text:
Digital Aesthetics
Sean Cubitt
Subject: Film & Cinema, New Media & Communication Technology, Science, Technology & Society
Online Publication Date: May 31, 2012
Publisher: SAGE Publications Ltd |
Series: Theory, Culture & Society
The aesthetic nature and purposes of computer culture in the contemporary world are investigated in this book. Sean Cubitt casts a cool eye on the claims of cybertopians, tracing the globalization of the new medium and enquiring into its effects on subjectivity and sociality. Drawing on historical scholarship, philosophical aesthetics and the literature of cyberculture, the author argues for a genuine democracy beyond the limitations of the free market and the global corporation. Digital arts are identified as having a vital part to play in this process. Written in a balanced and penetrating style, the book both conveniently summarizes a huge literature and sets a new agenda for research and theory.
Cubitt, S. (1998). Theory, Culture & Society: Digital aesthetics London: SAGE Publications Ltd doi: 10.4135/9781446250341
Cubitt, Sean. Digital Aesthetics. Theory, Culture & Society. London: SAGE Publications Ltd, 1998. doi: 10.4135/9781446250341.
Cubitt, S 1998, Digital aesthetics, Theory, culture & society, SAGE Publications Ltd, London, viewed 21 January 2020, doi: 10.4135/9781446250341.
Cubitt, Sean. Digital Aesthetics. London: SAGE Publications Ltd, 1998. SAGE Knowledge. Web. Theory, Culture & Society. 21 Jan. 2020, doi: 10.4135/9781446250341.
Chapter 1: Reading the Interface
Cybercafé
Hypertext and the Colonial Dialectic
Browsing and Netsurfing: Playful Reading
After Privacy: The Politics of Intimacy
Chapter 2: Virtual Realism: Machine Perception and the Global Image
Travelling Light
Critique of Cyborg Vision
The Anarchy and Society of Perceptions
Visual Rhetoric: The Socialisation of Perception
Remote Sensing: Global Images
Deconstructing the Map
The Ethics of Utopia
Chapter 3: Spatial Effects
The Trouble with Hubble
Zeno's Paradox: Interminable Identities
From Orient to Outer Space: Cosmic Commodities
Perspective as Special Effect
From Outer Space to Cyberspace
Hacker Transvestism and the Tourist Mouse
Chapter 4: Pygmalion: Silence, Sound and Space
Pure Hearing
Recording: The Mobilisation of Sound
Transmission: Silent Listening, Silent Reading
The Incoherence of the Soundtrack
Dispersed Spaces: Art Geography
Chapter 5: Turbulence: Network Morphology and the Corporate Cyborg
Network Subjectivity and the Secret Honour of the Posts
A Brief History of Flow
The Human Biochip
Junk DNA: Morphologies of Multimedia
Anonymous History: Globalisation and Diaspora
Theory, Culture & Society
Theory, Culture & Society caters for the resurgence of interest in culture within contemporary social science and the humanities. Building on the heritage of classical social theory, the book examines ways in which this tradition has been reshaped by a new generation of theorists. It will also publish theoretically informed analyses of everyday life, popular culture, and new intellectual movements.
EDITOR: Mike Featherstone, Nottingham Trent University
SERIES EDITORIAL BOARD
Roy Boyne, University of Duham
Mike Hepworth, University of Aberdeen
Scott Lash, Lancaster University
Roland Robertson, University of Pittsburgh
Bryan S. Turner, Deakin University
THE TCS CENTRE
The Theory, Culture & Society book series, the journal Theory, Culture & Society and Body & Society, and related conference, seminar and postgraduate programmes operate from the TCS Centre at Nottingham Trent University. For further details of the TCS Centre's activities please contact:
Centre Administrator
The TCS Centre, Room 175
Clifton Lane, Nottingham, NG11 8NS, UK, e-mail: tcs@ntu.ac.uk
Recent volumes include:
Undoing Aesthetics
Wolfgang Welsch
Simmel on Culture: Selected Writings
edited by David Frisby and Mike Featherstone
Nation Formation
Towards a Theory of Abstract Community
Contested Natures
Phil Macnaghten and John Urry
The Consumer Society
Myths and Structures
Georges Bataille – Essential Writings
edited by Michael Richardson
© Sean Cubitt 1998
Published in association with Theory, Culture & Society, Nottingham Trent University
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted or utilized in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission in writing from the Publishers.
