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Haja criatividade para sustentar um sucesso durante 10 anos. Helena Tavares. Comecei a pensar nos comediantes. Rio de Janeiro, Jorge Zahar, Eu dei o nome de Ribamar ao personagem do Tom Cavalcante.
Basta provocar. O alto estilo surge da necessidade que os media tinham de um rosto. Assim como tudo se torna cidade, tudo adquire o estatuto de jogo e das suas leis, figuras, efeitos especiais e defeitos. E foi isso que aconteceu. O marketing vence. Tinham de ser mais. Michael J. Como se fosse banal recorrer ao teletransporte, a piada e o prazer da viagem terminaram. A arquitectura tem sido muito lenta a acompanhar esse desejo.
Estamos sempre dentro. Apenas isso. As culturas marginais vivem da rua. Fora destas cidades permanecem os outros desertos. Uma cidade encarada como campo de batalha para a economia do entretenimento e da pornologia oferecida pelo marketing vive da novidade.
A privacidade pode tornar-se um produto: Mundializou-se o urbano, americanizou-se a imagem e africanizou-se o ritmo. Existe um objectivo na sabotagem: Tratou-se do primeiro acto de sabotagem da economia global e do maior feito superterrorista do nosso tempo. Este foi o primeiro acto de guerra optimizado, de nefasta sabotagem global, ao estilo dos formatos vigentes do spot de publicidade e do videoclip.
Nem seria de esperar que fosse de outra forma. Monstros de Media. Mas aqui o conceito muda um pouco. Nesta senda de insanidade, a sabotagem tem apenas um perigo: Assiste-se a uma guerra nos media. Para se ser um sabotador ou um terrorista, bastava jogar Museum Meltdown e intervir no Moderna Museet de Estocolmo como experi- mentador da obra.
Are you ready? E o que nos resta? Gradiva, , p. Remete para algo futurista, controlado e computadorizado no sentido lato. Glamour — Capacidade de atrair com nobreza as outras pessoas.
Lifestyle — Um estilo de vida. Marketeer — Profissional do marketing. Meltdown — Acidente, descalabro, incidente perigoso. Patchworks — Colagens, remendos. Academy Editions, s.
Cassidy, Routledge, Londres, Charles Levin, Telos Press, St. Habiter, Ed. Harry Zohn, Illuminations, Ed. Terminal Identity. The Second Anthology, Ed. John Clute, St. Brian Massumi, Athlone Press, Londres, The Birth of the Prison, Trad. An Anthology, Flamingo Books, Londres, The Logistics of Perception, Trad. Baseado em Minority Report, de Philip K. Baseado no conto Pay Check, de Philip K. Perhaps Arthur C. And, as a matter of fact, it sounds like we are living in a magic world where reality and fiction crash each other obsessively, so to become themselves an energetic core whose alchemy formula we are yet to decode.
What is reality? DICK, alike a compass. DICK did confessed precisely that: It is not by chance that he had written most of his books in the 60s, when the world attended to a both physical and mental storm of experiences. His visionary glance, which has cut apart most solid scientific foreseeing and less paranoid than that of H. What is Real? What are dreams made of? Many of his cha- racters find out that their world is an illusion created by them or that it is imposed. And all that in spite of K.
Though, since the author used and abused from getting hyped on amphetamines and LSD drugs, something very common to all a generation that, driven by its high acquaintance power, discovered the logic of tripping alike Jack KEROUAC , even so that to do so it had to replace the freeways by drugs. DICK work was always about a future America, where the all around chaos changed the characters of his stories to call all their humanity in order to survive it. Emotions are also a central obsession in his works.
It is the result from all the forces that crash in the unknown that K. DICK introduces in his books: It is a sign that all K. It is that power that the author tries to fight up through nomad characters who search, without gathering ever cabal responses, a breach of reality among the colorful illusions that surrounds and dominates them. That sovereign power, limitless, that could turn all human beings into real slaves even though it would be for pleasure , hypnotized Philip K.
DICK ever since the beginning of his work. The sincerity which was build up as an ethical valor in the 18th century, and which was erased in the 20th century, by the notion of authen- ticity.
With the postmodernism putting a tomb on it, unveiling the impossibility of sincerity. Which is to say: In the present time we live in an age of the capitalism of fiction, whose vital core of commercial dynamics are the main ideas. The United States, and its culture, dream of to achieve the dominance of reality.
Of fiction, in which fear as in movies plays a surprising role. Or of privacy, of which Americans themselves were afraid of until some years ago, and that it starts to be something to show fearlessly. To favor the amusement of the others. We came this far because the September 11th grotesquely uncovered completely the mask of this mediatic world in which we live in. The attacks announced a new time, a time in which uncertainty and fear merged in a society ready for pleasure and fun.
