Obviously, a high resolution image is more luminous and powerful, and more imitative magic, more cr

In defense of the poor image of Guitar nasha Woody Sunday, October 5th 2014 19:44 Steyerl Hito Hito Steyerl [1]: The poor image is a copy in motion. Has poor quality and a resolution substandard. At the time that accelerates deteriorates. It is the ghost of an image, a preview nasha [preview] comp [thumbnail], an errant idea, an itinerant image distributed for free, forced through slow digital connections, compressed, reproduced, ripped, remixed, copied and pasted into other distribution channels.
The poor image is a rag or a crack; an AVI or a JPEG, a lumpen proletarian in the class society of appearances, ranked and evaluated according to the resolution. nasha The poor picture was uploaded, downloaded, shared, reformatted and reassembled. Turn on accessibility to quality, value display in cult value, films into clips, contemplation into distraction. The image is released from the vaults of cinemas and archives and digital turra the uncertainty, at the expense of its own substance. nasha The poor image tends towards abstraction: it is a visual nasha idea in its own becoming.
The poor image is the illegitimate nasha daughter of the fifth generation of the original image. Its genealogy is dubious. Its filenames are deliberately misspelled. Often defying the heritage, culture and even national copyright. Transmitted as a bait, an add, a sign, or as a reminder of their old profile. MOFA promises of digital technology. It's not just that at all times is so degraded that it just seems a hurried scrawl, but even one comes to doubt if even you can call image. Only digital technology could produce such an image from a sloppy start.
The images are poor, "the hapless screen" of our day [2], the rubble of audiovisual production, the waste deposited at the edges of the digital economy. nasha Witness the violent dislocation, displacement and transfer of images-its acceleration and traffic by vicious circles of audiovisual capitalism. The images are carried by the poor around the world as goods or their effigies, as gifts or rewards. Spread threats of death or pleasure, conspiratorially theories or bootlegs, resistance or embrutecemento. nasha The images reveal the poor stranger, the obvious and incredible it is to say, if we are still able to decrypt it.
In the films of Woody Allen the main character is out of focus [3]. It is not a technical problem, but a kind of disease that is suffering: his image is permanently blurred. Since Allen's character is an actor, the issue is important: it is not able to find work. Its blur becomes a problem material. The approach identified by a class position, a position of privilege and comfort, while the fact of being out of focus diminishes the value of the same as picture.
The hierarchy of contemporary images, however, is not based solely on the sharpness, but also, and especially, in the resolution. nasha Just take a look at any store electronic items and this system, described by Harun Farocki in a notable 2007 interview, it becomes quickly evident [4]. In class society of the images, the film takes on the role of a flagship store. In these stores the high-end products nasha sold in a luxurious environment. Derivatives asequíbeis more of the same images circulate as DVD, on television broadcasts or online, as poor images.
Obviously, a high resolution image is more luminous and powerful, and more imitative magic, more creepy and seductive than poor. It is richer, so to speak. Now, even the consumer formats are fit, increasingly, to the tastes of filmmakers and aesthetes, who insisted on 35mm film. as a guarantee nasha of pristine visual. The insistence on analog film as the only means of relevant visual crossed the discourse on cinema, virtually regardless of their ideological inflection. Never mind that these luxurious economies of film production were (and still are) firmly anchored in systems of national culture, the study of capitalist production, the cult of genius -namely masculine and the original version, and often are, therefore, very conservative in its structure. nasha The resolution was fetishized as their supposed lack castration of the author. The cult of the support film dominated nasha even independent productions. The image rich established their own set of hierarchies, with new technologies offering nasha more and more opportunities to creatively degrading.
But to insist on images rich also had more serious consequences. The rapporteur of a recent conference on the test film clips refused to show a piece of Humphrey Jennings did not occur because the right conditions nasha to design the film. Although he had a DVD player and a video, both