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[Page v]For my teachers
Preface: The Universal Touring Machine
The contemporary global and networked society incurs a new ethics, but one which is comprehensible, perhaps only comprehensible, as the gift of beauty; because, in our time, and for a materialist analysis, there is no other name for that Utopian longing for the distant, the absent, what appears to us obscure and clouded, as though through a glass, and darkly. For St Paul, the connection between the immanence of salvation, the ethical imperatives of missionary work and the imitation of Christ were utterly given, the donations of a personal God. What the Western heritages from the cultures of the Book have not lost is their sense that that yearning for a higher, better, greater state of being is bound together with the practicalities of sharing the planet and the world with others, as inseparable as a river and its flowing.
The pursuit of the European mind has been to identify the world, to see in it the whole of what can be. Yet in what exists and most of all in what has been made by human hands and human cultures, we find not only what is but what might be. Over and again our technologies and our cultures, scientific and artistic, discover in the raw material of the world we inhabit instabilities that indicate the limitations of the present: its politics, its knowledges, its economics, its beliefs. Even the dreams of the present are a source of profound dissatisfaction, and we displace onto the future a better, clearer, brighter, a more definite and more admirable state of affairs. If we can no longer place our faith in such a state existing on the further side of death, and if it is true that progress and emancipation are no longer credible teleologies, then we are forced to find what we can of that desire for a better state not hereafter, not after the revolution, but in our daily worlds. What we are condemned to seek is evidence of those broken movements between the world and ourselves, disturbances of the existing brutality of the given, stars puncturing the continuum of the dark, pinpricks of illumination that suggest how the world might be otherwise. The aesthetic is this pursuit of an ethical mode of being in despite of the conditions in which we find ourselves.
There is some kind of absurdity in looking for ethics in a technical device: the invention and propagation of digital technologies. The fastest and widest impact that computers have had is in deepening the class structures of contemporary society on a global scale. We have to confront the demolition, not just of jobs, of communities and of cultures, but of hope itself as a direct or indirect effect of the electronic communications that have enabled the entirely destructive expansion of finance capital. How could we find an artwork as [Page x]complex, as effective, as engrossing as the worldwide nexus of transnational capital?
Kant's piercing and ascetic conceptualisation of the aesthetic – as that in which we should not and perhaps cannot have an interest, but which should transcend our ordinary greed, lust, gluttony – suggests why we should seek in art exactly what is not engrossing, what does not engage us wholly as what we already are, but rather what might let us find an other way of being human. If, in Kant, this drifts towards individualism, in our times, and not just in Europe, the imperative is social. Finance capital, professionalisation, the cultures of risk and trust, the whole drift of urbanisation, technologisation and specialisation sweep us towards our social selves, our mutual dependence. Computers are only an element in this process, but they are more than intensely symptomatic; they are our partners and, like any technology or any lover, increasingly they are ourselves. Where they open up the necessary accommodation between us and the social at a new level, in which our media are intricately identifiable with our relationships, they introduce a new scale of instability, a new uncertainty as to how, and indeed if, we should relate to one another, not just with those we know and meet, but those faceless millions on whom we depend for our wealth and our oppression.
A certain kind of 20th-century art announces only that it exists. Another devotes itself to its own eradication in the act of becoming present. Yet another concerns itself with its own impossibility, its illusionism or its bad faith, and by implication with the infamy of faith in the fact, the real, the event. This book is concerned with art that communicates, or that poses itself as communication, and questions whether any communication is possible that is not already aggression, command, power, submission. Shall we ever speak again? Shall we listen? Shall we love? Must we dream, or shall we face the total domination of what is. The debate is caught in two critical moments: Wittgenstein's 'The world is all that is the case' (Wittgenstein 1961: 5) and Adorno's 'What is essential about a work of art is what is not the case' (Adorno 1997: 335). Aesthetics, beginning in the material of art, is Utopian realism, possessing 'an expectable not-yet-existence; it does not play around in an unoccupied potentiality and does not go astray but anticipates a real potentiality in a psychical way' (Bloch 1988: 105), a utopianism grounded in the material (unlike daydreams) but directed towards the future. The purpose of inquiry into the digital arts is not to affirm what is, but to promote the becoming of what is not-yet, the grounds of the future as they exist in the present.