The unbreatha- ble and paranoid world forecast by J. The indis- criminate death and the tedious feeling walk side by side in this Media Age. However, even these ones use the mediacy of their actions as a weapon.
Since the millenary Christian movements of the Middle Age till the French Jacobins all they killed mercilessly to create a brand new society. It is all that what has become essential: Today everything is fast. A noise which keeps the spectator, or the elector, staying put for some seconds. The celebrity cult creates the illusion of individuality. Past ceased to exist. Everything is present day. And that is the present day we see in the media broadcast.
Between the end of the Cold War and the post September 11th age of terror there was a decade in which everything was all about money. The financial markets and the technological evolution exceeded every frontier.
There was no day or night anymore: The Internet world ceased to have a sunset. The capital and technology convergence instituted an acce- leration of time. Mayhem is a creative stimulation, though it is hard to admit.
It is in the very genetics of capitalism itself: Is it possible that from the future ruins of this media culture something could possibly grow upon its ashes?
The question is also about language. The struggle between States, between zones of influence, it is vanishing.
Terrorist groups move beyond the frontiers, using death weapons but also information weapons. They are inside; inside the border perimeters where everyone thinks to be in safety. What is left then to the nomads outside this entertainment culture? In the middle of this mess, we could be driven into a neo-fascist formula.
The 20th century was perhaps the last century in which things themselves used to have a value for their visibility. Everything can be photographed or filmed. All things can be sent over the network and then be seen by the whole world. Our personal data is everywhere.
The illusion of reality, which dominates every thing and every body? The future is not foreseen in the palm of the hand. Though it sounds less attractive than a non-stop reality show.
Like the one we are living inside of right now. At that time, the attitude of the new generation of individuals and the on going technological revo- lutions had really scared the most conservatives.
It was attended to a Future Shock, despite of not being already the dystopian future that science fiction was introducing in its novels about the holocaust. It was a forcible evolution in the media and control structures of fashion and marketing that made sense only after the attenuation of the shock waves of the Cold War. Although technology was being prepared to explode, it is the western world that was dragged into a process of imploding communication, to live under the panic of consumption and the mediatized catastrophes.
It is with respect that today we refer to the New Wave from the eighties, because it was this wave built in studios that determined the acceptance of everything that was outside the media. Along with the flow of events, shock, which was by then a concept inherent to the vanguard art and to the polythical and industrial espionage, became banalized in media.
That is why there is no longer nothing really amazing. Now media offer a paradise that is thought for the present time. Considering that the future is getting late, everything is needed for today or even yesterday. And because media invaded the world with their promotions and shocking images, the individual learned how to accept shock, by creating anticorps that allow him to coexist with communication in public spaces and non-places. We went from a future shock to a terror of the present, an unbearable present of spectacular reality TV, full of representations and invented life styles.
At this moment, it is the media optimization that embraces us, the tunning of the entire mercantilism and propaganda lobby able to standardize us. It is inevitable. The supersonic and omnipresent seduction follows the footsteps of the total fashion and the hard selling. Everything has to be forced, better, faster and stronger, just like the Daft Punk music harder better faster stronger sug- gests. That is how this social, fragile and temporary, rich and glass like environment intro- duces itself, this desert of ideas, without much that can be understood, unless its own functioning, that is technical, methodical and agressive.
Capitalism and Schizophrenia: Perhaps this progression, oriented towards the emptiness, supported by the commu- nication, condemnes us to futility, but there is something more: It is a shame that, before such a falacious global tunning, it is the real local interference that makes the difference and the instantaneity that imposes itself over the values and the sponta- neity. Only under a hypnotic state makes sense to verify that the communication scans our collective imaginary, searching for references, talents and contents to be perverted, and not being able to answer to such an optimizing world.
Before your look, the highiest definition of media hides the lowest definition of the essences. Let us see the platform in which everything is at stake, between the absence of content and the atrocious technical perfection… H. Computers are over. Most of the consequences that we can expect from computers as stand-alone machines have already happened. They have sped up our lives, and made managing words, numbers, and pixels quite extraordinary, but they have not had much effect beyond that.
First, thanks to the connection of the computers with the networks, second because of the happy marriage of the fashion with the techno- logy. Nowadays society feeds itself of social models sold by media, that seduce her aggressively without possible return. That is why it is understandable the existence of an obsession with the optimization. The social priority it is to obtain the most sat- isfatory, most optimum, optimistic, profitable, advantageous and interesting results, which is, statistically and politically, a way to decode the resultant world from the new economies.
It was through psycology and through advertisement that media addicted the society in the attainment of the best performances, in the conquest of the most outstanding and impressive results, in the accomplishment of the most spectacular tests, in the commitment of the most significative stunts and in the more and more stylized performing. And in this point we realize that there is a forceful modification, therefore this is all about acting out instead of acting, which is not the same thing because to act implies a change in any kind of situation and acting out means to represent dramatically.
