paranormalmechanisms.blogspot.com
Paranormal Mechanisms: October 2006
http://paranormalmechanisms.blogspot.com/2006_10_01_archive.html
A pursuit of unknown animals. Friday, October 27, 2006. On Loren Coleman's Cryptozoo News blog last February the question "Why frame 352? Was posted. Frame #352 being the lone frame out of nearly a thousand in the Patterson-Gimlin 16mm filmstrip that has become widely recognized as a central cultural signifier associated with Bigfoot (and Fortean activity generally! Anthology, "but with each user-friendly step, we move farther from the programming itself." (Klein, p.27). The eyes of an animal when they c...
paranormalmechanisms.blogspot.com
Paranormal Mechanisms: February 2007
http://paranormalmechanisms.blogspot.com/2007_02_01_archive.html
A pursuit of unknown animals. Monday, February 26, 2007. An intensification of scrutiny must be met with an amplification of guile" ( RAQs Media Collective. Under the search engineered panopticonscious data wrangling of our times, the cryptozoological are boldly unknown. searchable but indiscernable. Like virtual Globsters. Neologistics (metaphor most definitly included) are sometimes necessary to shift perception, disrupt traditional routes and rhythms of language systems. The poetry of machines, th...
paranormalmechanisms.blogspot.com
Paranormal Mechanisms: November 2006
http://paranormalmechanisms.blogspot.com/2006_11_01_archive.html
A pursuit of unknown animals. Monday, November 13, 2006. In thinking more about cryptozoological entities in terms of cultural phenomena and not just as their zoological referent, I've been researching maps and cartography. Generally, maps recieve little consideration as to the objectivity of their representated terrain. Presumably, this is because when one is trying to find their way back to the freeway, they don't want to add questons of neutrality into their already frustrated inqury. Seeks to "visit ...
stefkofman.blogspot.com
GREEN LIGHT FOR TRANSGENIC ART
http://stefkofman.blogspot.com/2006/12/part-1-introduction-to-genetic-art.html
GREEN LIGHT FOR TRANSGENIC ART. THE THEORIES AND WORKS OF EDUARDO KAC. Wednesday, December 6, 2006. Was created, Kac clearly stated in his Transgenic art manifesto that one of the main goals of this project was to show that transgenic animals could, and should, be integrated into the fabric of society. The. The first genetically altered organisms presented in the museum context were Edward Steichen’s. At New Langton Arts in San Francisco. Was an attempt to look into the future by bridging the gap between...
paranormalmechanisms.blogspot.com
Paranormal Mechanisms: June 2007
http://paranormalmechanisms.blogspot.com/2007_06_01_archive.html
A pursuit of unknown animals. Saturday, June 16, 2007. Read Suzi Steffen's rave review. Of otherworldy art- including my own metaphortean monstrosity which is pictured above. Photo by Rick Gehrke. Posted by cdiehl at 10:59 AM. Tuesday, June 05, 2007. Unlocking the N.E.S. Just the other day in Scotland, new footage. The Nintendo Entertainment System. Upon closer inspection, he is in fact in the company of quite a motley crew. Ogo Eion, of the Portland duo Disjunct. Posted by cdiehl at 7:56 AM. Media envir...
paranormalmechanisms.blogspot.com
Paranormal Mechanisms: September 2006
http://paranormalmechanisms.blogspot.com/2006_09_01_archive.html
A pursuit of unknown animals. Saturday, September 30, 2006. Virtualization of Transport.Realization of Cryptids. Audio-visual media are a variety of transportion device, carrying away the spectator's attention, travelling it to new vistas. Errors and aberrations (gremlins of the crypto-zoetropical persuasion ) do their darndest to disrupt the official business of this virtual transport. Posted by cdiehl at 8:50 PM. Thursday, September 28, 2006. That animals sought 'virtual shelter' in cinema- as animatio...
paranormalmechanisms.blogspot.com
Paranormal Mechanisms: December 2006
http://paranormalmechanisms.blogspot.com/2006_12_01_archive.html
A pursuit of unknown animals. Friday, December 15, 2006. What about the Glitchsquatch? Blobfoot" sounds like some sort of disease or awkward dance. Chupacablob, Blob Ness might be acceptable variants using other known cryptids, but of course Bigfoot/Sasquatch is more memetically charged as an emblem of cryptozoological culture. Recently, one of my colleagues asked me "What about the Glitchsquatch? Do you know about the Glitchsquatch? In its original usage. Blobsquatch refers to the results of an optical ...
stefkofman.blogspot.com
GREEN LIGHT FOR TRANSGENIC ART: Bibliography
http://stefkofman.blogspot.com/2006/11/eduardo-kac.html
GREEN LIGHT FOR TRANSGENIC ART. THE THEORIES AND WORKS OF EDUARDO KAC. Sunday, November 19, 2006. Andrews, Lori. The clone age: adventures in the new world of reproductive technology. New York : Henry Holt, 2000. Anker, Suzanne and Nelkin, Dorothy. The molecular gaze: art in the genetic age. Cold Spring Harbor, N.Y.: Cold Spring Harbor Laboratory Press, 2004. Ippolito Jon and Blais, Joline. At the edge of art. London: Thames and Hudson, 2006. Labels: digital media seminar. Eduardo Kac with Alba. GFP Bunn...
paranormalmechanisms.blogspot.com
Paranormal Mechanisms: May 2007
http://paranormalmechanisms.blogspot.com/2007_05_01_archive.html
A pursuit of unknown animals. Thursday, May 31, 2007. Heterotopias are simultaneously physical. Spaces. Relatedly, Mcluhan contended that new media environments are as invisible to their inhabitants as water is unthinkable to fish. This is because one is so enveloped in au currant. Media that it's impossible to find an outside space from which to reflect. Residual, or differently functional. More so than any snow man. Residual, or, differently functional media environments are not so much about inevi...
