Windows, doors, airport gates, and other thresholds are those transparent devices that achieve more the less they do: for every moment of virtuosic immersion and connectivity, for every moment of volumetric delivery, of inopacity, the threshold becomes one notch more invisible, one notch more inoperable. As technology, the more a dioptric device erases the traces of its own functioning (in actually delivering the thing represented beyond), the more it succeeds in its functional mandate; yet this very achievement undercuts the ultimate goal: the more intuitive a device becomes, the more it risks falling out of media altogether, becoming as naturalized as air or as common as dirt. To succeed, then, is at best self-deception and at worst self-annihilation. One must work hard to cast the glow of unwork. Operability engenders inoperability.
The Interface Effect, a lecture by Alexander R. Galloway
Interfaces are back, or perhaps they never left. The familiar Socratic conceit from the Phaedrus, of communication as the process of writing directly on the soul of the other, has returned to center stage in today’s discussions of culture and media. Indeed Western thought has long construed media as a grand choice between two kinds of interfaces. Following the optimistic path, media seamlessly interface self and other in a transparent and immediate connection. But following the pessimistic path, media are the obstacles to direct communion, disintegrating self and other into misunderstanding and contradiction. In other words, media interfaces are either clear or complicated, either beautiful or deceptive, either already known or endlessly interpretable… . more
Tuesday, October 23, 2012 at 7:30pm
155 Freeman Street, Brooklyn
As a tribute to Chris Marker, who passed away last month, Light Industry is hosting a free, all-day screening of his films, with introductory remarks and remembrances by Paul Chan, Thomas Keenan, Tom McDonough, Molly Nesbit, Martha Rosler, Jason Simon, and Amy Taubin, among others.
Collaborations with Alain Resnais
Statues Also Die, digital projection, 1953, 30 mins
All the Memory of the World, digital projection, 1955, 22 mins
Introduced by Tom McDonough
Sans soleil, 16mm, 1982, 100 mins
Introduced by Amy Taubin
La Jetée, 16mm, 1962, 28 mins
Introduced by Molly Nesbit
Le Joli mai, digital projection, 1963, 165 mins
Introduced by Jason Simon
A Grin Without a Cat, digital projection, 1977, 180 mins
Introduced by Thomas Keenan
Letter from Siberia, digital projection, 1957, 62 mins
Introduced by Martha Rosler
The Last Bolshevik, digital projection, 1992, 120 mins
Introduced by Paul Chan
The Case of the Grinning Cat, digital projection, 2004, 58 mins
All shows are free. Seating is available on a first-come, first-served basis. Doors open at 9am. Marker’s 1997 CD-Rom project Immemory and a selection of materials related to his work—posters, books—will be on view in Light Industry’s office before and after screenings.
Special thanks to Icarus Films, Institut Francais, and New Yorker Films.
This weekend: Triple Canopy—with roommates Light Industry, a venue for film and electronic art, and The Public School New York, an open-source classroom—will open the doors to our new home, 155 Freeman, in Greenpoint, Brooklyn. (Remember this?)
Look for David Horvitz’s neon sculpture in the window!