photo #5, The Fifth Day

Released in January 2009, our third data cinema work by Carlo Zanni challenges the very essence of cinema by, in fact, not being a movie clip at all but giving the impression it is. The Fifth Day is a slideshow (for lack of a more flattering comparison) heightened with an extremely cinematic soundtrack. By the latter I mean to point to the relationship between the presented photographs, their transitions and the sense of movement created by their visual aspects in conjunction with the music. The narrative suggested, as Zanni himself clarifies, is the invisible protagonist’s taxi ride across Alexandria, Egypt (Zanni, 2009b). Ten stills portray the progression across the city, with no other semblance of coherence than an overall feel of spatial cohesion and the narrative music’s bonding presence (the stills are cataloged here). Continue reading


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