Is the space between the world and us irredeemable? Or is it the source of our most radical motivation? Art in our time is the most profound meditation we have on the sources and purposes of being human, and this book aspires to register those artistic investigations, but also to work as itself a work – of criticism, which like any decent and honest criticism, seeks to emulate the movement of the works on which it depends.
This book is then critical rather than theoretical (see Cubitt 1995). It is [Page xi]structured around the media which compose the human–computer interface. Chapter 1 discusses forms of reading and the devices that surround them, the catalogue, the pile of magazines, the private pleasures of the novel. Chapters 2 and 3 investigate, respectively, the realist and the spectacular aspects of visual media, suggesting that perspective is best understood as a special effect, while realism's favoured form is the map. Chapter 4 attends to the transformations of sound in the arts of recording and broadcasting. Chapter 5 then looks towards the problems of convergence, and the implications of networked communications. Some readers will recognise criticisms of some shibboleths of cultural studies, especially of theories of resistance and subversion. Resistance is a manner of coping with the day-to-day. This book is dedicated to more than refusal: to the building of alternatives that owe nothing to the structures of domination. Nothing less is worth fighting for.
[Page xii]
Though I always try to avoid reprinting previously published materials, the lengthy gestation of this book has allowed me to explore some of its themes in draft with a variety of audiences. In particular, Chapter 1 draws on 'Cyberbooks: Read Only Memories', public lecture, Bookworks/University College London/Slade School of Art, 23 March 1994 and 'Read Only Memories', paper given to the Linguistic Representations of the Subject Conference, Liverpool University, 7 July 1994, published in Karl Simms (ed.), Language and the Subject, Rodopi, Amsterdam, 1997, 207–16. Chapter 4 draws on 'Online Sound and Virtual Architecture (Contribution to the Geography of Cultural Translation)", paper given at the ISEA Conference, Rotterdam, Holland, September 1996, published in Michael B. Roetto (ed.), ISEA 96 Proceedings: Seventh International Symposium on Electronic Art, ISEA 96 Foundation, Rotterdam, 1997, 17–21, published online by Leonardo Music Journal (1998) and in Leonardo Music Journal, vol. 7, 1997, 43–8; 'Sound: The Distances", paper given at the Modernist Utopias conference, Musée d'Art Contemporain, Montreal, 9–10 December 1995, published in Chantal Charbonneau (ed.), Utopies Modernistes (= Colloques + Conférences 4), Musée d'Art Contemporain, Montréal, 1996, 97–111; 'Video Installation and the Neo-Classical Soundtrack', paper given at the Screen Conference, University of Strathclyde, Glasgow, July 1996, published in Essays in Sound (Sydney), vol. 3, 1997, 8–20; and 'Pygmalion: Sound for Sculptors', Sound Matters/Live Arts Symposium, Birmingham Art School, University of Central England, 30 November 1996. Chapter 5 draws on 'From Global Transmission to Diasporan Translation' paper given at the Consciousness Reframed: Art and Consciousness in the Post-Biological Era conference, CAiiA, University of Wales College, Newport, Gwent, 6 July 1997; 'Flow: Networks, Transmission and Translation' MA seminar, London College of Printing, 14 March 1997; and 'The Courier: Virtual Realism and Networked Subjectivity' Ruskin School lecture, Oxford University, 11 February 1997.