Besides, this contemporary whirl of discourses and perspectives develops as a subtle storm, not only in accordance with the image, but also, and over all, in accor- dance with the sound. We have media networks, already wireless, surrounding us, trying to hack our conscience and to violate our will. This is a society of the image, but also a society in which the acoustic and the spectral exert an enormous fascination among the indi- viduals.
It is not by chance that the individuals manage their own purposes in order to feel integrated and avoid being marginalized by the general consensus. There is a huge concern in simplifying and optimizing the economical patterns, as well as there is such a concern in the personal aesthetics, under the spectral embracement of media.
The fact that the behav- iors began to be each time more and more standardized and generally more rebellious is linked to the answer ability, and also optimum, that media developed. Thus, what matters is to improve, to homogenize, to process the entire global reality just like the high-fidelity systems process sound, or like the high-definition systems process the image: In every domain the purpose is to achieve the highiest standard, to improve trends and to ridicule the humiliated level of essences.
So the definition does not remain in reality anymore, because what is going on is entirely new. This optimization hurricane, able to connect and re-connect everything, really extinguishes sadness from the new public spaces, so that we cannot be sad now, or remain lonely, now we cannot not-want, not-consume or not-see.
The universe of all the optimized communication hinders that melancholy might be successful within the happy hardcore of propaganda. Right now, what concerns me is the intimacy level of the things that are shown to us, the detail of the lie, the technical credibility at stake, the special effect applied.
Concerning the optimization of the state of things, not much else can be done. But there is, for some, a conceivable response, since that in this abject urban space excuses for false feelings proliferate, like acessories and medi- atic rituals that, however, are each time more disturbing, perhaps because of their connivance with the public instability created by the communication itself. A Pepsi World was created, with bigger highways, thought for better performances, designed to have wide perspectives, along with fast food, the general androgyny and combat patchworks.
Ready to sell; ready to work, ready to battle… The individual can only seduce or be seduced, with the increased value of being able to contemplate the optimized state communication that receives and controls him. By modifying his own image, his representation and his situation within this whole new universe, the individual optimises himself, inheriting the unreliability feeded by the modernism.
And no one discredits this high-standards universe, whose only obvious sphere is the marketing, an area responsible for metamorphoses that long ago were resultant from the socio-political revolutions.
Slowly, everything becomes media in the name of optimization polithics in charge. That is why some activists, in panic, respond with new shock waves, following a kind of jamming com- munication, subverting advertisement and much more.
Marketing has charged itself to promote what communica- tion reveals, serving itself the most expansive images the porn and appealing to a whole new transparency of spaces, a slightness of the body and a social virtuality. Everywhere, individuals and spaces manifest the same characteristics of the optimi- zation of communication, contributing to a fascinating and inviting media system.
Suddenly the individual is harassed by communication products thought to stimulate the seduction game in a social level, wether it is at question technologies, personal accessories, plastic clothes, ideological discourses or mediatic activities. The plasticity within this mad and fast enviroment of media provides a constant perfection, verstatile and flexible state. If the communication that surrounds us did not benefit of such flexibility, the optimization that is now celebrated would not achieve a tunning amidst the technology and the communication figures.
Thus, speaking on Internet, TV, paper press, theme parks, shopping malls, movies, video- clips, videogames or advertisement spots, it is the same than to speak on a world of communication optimized in a perverse way. Independently of which might be the space, the person, the activity, the product, the mecanism or the tendency, the symptoms of the optimization are latent in it, because everything that surrounds us was thought to be connivent with fashion and to appeal to the same figures and celebrities.
All is reduced to the serial production of attractive communica- tion products, which can be combined between themselves and abuse of the same seduction language.
Meanwhile, the supermodern discourse of media amputates the modern discourse of the State, with its databases and versatile information networks, underlining a symphony of global desire without maestro. As time goes by it becomes perceiveable that everything is so spectral and fast as sound, and also that, before this commu- nication that optimizes us, things are shown in such an ephemeral and exciting way as pop music.
In this scenery of versatility and tunning of the optimized communication with the audience, fashion tries to justify the durability of consumption products with adjacent technologies, and the technical culture becomes a basic need just like it happened with the critic culture of other times. Currently the western world attends to the appearance of communication ambi- ences that redefine public space and appeal to images so provocative as porn , music, trends, technology and cosmetics.
For the very first time in history there is a melting pot where the manipulation technics and those of seduction mix with spaces that are designed for control. This means that control now is exerted in accordance with an aggressive communication, given that we have constant sur- veillance and obligatory consumption. Before there were manipulation technics, control and surveillance spaces, but the symbiosis not only it was not perfect, as it did not had a state of attraction perversely created from scratch.
