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“Two wrongs don’t make a right.” Comments on Rodney King video on youtube on the 20th anniversary of LA riots

May 2, 2012 Comments off

Comments on the Rodney Kind video on youtube on the 20th anniversary of LA riots of 1992. All material is directly copied and pasted from the youtube page Rodney King tape on national news.flv
The images are screen shots from all the links on youtube’s right sidebar of the same page.

Rodney King tape on national news.flv, youtube still frame

haha, you ignorant prick. He ended up receiving 3.8 million from his lawsuit. I would call THAT getting what he deserves.
knewknew in reply to FlacidFicklePickle (Show the comment) 3 days ago


the PCP allegations were never proven. People assumed that because of the beating he took. All the cops had to do was put him into handcuffs, and into the squad car. But no, they beat the shit out him. The entire Rodney King case (and the riot that followed) had nothing to do with Rodney King, but rather the excessive force that cops use in situations like these all of the time in LA.
knewknew in reply to SuperJerkyBoys (Show the comment) 3 days ago


Yeah but he’d been arrested for posession of schedule 4 drugs, for beating his wife, and evading arrest before any of this even happened. If you’re honestly trying to defend Rodney King it just makes you ignorant. Did the cops fuck up? Absolutely. More importantly a multiple time offender got off with nothing, and made almost 4 million dollars. That’s bullshit.
BTW I don’t give a shit bout the drug conviction…pot is Sch. 4 and I love it hah. King is a dirtbag, so were the cops bottom line.
chennighausen in reply to knewknew (Show the comment) 2 days ago


What are you Rodney Kings lawyer ???
FACT, if not for Rodney King acting like an asshole, all the people wouldn’t have died in the riots.
How many times has Rodney King been arrested since 1992 ??
SuperJerkyBoys in reply to knewknew (Show the comment) 2 days ago


Comment removed
Author withheld
Jungle bunny getting what he deserves
FlacidFicklePickle 3 days ago


If Rodney King wasn’t high on PCP driving 100 MPH this never would have happend.
Thirty six people died in the riots that followed because of this stupid fuck !
SuperJerkyBoys 3 days ago

This has been flagged as spam show
Jeff Fisher 3 days ago

This has been flagged as spam show
Jeff Fisher 3 days ago

with all the hand outs and special treatment the niggers get we should be allowed to smash thier fuckin heads in like this anytime we want.
dstrbd24 3 days ago

This has been flagged as spam show
SeajayUKHalo in reply to dstrbd24 (Show the comment) 3 days ago

twat
remyworldpeace in reply to dstrbd24 (Show the comment) 3 days ago


You small minded inbred white trailer trash wanker…..and yes I am white ….scum like you embarrass normal people… what a tosser
toxicbobbyb in reply to dstrbd24 (Show the comment) 3 days ago

Comment removed
Author withheld
On second thought, white people probably WOULD have made it into a racial issue…
therealdaviddavidson in reply to ThePakiSami (Show the comment) 3 days ago


Can you imagine if a few black officers had beaten down a white kid? Nothing could go wrong there because it’s not racist at all.
ThePakiSami 3 days ago 3

So you’re saying if black officers beat down a white kid, it’s not wrong?
MrSleepygrizzly in reply to ThePakiSami (Show the comment) 3 days ago


The riots only came after the cops were all acquitted of assault despite the damning video evidence. That combined with previous racial disparity perceived by the black people in Los Angeles at the time is what made it, for them, a racial issue. If a bunch of black officers had been caught on video beating up a white kid and then got acquitted, white people would not make it into a racial issue because they would have no reason to suspect it was so.
therealdaviddavidson in reply to ThePakiSami (Show the comment) 3 days ago


Maybe if he wasn’t on crack and driving 100 miles an hour putting alot of people in harms way, it wouldn’t of ending up like this!!! Reality check….red and blue lights flashing….pull the fuck over dumb ass!!! Unless your on crack and drinking and driving and on probation for robbery!!!
tapout2977 in reply to Murdism (Show the comment) 3 days ago


You are either extremely racist, or extremely unsympathetic. Either way you’re not doing yourself any good in preparing for the trials and tribulations of everyday life.
UndergroundBlack88 in reply to Murdism (Show the comment) 3 days ago


At what point do you have to wait for enough police officers to subdue this man? All the police officers that were there could have easily handcuffed this man without hitting him once with a PR-24. If all of them together could not subdue this man with their bare hands they need to find another profession. It’s a shame that all of the officers were not fired, pensions forfeited and thrown in jail. BTW I am a retired police officer and a former deparmental firearms and PR-24 instructor.
IntoDust24 3 days ago

1:08 Why you showing a black guy taking a black guy away? Thats not racist.
vette543211 3 days ago


Why did the police beat that poor negroe? He didnt look like he was fighting back.
Trashfished 3 days ago
fuck the police
eazy700ify 3 days ago
They need to stop calling it “civil rights”, its black rights.
Huntmaster555 3 days ago
Two wrongs don’t make a right.
RassBrass 3 days ago

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April 18, 2012 Comments off

New York based artist Artie Vierkant’s Image Objects address this online mutation of the exhibition object although in a more roundabout and complex manner. The images are first produced digitally, then rendered into UV prints on sintra and eventually the (official) documentation of the pieces is again altered digitally, not accurately presenting the physical object. Vierkant highlights the ambiguous location of the work between the physical space of the gallery and the web. Already in his essay Dispersion, Seth Price points to a similar ambiguity with regards to the “Daniel Pearl Video” noting that since it does not exist outside of the internet, it may not be correct to call it “video.” Vierkat takes this a step further by putting forth a work that questions the ontological distinctions of the work’s location.