I am also grateful to the following for support, advice, discussion and criticism: Dudley Andrew, Rasheed Araeen, Eddie Berg, Homi Bhabha, Bryan Biggs, Simon Biggs, Lachlan Brown, Pavel Büchler, Ron Burnett, Chris Byford, Lisa Cartwright, Janice Cheddie, Susan Collins, David Connearn, Rosemary Coombes, David Cross, Felix de Rooy, Eugenio Dittborn, Dimitris Eleftheriotis, Film and Video Umbrella, the Foundation for Art and Creative Technology, Sera Furneaux, Chrissie Isles, Alfredo Jaar, [Page xiii]Pervaiz Khan, Carol Knight, Jim Lastra, Greg Lee, Lev Manovich, Janine Marchessault, Trevor Matthison, Kath Moonam, Iliana Nedkova, Aedín Nolan, Sadie Plant, David Rodowick, Mirek Rogala, Chris Rojek, Robert Rojek, Javier Sanjines, Zia Sardar, Terry Smith, Vivian Sobchack, Mike Stubbs, Philip Tagg, Jez Welsh; participants in the Nettime, Rhizome and Ars Electronica online discussions; and students, colleagues and members of the public who have discussed these issues with me in conferences, seminars and galleries in two continents, especially at Liverpool John Moores University, who also allowed me sabbatical time to commence and to complete the research. A special debt of gratitude is owed to the Rockefeller Foundation and the Chicago Humanities Institute for the fellowship that allowed me to undertake major research on this book in 1995. As ever, none of this would have been possible without Alison Ripley. Many other people have contributed directly and indirectly, and to them this book is dedicated.
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Virtual Culture: Identity and Communication in Cybersociety
Thinking Design
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Comparative Research on Technology in Schools
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outer space,
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secrets,


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Jeff Carlson Glenn Fleishman 19 October 2009
Apple Reports $1.67 Billion Profit for Q4 2009
Apple continues to find new records to break when reporting its quarterly financial results. For the fourth financial quarter of 2009, the company racked up other notable ones: It sold more Macs (3.05 million units) and iPhones (7.4 million) than any previous quarter, contributing to a net profit of $1.67 billion on revenue of $9.87 billion, or $1.82 per diluted share. It also recorded its best quarter of sales to the education market, with 12 percent year-over-year growth.
The results compare to $1.14 billion profit on $7.9 billion revenue from the year-ago quarter, and $1.23 billion profit on $8.34 billion revenue from the third quarter of 2009 (see "$1.23 Billion Profit Highlights Apple's Q3 2009," 21 July 2009). This quarter's revenue is a fraction below Apple's best quarter ever, the first fiscal quarter of 2009, which included 2008 holiday sales (see "Apple Posts $10.2 Billion Revenue for Q1 2009," 21 January 2009.)
Because Apple accounts for iPhone and Apple TV revenue over the course of the devices' estimated lives, the revenue figures don't include all money from actual sales. The non-GAAP (Generally Accepted Accounting Principles) results – money actually coming in – shows a $2.85 billion profit (up from $1.94 billion last quarter) on revenue of $12.25 billion (compared to $9.74 billion last quarter).
Apple's executives were remarkably frank, with both Chief Financial Officer Peter Oppenheimer and Chief Operating Officer Tim Cook expressing honest wishes that Apple had had more inventory of certain products to sell during the quarter, especially the iPhone 3GS. They were also frank about the increased costs in air freight in making sure enough product reached retail sales distribution during the holiday season this year compared to previous years.
International iPhone Expansion — Apple said that the iPhone would start being sold in China later in October, and that carrier relationships in the UK and Canada were expanding – more than one carrier in each country will now offer the iPhone. China has been a long-anticipated market, with rumors about the iPhone having its Wi-Fi disabled and other feature changes.
Canada and the UK will mark only the second and third smartphone markets in which the iPhone is offered that will have competing carriers selling the device. French regulators earlier this year forced Apple to allow sales through two carriers besides Orange, its original exclusive provider. In the United States, aside from AT&T, only T-Mobile is equipped to support the iPhone, but with a non-standard set of 3G cellular spectrum and its small size, the possibility is remote that T-Mobile would be a good competitive fit against AT&T.
Strong Model Sales — Cook said that the three-month period was the "quarter of the portable," noting that the firm's record Mac sales were driven by orders placed following the refresh of the MacBook Pro line in June. Nearly three-quarters of Macs sold were laptops. (The sales of 2.4 million Macs in the preceding quarter were also significantly affected by demand for portable Macs.)