With this gath- ering of seduction and control, individuals are stimulated to consume, also being controled in a very optmimum way in spaces that are inaugurated precisely for that purpose.
For that, sound is much more pragmatic and functional than the image, the same applies to relation of music and video, because music works easily several individuals. In addition, the entire history of music and video has been connoted with more or less obvious manipulations, but sound and music are much more subtle, efficient and festive. Historically, commu- nication has achieved its goals through the sound waves.
The major part of the nazi propaganda was well succeeded because Hitler did used radiophonics for such effect. The north-american discographic industry owes its success to the radio stations. The hip-hop culture has survived because it communicates through music. Most recent fashion imposes itself precisely for it associates with DJs. With this, I mean that music has been used estimating an effect of communication and that communication is so much more well succeeded as the more promiscuous it is with the sound.
Even in the technological sense, since Hertz to the modern telecom satellites, sound has always been the real basis of communication.
Today, in what concerns the information networks, there is an enormous need to eradicate all wires and to substi- tute them for radiophonic transmitters. To dematerialize is the tendency, the tunning of communication, the optimization of contents, until everything becomes invisible and acoustic for us as a top music. In this moment, the generation that grows along with MTV, and whose individu- als often go to shopping malls to consume in panic, is already under the perverse influence of the communication and the radio waves.
One decade after the Gulf War having inaugurated the optimization of the military communications, the civil world is under the effect of the radiphonic, musical and electromagnetic communication.
Microwaves satellites and supersonic databases had been born of what the US and their allies experimented in the first real time war against Iraq. Therefore, the public space is indeed a combat space where media fight for the audiences using means of control and persuasion, invisible and seductive like the subliminal and the subsonic advertisement for example.
This is so because one thinks very much in ways of experi- menting space as media, which is what happens in shopping malls and in the open sky TV shows. The MTV stylized music is there to stir up the party. For the music it remains the goal of improving the advertising message credibility in the consumption spaces, so that all the spaces become some- thing like outdoor supermarkets.
The secret is the stylized communication through the music, because it chases the consumer, not only it attracts him, but works against him, stiring up to the unquitness. Since its force of deterritorialization is the strongest, effects the most massive reterritori- alizations, the most numbing, the most redundant In fact, sound can modify spaces, it moves, it is spectral and tactile. Hence, the new media weapon is, for that reason, the sound.
Therefore, it is not necessary anymore to be close to the sources to receive messages that come from all around. Just like the Internet, the cellphones, the GPS, or the hormones of a wireless perfume bought in an orbital shopping mall.
It is not just something technical, it is the media functioning everywhere, hijacking immediately the public space with their own desire machines, and not containing themselves anymore inside the video screens.
For convenience everything will become spectral, acoustic and invisible, because media dissolves the walls with its cameras, telecom satellites and with its music. The erotic Real is dead because among us there is now the very porno-logic Real: What it is most interesting is that the project is so ambicious that it transforms all the substances that it touches in pure virtualities, producing images and promoting clinic trends, technological viroses and cybernetic politicians.
Nothing compares to the way media improve their own action structure, providing an unintel- ligible credibility to all social fictions. It is in this perspective that the society, under the media optimization, finds itself seduced and fed by a technological neurosis that works without leaving tracks.
A virtuality that reflects the obsessions to reach the transposable limits, the figures to outcome, the models to follow and the universes to hyperdefine in the Real. The slight detail of promote emptiness explains why this society cannot shut itself down, using all resources to achieve the definition that is its goal.
All the available time is invested in the optimization of the society, what is traslated in sophisticated and bold perfor- mances, legitimate in the war that persists in the level of fierce comparison among individuals.
And, using to advantage this competitiveness, media dispose fallacious marketing campaigns in the name of the acquisition of the best experiences and the attainment of the best results. Having in consideration that the experiences are defined by spaces, the media around us are responsible in functioning to aim to the transparency, the invisibility and the omnipresent pop seduction.
After the sole cult of the image, this supersonic society accepts life clearly confined to spaces where the purpose of the wall is finished, therefore nothing else makes sense if not the trans- parency, to see the Other at the spectral sound speed.
We should not forget that our social spaces had acquired the plasticity of the sound; they are continuous, spectral, dynamic resources, without any original referent, maps of a social game that blinks in the surveillance screens.
It is important indeed also the fact that is not enough to have more or to have better: It does not matter what or when, what is in question is the fact that the optimization of the civil world is a consequence of the optimization of communications in a military level.
In the end, with the communication world assembled to elude and control the individual, what is only left to him is to invest in the high-definition of what ever might be.
There are no more chances left to him. The result is surprising: Yes, but where lies the surprise, asks the reader? It is quite simple.
The technology in expansion modified drastically the socius; it absorbed with its own short durability the rhythm of trends and eradicated its enemies.