Artie Vierkant, Image Objects (left) Monday 25 April 2011 8:01PM (right) Monday 25 April 2011 11:01PM, (altered) Wednesday 20 September 2011 3:25PM

In Phil Chang’s Cache, Active at LAXART, a series of photographs some contact prints of negatives, some photograms were printed on unfixed expired photographic paper. The photographs encompassed various pictorial traditions of portraiture , still life, landscape, abstraction, and appropriated imagery, all faded to a monochrome with the light required to view them in the gallery. They were printed on expired photo paper and were not chemically fixed to last the exhibition lights. Contrary to the work of the 17th century dramatists, these pictures faded, over-exposed to the light that made them visible but similar to them their lifespan was defined by light. Regardless of the particular significance of the work in the canon of photographic theory, or its being an iconoclastic commentary on the move from mere representation pictures to [abstract] art, they provide a [rather metaphoric] take on the relationship between [media] exposure and visual meaning production. It is images’ “exposure” as “public exhibition” and sense of “situation with regard to sun or weather,” that ultimately makes them invisible. The images are the “spam of the earth,” the visual excess, by-product of the universal dominance of exchange value that make representation invisible through over production. What makes the work visible/consumable is what eventually erases the works’ features. It is the exchange value that eventually undermines the works’ use value and makes it useless, the commodity renders insignificance all features of a thing as long as it is sold, to paraphrase one critic’s commentary on the exhibition.

Phil Chang, (left) Two Sheets of Thick Paper on Top of Two Sheets of Thin Paper, Unfixed Silver Gelatin Print, 2010; (right) Monochrome Exposed, Unfixed Silver Gelatin Print, 2012

But while such critical assumptions could be valid considering the work’s presence in the gallery, they are immediately dismantled in the works’ representation on the internet. Ironically, in an article that argues the works’ significance as a critique of capitalism, the un-faded picture is featured at its most clarity together with the monochrome and it is the process that is absent but described in the text. While the images fade out in the gallery space, they preside on the web and after the exhibition is dismantled (if not even while it’s on view) they become the work even though its destination was not the web initially. However, this is not unique to these works, (and this text is not a critique of these particular works) even if it particularly affects their reception, and thus their meaning significantly. The life of Chang’s images on the web point to the problematic of identifying the location, and destination of the work in the age of global connectivity. The work’s assumed contingency upon the spatial presence of the observer within a defined pocket of time is dependent on the availability of its digital rendering online.

Youtube still frame, Formation of Sham Al-Yasmeen battalion - FSA, Published on Apr 18, 2012 by SyrianDaysOfRage

In a video posted on youtube, a group of Syrian insurgents declare the formation of their group. What stands out is not necessarily the formation of a new revolutionary battalion in the midst of what is bordering a civil war, but rather the laptop placed in front of the groups leader making the announcement. The video—if we can call it video as its physical existence is in question— makes it clear that the group is constituted as an online entity as well as a physical one and possibly in spite of it. The leader (or representative) of the group while reads the text directly from a word processor, could also be addressing another group of viewers via videochat. The declaration of the formation of the group is inseparable from the meme that its contributing to, one might suggest that it is prompted by it.

visible darkness

February 22, 2012 Comments off

“broadcast yourself” was youtube’s offering to the world. There was suddenly no need for a television mediator, but rather, anyone, from anywhere in the world with an internet connection and a simple video camera could potentially be viewed by anyone in any corner of the world with an internet connection. You can become a cooking channel, a porn star, an idler, a hunter, a documentarist, a voyeur, a detective, a bird watcher, a cat watcher, a TV impersonator, an artist, anything on youtube. But whatever it is that you put on youtube, it is a video file i.e. image cast in time. Curiously it is not only videos that ended up on youtube: youtube also became a listening station and a photo album. Photographs had to stretch out into time and sounds had to visualize, they had to become a video file. JPEG’s into MOV, GIF’s into MPEG’s, MP3’s and WAVE files had to be converted into movie files to be viewed on youtube. On youtube the traditional boundaries between disciplines are transcended all in favor of video, of a particular group of file extensions. In cinema photographs were shown as photographs, music was heard as music, on youtube all become a video file. But other than the appropriation of video format by sound and image, on youtube darkness makes itself visible.

An example of this is the videos of night protests in the aftermath of the Iranian presidential elections of 2009. Every night at 10pm protestors went to their rooftops and shouted Allahu Akbar. The darkness of the night camouflaged the protestors so that they would not be spotted by the security forces. It was the eerie sound of the rooftop chorus in the absence of image that was particular to these nightcaps. But the documents of these actions were not sound clips, but rather they were videos up loaded on youtube. It was the image of the absence of image that documented these actions. What we see in these videos is the sound of darkness. Most of these videos are identical, a few lit windows, headlights, the general image of a city in the dark, but not much more. They are devoid of all detail. They do not represent the picture of the city at night, as most of them do not have a dramatic view from top of a tower. It is in these videos that darkness performs for the camera. Here the image maker is not documenting the event that cannot be seen, but rather s/he is documenting his/her presence in the event. The videos aim to document an experience, not an image. In a letter dating to 599, Gregory the Great wrote of a similar concern: we do not harm in wishing to show the invisible by means of visible.