To no one's surprise, thanks to the $29 upgrade cost, unit sales of Mac OS X 10.6 Snow Leopard in the first five weeks of availability were double that of Mac OS X 10.5 Leopard during the same duration.
The iPhone sales were noteworthy not only because they represented the most sold in a quarter so far, but because the sales were apparently hard-earned. Cook and Oppenheimer repeatedly mentioned that demand for the iPhone 3GS outstripped supply, with the company catching up in inventory in the late September/early October time frame.
We can't talk about the iPhone without mentioning the App Store, which now boasts 85,000 apps. Apple noted that there have been 2 billion customer downloads, with half a billion of that recorded during the September quarter.
As usual, the firm didn't provide App Store revenue figures, nor a split of downloads between free and paid applications. That distinction will grow fuzzier with in-application subscribers and upgrades, and an App Store policy change to allow free applications to offer in-app paid feature upgrades (see "In App Purchase Enables Free App Feature Unlocking," 16 October 2009).
While iPod sales had a slight year-over-year drop (10.2 million units, an 8 percent decline), Apple noted that 50 percent of buyers were getting their first iPod, including those in the United States, Japan, Australia, Canada, and the United Kingdom. The sales mix also clearly changed with the iPod touch, which increased 100 percent in those comparable periods. Apple didn't break out specific numbers for iPod models, but based on previous incremental sales reporting, it's possible that as many as half of all iPod sales are being racked up by the iPod touch.
The company did point out that several changes in its product mix and pricing announced in late September set the stage for upcoming holiday purchases, such as the drop in price for the least-expensive iPod touch, and the revised iPod nano, shuffle, and classic models.
Retail Store Focus — Apple shared some specific details about its retail stores, which shows that the brick-and-mortar locations are performing well, boasting record revenue of $1.87 billion. Contributing to that amount was the sale of 670,000 Macs, of which half were purchased by people who were new to the Mac. Average revenue per store was $7.1 million, while the retail segment margin was $410 million, or 22 percent. The stores hosted 45.9 million visitors, engaged in 608,000 personal training sessions, and sold 208,000 One-To-One memberships.
During the quarter, Apple remodeled 72 stores and opened 15 new ones, for a total of 273 stores worldwide. For the first time, more stores opened internationally than within the United States; two new stores are scheduled to open in France, including one at the Louvre. ("Mona Lisa, meet Lisa"?)
Accounting Rule Change Affects Future Reporting — COO Oppenheimer cited a recent Financial Accounting Standards Board (FASB) rule change that modifies the basis on which iPhone and Apple TV revenue is reported. It will make Apple appear to have greater revenue and profits in the quarters after the company adopts the new rule – assuming, of course, strong iPhone sales and profit margins.
These two products are sold as bundled items that combine hardware and software, and Apple has had to break up initial revenue when a product is sold over a period – 24 months is what the firm decided – to account for software upgrades that change the functionality of the device as initially sold.
The rule change, which must be adopted by firms within a year, will let Apple report much of the revenue up front, and reserve a relatively small portion for upgrades over 24 months. "We do believe a substantial portion of the revenue will be recognized for these products at the time of sale," Oppenheimer said. Citing the complexities in adopting the accounting rule, he did not offer a timeline for when Apple would adopt the change, but noted that it may be earlier than the deadline requires.
This does not, of course, change how much money Apple makes or spends. Rather, it provides a better sense to investors and analysts of Apple's current financial picture without having to perform additional analysis, some of which is impossible based on how Apple currently breaks out categories.
Cook got a little punchy at the end of the call, after analysts had repeatedly tried to pull more specific information about the increased air freight costs. "What's driving the air freight is that I haven't figured out how to move the holiday season," he said, then wrapped up with, "We have to have a little fun on these calls." Cook was apparently being coy about the release, the next day, of new iMac, Mac mini, and MacBook models.