In this precise moment even the culture jammers and the terrorists do achieve their place of prominence, the first ones because they are poetically original, and the second ones because they are dangerously genuine. We can notice that any individual can become a star, hence that there is no outside!
There is an obsessive control of the plasticities, it is intended that everything can be reshaped, that everything is fashion, the reason is that now the power is huge, as the chance of becoming a potential media figure; of being in the media.
All we are media now as long ago we were State. And with the State lost and the univocal politic of representation exceeded, the communication advances through the socius to impose its laws and propose its paradise: To look for to be a star is the occupation of this perplexed society. It all makes sense mostly when in our everyday life we notice that there are abundant high-definition bodies, perfectly designed faces and less obvious forms of genetic manipulation.
The expansion of porn is responsible for inciting to mutual observation behaviors among individuals as if by radioscopy, having also changed the way everything is organized in the public space, inside and outside of screens. It is the discourse of the tempting, the inevitably tempting. We must want something. The opposite does not make sense. Not in this society in which everything is shown and stripped in high-definition. Optimized by a contagious, telematic and virotic virtuality, so acoustic as pop music, this arrogant urban society surprises itself with its own supersonic images, fomenting luxury and lust.
It lives in search for an elegant sophistication — which is no more related to old informatics. All together, the individuals constitute a market- ing organism obsessed with its improvements, and that is why it has been decreed the end of the polyhedral territory, of wrinkles and dirt. To this new society, without classes because no one abdicates of being neobourgeois what would imply to leave the media public discourse , there are no more imperfections, that is to say, what technology is not able to solve.
The answer lies in the provocative media world that had been institutionalized, in the technical and hybrid, urban and urbanizing space, that results from the fusion between information and fashion, and also of the one of desire and design. The starting point was the creation of a new regime of design that revolutionized urban space with its new decorative high-performance patterns. The best examples of this confluence of desire mechanisms are the current automobiles, the deluxe jet airplanes, the microcomputation and the provocative ambience of the electronic music parties, because, according to their nature, they all change rhythm into a decorative seduction pattern.
Under the forcible perfection of media we attend to the merge of hardware with hardcore and to that of software with softcore. Not much is left to add when technology strips us and there are plenty of images to contaminate us.
Nothing of which we were used to explain this social transformation, this seduc- tive, violent optimization built upon images that strip themselves and that obligate us to undress ourselves. This is the MTV aesthetic invading society via satellite, with its microwave videocameras that shoot through concrete walls to expose desirable bodies everywhere.
The violation stop coming uniquely from the outside, from one individual only, it comes from all of them. Every individuals violate the outside by assuming themselves as arrogant ones and inevitably seductive of each other.
The phenomenon reaches such a scale that media intervene in the landscape, even creating environments conceived precisely to foment provocation among the individuals. And what is special about it? If you have been having long term crush towards Intel, then you would have known something called "Moore's Law".
Intel innovation is inspired by Moore's Law and it's also because Moore's Law was proposed by Gordon Earle Moore at around from the observation made in , who was actually the Co-founder of Intel. Moore's Law:- It states that "the number of transistors per square inch on integrated circuits had doubled every year ever since the integrated circuit was invented". In the following years, the pace slowed down a bit, but the data density has doubled approximately every 18 months.
Gordon Moore and other experts believe that this powerful law will hold for next 2 decades So, Coming back to the question:- Why Quantum computing? To prove it in easy way, we will be using Moore's law.
According to Moore's law, Over million of transistors will be doubled soon. One appeal very much to synthetic image laboratories and there is a lot of investments in the disappearing of spontaneity. Even that everything might be ajustable to it and reachable as if through remote control, all problems result of the fact that media had become an environment through architecture. Every effort and pseudo-illuminati projects were simply reduced to the fullfilment of high-performances, high-debits, being privileged the maximum of investiments, the minimum of reality.
The virtual and the absence of nexus in the Real inaugurate, even though, the paradigm of the conexus. In this social Las Vegas, all becomes image, as it testifies the the power of the videoclips, but the speed at which images intervene in society is supersonic, given that there is not much maneuver space left to question them — they are legitimate and accepted.
This is how all things become nor public nor private, but semipublic, thanks to a compression formula that gathers people and goods as if they were images stored in a hard disk.
The way the individuals became characters, and not mere spectators, it is due to the fact of the consumption goods have been turned into space. And only media occupy already a very significative portion of the social space! Judging by the proportions that the social stimulated by the optimization achieves, there is some difficulty in trying to identify the actors, because we are all the actors.
It is merely a question of time until we all become actors acting among the ephemeral supersonic, especially now that one exceeds the ridiculous neo-romantic age of the high-tech! It is in question the optimization of the society through the codes of media, in the new fetichistic parade spaces, those of impressive consumption, of elegant violence, of hardcore shopping, that are the spaces of a theatrical nature, appropriate for seductive representations where the actors constitute also the audience that con- sumes in panic.