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Comments About Apple Reports $1.67 Billion Profit for Q4 2009
Dominic Dunlop
"Canada and the UK will mark only the second and third smartphone markets in which iPhone is offered that will have competing carriers selling the device." Umm, in Luxembourg, the original carrier, Vox, lost exclusivity with the entry of LuxGSM at the beginning of this year, and the third carrier, Tango, recently joined them. The situation's similar in Italy, I believe, and probably elsewhere too.
David Shepherdson
Yes, the iPhone is available from most, if not all, mobile telephone providers here in Australia and has been offered by at least the big two (Telstra and Optus; I think there were others, too) since its introduction.
Hello from here in Australia, where the iPhone is available from Apple directly, without a contract, or from at least 3 carriers with both prepaid and post-paid contracts.
Eliyahu
Here is Israel we are awaiting the imminent arrival of "official" iPhones (besides the tens of thousands of units people and dealers have already "imported" privately) which will be carried by 3 of Israel's 4 carriers. (The fourth is a Motorola subsidiary.)
From http://www.apple.com/il/iphone/ :
"Where to Buy
"iPhone will be coming soon to Cellcom, Orange and Pelephone locations across Israel."
For the record, here in Italy the iPhone has been available from launch from 2 different carriers.
Geoff Green
Regarding the air freight issue, I'm not completely convinced the new iMac, mini and MacBook were the cause of the increased air freight. These aren't products which are facing extremely high demand at their release. Moreover, it doesn't appear that these were just put into manufacture; it's all tried-and-true technology, so I'm guessing that they've been coming over on boats. No, I think it's possibly in reference to something else.
Glenn Fleishman
Sorry to contradict you, but this was very clear from the conference call and the day after. It's not high demand: what they were saying is that they had no product at all here, and thus needed to use air freight to bring over a considerable amount.
Tim Cook was being coy, but it was clear that they just had quantities available, and were putting them on planes to get them into the product stream to be more competitive against other holiday sales deals. This included the three cheapest Macs that Apple sells, good for the holidays.
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Proposition Hate
Amy Taubin on Gus Van Sant's Milk
Gus Van Sant, Milk, 2008, still from a color film in 35 mm, 128 minutes. Harvey Milk (Sean Penn) and Jack Lira (Diego Luna).
Milk, a biopic of the first openly gay man elected to an important political office in the United States, opens on Wednesday, a day short of the thirtieth anniversary of the assassination of its protagonist, Harvey Milk. Directed by Gus Van Sant, the movie is an elegantly constructed, emotionally volatile piece of storytelling, which combines agitprop how-to with classic tragedy: It begins with the death of the hero foretold and ends with a proper mix of pity, terror, and catharsis—the whole schmear, as Harvey might have said. At its center is the most life-embracing performance Sean Penn has given since his irresistible, star-making turn as Spicoli in Fast Times at Ridgemont High (1982).
The film opens with a collage of newsreel footage of police raids on gay bars and clubs beginning in the late 1950s and ending with the 1969 Stonewall riots. We then see Harvey Milk (Penn), alone in his Castro Street apartment in 1978, making a cassette-tape recording of his last will and testament—to be played only in the event of his assassination. Cut to more newsreel footage—this time of Dianne Feinstein, Milk's colleague on the San Francisco Board of Supervisors, tearfully announcing that Mayor George Moscone and Harvey Milk have been shot dead by another supervisor, Dan White. Flashback to New York in 1970, where Harvey, on the cusp of his fortieth birthday, picks up a much younger man, Scott Smith (James Franco), and overwhelming Smith with a combination of self-mocking wit and sexual hunger, locks lips with him in tight close-up. In an instant, we are disobliged of any prurient expectations that somewhere in the course of this movie we will be treated to the spectacle of a reputedly heterosexual star engaging in hanky-panky with another man. Milk is matter-of-factly gay from start to finish, as is Penn's performance. And if there's no fuss, there's also, perhaps, too little muss. Indeed, I had to ask a friend who was part of the scene around Harvey's Castro Street camera store (lovingly re-created for the film in its original location) whether Harvey might have sublimated his libido almost entirely into politics or whether the young men who became part of his grassroots political team and alternative family were quite as chaste in their flirtations as they appear on-screen. After he finished laughing, he reaffirmed that the Castro in the '70s was specifically about sexual liberation, rather than a polite quest for civil liberties.