It did not took so long until the owners of fashion, information and marketing, to copy the concept for themselves, to apply it in the new mediatic economy sponsored by the high-tech and by the haute couture. In addition, it is alleged that the new worlds of the consumption receive the individual by selling to him an intended entity, an entrance in the fascinanting and elegant environment, connivent with all that the celebrities possess to define their statute.
It matters to invite the individuals to renew their personality and to show with prominence the ornaments. It is part of the optimization that the acess to a virtual reality similar to the one of the videogames should be public, so the first person fiction experiencies are quite worth anything.
The city, the embassy of the polyester where the society acts out, is an unique battlefield, a court of shockwaves, and an ecosystem full of pop phenomenons. In this space, there is an emptiness provoked by this rain of stars that demonstrates how exactly society performs, too much obsessed with its improvements, involved in its addictive and hyperbolic rhythms, lost in the ephemeral supersonic.
The entire urban tissue seems to generate traffic in a non-stop way. The Society concentrates its efforts in the promotion of the incessant rhythms, because it moves them away of the immobile History and the perversely updated Law.
The problem is that the individual is incapable to fully comprehend the technologi- cal architecture that involves the urban spaces of this society.
Meanwhile, new mobile targets will appear, consumers that have panic attacks in this agressive urban cosmos, where the body is, indeed, a real battlefield for the promotional and techno-scientific sectors.
According to the moribund cyberculture, this urban space can only be understood as a game without rules, appearance or depth — a transparent multiverse12 instead of an obvious universe.
A vectorial arena of organic statistics that former were healthy people. There are no doubts that this society cannot be turned off. Every wall is disintegrat- ed, the solid is liquified and the mediations operate as mills, exploring the strenghts of the flows, of what it is passing by, of what does not stay, of the supersonic. The official game of the society is huge, the networks are its own effects; there is not, there was never nor there will be an end. What is left is a history of movements, ideas and power, leftoverses of representations now retained in instantaneous media flows.
Thus, it can make sense to interfere and ridicule the spectrum of media, because media have too much power. It is at stake a whole new class of figures able to attack the also predator global popular culture in an aesthetic way.
It might sound absurd, but the saboteur and, at last, the terrorist are figures that are associated to precise acts, and not to mediatic simulations. After so much technology, to sabotage seems to be the most obvious counterpoint to the global world of epidemic consumption.
It is not in question if it is this the best way of acting, but certainly is as perverse as the network communication of today. The saboteurs, just as the terrorists, cause the mass panic, as if it existed a new nuclear age, an improved terror provoked by an invisible detonation, an atomic silent bomb, resonant, altough encripted. What is most probable is that this terror increase the optimization, because, under the threat of the economical meltdowns, the individuals have the sensation that it is necessary to obtain the best possible results in the minimum amount of time, as if the world would end tomorrow, because it is not known when there will be an end.
It was this area of the business and of the communication that managed to erase the borders between the Real and the virtual, because it attenuated the bordering zones that formerly separated the social realities. The only thing one can notice is the reality of media, which is an authentic factory of hyper-real, because it is the natural cause of the existence of the optimized reality, of the universe that shares the plasticity sold through the videoclip.
Indeed, it is as if a perfect reality is what would only exist, and outside of it nothing would seem to happen but errance — the non-conscience that the mediatic discourses hurt the architecture and the urban tissue of this society. As a response to this errance, the sabotage and, unfortunately, terrorism, exhibit facts, acting instead of acting out, going far beyond. The sabotage tends to be more creative, but terrorism reaches the unnecessary sphere of destruction.
Terrorism it is the subtle enemy, capable of destroying more than the disatomization. It does not needs to blow because it does not detonates, thus it is detonating itself, as the cyclic movement of waves in the beach. But why is it that one responds so agres- sively to this seductive and lunatic society? Mainly, because this society resigned itself before representation, forgot the revolutions of ideas, turned itself to the epidemic con- sumption and segregates the vanishment of humilty, in scenery where the control that generates lacks does not controls nothing.
Around us everything is virtual. The violence it is not to be aware of this fact, but in the acceptance of it. The social game is a mediatic duel; hence, after theatre, the fight moved away to the video-screens, and these returned it again to the street. All it matters is to proceed to the next level, it is this the contemporary conscience; it is like to play videogames, even that to acess and score in the game might be needed to simulate.
The modern capitalism, and the war machine, declared the begining of this society of the perverse games, mainly when the shockwaves of the Cold War reached the entire globe under the shape of voracious images and trends. After a Cold War and a poten- tial Future Shock, we are trascended by a terror of the present. The real military game began. There are rules, players, spaces and enterprises that provide the technologies for the high-level experiences.
However, no longer are the engineers or the teachers the owners of the information, for if the information constituted its own environment, who are the most suitable to manage it if not the architects, in an age that the neural tissues of media intersect structures and spaces?
Lets improve the maximum of power with the minimum possible noise, therefore in the new fibrous spaces, under the responsibil- ity of the architects, consumption acquires an hallucinated consistency optimized through geometry, a temperature achieved by the supersonic world of the hyper-real image.
Outside of the high- resolution game, everything lacks of coherence the pathological and nostalgic uni- verse , for it does not exists any thing quite attractive, although everything is full of beauty and even photogenic. Now, all that was established is subject of a ferocious transfiguration in a dialogue of atemporal nostalgies.
We all can contribute, at this moment, for the industry of the stars. It is like as if media embrace us and would treat humans as a second fauna, making use of effects special, we must underline , predators, victims and baffling spectres. Media have a life of parasite, and the price is to accept that parasitism, the agreee- ment with the virtual, the bizarre contract between produced domains of desire and those left to produce, the dimension of the supersonic existence, a virtuality so acceptable that does not allows be aware of the optimization.
In addition, in an epi- demic blow, high-quality and high-definition images proliferate, so viral and spectral that contaminate everything, just like the socially adored images described in Idoru, a William GIBSON novel, in which computer made rock stars or holographic top models were gods. To be seductive stars forever — that is the question, indeed! Imponent as the religion of other times, pop culture segregates games so inno- vative as violent, inciting to trance and threatning the society with its own sexual architecture, its own game of trends and semipublic narratives, of the kind of the Big Brother TV show.
One achieves a point of mediatic excitment of such a degree that one takes a chance to respond to media, to the excess of mediatization, of violent glamour created by the means of communication. It is in our reach perimeter, being almost an obligation to respond to the arrogance and to the vaccum of the mediaimages.
The violent glamour is totally legitimate, but it requires an equally legitimate response, saboteur, as a consequence of the saturation of the porn products of media. Knowing that this glamour results from the new fascism of fashion, one intends that the same social violence should be returned to it, in a mediatic and stylized way.
Let it be clear: In Idoru, GIBSON demonstrated, in the fiction genre, that the future generations would inevitably be devoted of the images exhibited among media: To create games, to seduce, to sexualize, to sell and to adore are the goals of a society in which all beings and objects exist under the supervision of a high-definition seduc- tion protocol.
This implies, automatically, that all the environments look like clubs, raves, videogames, American movies, videoclips like those of MTV and parades of fast fashion through the supersonic haute couture. Nothing sells so much nor it propagates so much as the inaccessible statute, the image borrowed at the speed of sound.
It is the fashion machines and those of media acting at the pace of the dance music BPMs Even the street changes itself according to these new violent discourses, being identified each time more with a videoclip on the fast pleasures shot in live.
There are few public spaces expecting the individual that do not resemble shopping malls made by Sony or Emporio Armani. Reality makes sense only if it exists in high-production and in high-quality, entering design in the equation to brighten up the distance between the technology and the art and to create something new: That is also elegantly violent The high-style appears from the necessity that media had of a face.
Capital required personality, substance; and information needed shape. Like dancing capital moving itself, this new breed generally stylized, impregnated of violent glamour, is as supersonic as it is elegant. One has to respond to it! History dies without style, the present time is organized by design, and it is quite acceptable that media want to be in, that they want to have more inputs.
Even the omnipresent neobourgeosie requires already worked data, ready-made products and haute couture. Everything becomes a question of interaction through textures, as it is for a stylist, wether its about fashion or information. Responding to media implies to share the agressive curiosity provoked by the obligatory seduction. It is the fashion war left by media that takes us to the battle for the desire. The fast pleasures architecture makes, therefore, fashion victims, which is a fact, between the overload, the excessive speed, provocation, emptiness and abundance: Surprisingly it is the design, by replacing the grand style, that constitutes its own fetichistic culture and that is in charge of the reality, shaping it with functions that are more than stylized, that is to say, de-realized.
Byt taking to the reality the aesthetics of the virtual, design leaves in its poverty the objects that only dispose of function and nothing more of extraordinary, destining hyper-real objects for the fashions. To respond to this violence of the things that are full of design and that are fashionable, one needs to communicate in the same language, what is obvious because the violent languages of seduction chase the individual, leaving him in vile optimized state.
One aspires to the generalized hacking, to the connection, but as by response, no more as adhesion. Say hello to the hommo conexus, even though the connections are the major problem, given that not only they isolate the vices, as well as they irrevers- ibly increase them too. Having the optimization in sight, the individual tends to live intense, hypermediatic experiences, knowing, apprehending and acessing to everything, therefore he has the conscience that in this society one acts out and not acts in an entertainment economy.
This is not about avoiding the social noise anymore, the offline universe that is left for all that are unplugged of the seduction. Now, the goal is to runaway from the annoyance.
The absence of optimization means to be excluded from the core of media replete of design and credibility, the annoying reality. To contemplate an un- optimized reality is to be in the social polyhedral territory, in the ambit of the schizo- zones of the excluded individuals. Far from the beloved optimization, the social noise defines all that is known as nostalgic trash.
The question is that most of the society is already contaminated by the policopy and the porn virus. The neobourgeosie spirit of fashion and of the information general- ized itself and crosses all classes; hence, the non-optimization challenges the inter- vention of the aesthetician of media to recyicle it in something porn and attractive.
If things are not provocative they just do not make sense, they must place the individual out of the range of the invented annoyance. Since society accepts this reality, it appeals to its economical and informative powers to constitute its own scenery. And, if the fashions underline the mechanics of all messages, in this moment it is evident that to be well it implies to be in.
The perfect and fine tuned, completely clean reality, submited to surgical inter- ventions, does not represent all that happens.
Considering that spaces thought by the postmodernist architects are full of evidences and incite to the exploration as in the multimedia artworks and the avant-garde installations , it is comprehensible that all looks like an enormous videogame whose environments seduce us while we runaway from the annoyance towards the panic. The fascinating high-resolution and high-definition of the urban universe is a subtle and violent epidemic, which reveals the mission of terminating the social noise led by the figures of the optimization.
All is worth it in matter of searching virgin soil for the high-consumption and the high- style. We have before us the backstage of the new architecture and the new compu- tation: These attitudes owe a lot to the spaces where they are noticed, because by having media dominating us, it is comprehensible that we perform roles that are more con- nivent with those of the celebrities of the communication. The utopian, glamorous, sexy reality leads the way amidst the new environments of communication, with the single goal of eradicating the annoyance in favor of an optimum desinhibition.
A horror reaction to the emptiness and a fear of the annoyance appeared, at the same time that catalogues of ornaments and luxurious goods are consumed in panic, under the terror of the negative critic of media. The optimization does not gives hypotheses, it gives chances of payment, showing off violent models of consumption to exert control on all that it borrows to the individual.
The optimum environment that embraces us is thought for cosmetics, media by-products, representations of fashion and novelty.
The reality of the individual is an inevitable consequence of film paradigms and of special effects computation. All and any style of life, either produced or bought, transforms us in something strange and schizoid. Thus, in order to one comprehend this phenomenon of the life style created by media, it is necessary to consider that the relationship of man with the consumption is a homage to engineer- ing, fashion, style, the circular effects of drugs, the ellipses of the desire and to the perfect dance beat.
A nothing, museumified, soft, cool, futuristic, pop, milky white impels us to look for a substance. A substance that media propose with their styles, sceneries and figures, where only the nothing awaits us so it can never clarify us, either it is in a shopping store or a near you design gallery, a luxurious vehicles stand or inside a supersonic jet full of provocative holograms. The wonderful ambience that it is offered to us by media, disguised as a redeemer form of advertisement is an Olympus of eroticism and information athletes: It is one hundred per cent indicated to an elite of people that covers the several social stratus searching for new interfaces, social experiences and strident sensation games.
If one looks back in time one can notice that the cyber contaminated the society, it was fragmented and it is tunning the individual for the hyper-realities, for the high- resolution experiencies, only with our bodies, our desires. However, the media had been merged and instituted an absolut space of provocative obsessions.
Perhaps that is why the new drug is the social game, techical for its way of seduction and in the way it defines the boundaries of reality. What we know is that there is an arena, a technical mutation that requires our intervention.
We intervene and become agents of the game, but what should one do anyway then? Either one is in or out! The opti- mized society functions at high-speed, there are no margins, only hyper-sensibilities within a context where the mutation and the accident are the chosen values and the encryption is the axis of the new languages. About the new languages, these offer, indeed, a chance of writing the new games and characters destined to intervene in the video-images or in the social catwalk.
In every place, turism invites us to have cinematic experiences, marketing sells our image, porn images pretend to give us a mega-orgasm, the advertisement transforms us in an immediate brand and fashion dresses us in order that media can obtain audiences. This is all a game whose objective is the game itself, but that it is not that healthy as one might think it is, given that, like the war sometimes it becomes the enemy of those it was suppose to defend. To respond to media, given its acceleration, it is to invite the architects to transform the public space into a media cavern, catwalk, hotel, mall or political TV studio.
Since everything becomes city, everything accquires the statute of the game and its laws, figures, effects special and defects. However the defects are what drives the ambitions of the invidual that is infected by media for optimizing his life style, in order that he should seduce, and that all should be artistic, vanguardist, agressive, impressive, powerful, compulsive, erotic and sexy.