I can understand how one might see Van Sant's barely carnal representation as a cop-out, but since I'm not keen on seeing people fucking their brains out on screen, I really didn't mind. Rather, I chalked it up both to sensibility (Van Sant's movies are modest even when they're most desirous) and to a political strategy akin to Harvey's, when he cut his hair and donned a suit before beginning his campaign for public office. The conventional packaging is intended to disarm the straight world, making it more hospitable to a militantly gay message. Speaking to the San Francisco Teamsters, whose union representative became a loyal Milk supporter after Harvey organized a Coors boycott in the Castro, he begins with his signature line, "I'm Harvey Milk and I want to recruit you"—thus embracing the verb used by homophobes to incite panic, as in "They want to recruit your children." He then quips, "I'm sorry I left my high heels at home." For Milk, coming out was an absolute necessity—the key to personal strength and political power—and the film makes that point repeatedly. He was forty when he came out, inspired by the Stonewall movement, and he believed that his life truly began at that point.
Left and right: Gus Van Sant, Milk, 2008, stills from a color film in 35 mm, 128 minutes. Left: Dan White (Josh Brolin) and Harvey Milk (Sean Penn). Right: Harvey Milk (Sean Penn).
Penn burrows inside his character, capturing not only Milk's Long Island Jewish intonations and his gay body language but also the intensity of his beliefs and the particular mix of fear and desire through which he viewed the world. He carries the film in the same way that Milk shouldered the fight for gay rights in the Castro. Van Sant loves his actors—he gives them the time and space to breathe on the screen—and the ensemble cast is so vivid and true to one's memory of the period that it seems unfair to single anyone out, but the warmth and wicked humor that Emile Hirsch brings to Cleve Jones (Milk's young activist protégé) is particularly memorable, as is the combustible mixture of confusion, resentment, and repressed rage in Josh Brolin's Dan White. With his sideburns and hair swept diagonally across his forehead, Brolin looks more like Van Sant than he does the real-life murderer of Milk and Moscone. Someone was being very perverse.
Dustin Lance Black's exceptionally well-researched script (Jones was an important source, as was Rob Epstein's 1984 documentary, The Times of Harvey Milk) homes in on Milk's years in the Castro (1972–78), racing through his first three losing campaigns and his victorious one in 1977, then ratcheting up the intensity when Anita Bryant's anti-gay-rights "orange juice" bandwagon comes to California in the form of Proposition 6, a ballot initiative that sought to ban homosexuals and their supporters from teaching in public schools. In his militant struggle against Prop 6, Harvey secures his place in the history of the civil rights movement, and the film finds its most intense moments of political drama.
When asked what he would do if Prop 6 succeeded, Harvey responds, "Fight in the streets." The film, thus, supplies opponents of Prop 8, California's 2008 anti-gay-marriage ballot initiative, with a clear answer to the question "What would Harvey have done if he had failed at the ballot box as we did?" Indeed, Milk has such resonance with contemporary politics—the final words of Harvey's testament are "You've got to give them hope"—that its strengths as a work of art are nearly upstaged by its topicality. But thanks to the fluidity of Harris Savides's camerawork, the images have surprising vivacity throughout. Similarly, the work of another Van Sant regular, sound designer Leslie Shatz, while not as conspicuous as in the director's more formalist films such as Paranoid Park and Elephant, adds a nearly subliminal emotional coloration.
In the final scenes, Van Sant moves from the conventions of realism to a register that is both more emotive and more abstract. Harvey's face, shown in lingering close-up as he sits alone at the back of the San Francisco Opera, gripped by the finale of Puccini's Tosca, is a tragic mask. Dan White's murder of Mayor Moscone, his walk—as the camera tracks behind him and then in front of him—down the long corridor between the mayor's office and the room where an unsuspecting Harvey is engaging in morning chitchat, and his shooting of Harvey at point-blank range replay the horror of Elephant in a world of adults. The film ends with a candlelight vigil the night after the murders, in which thirty thousand people walked from the Castro to the steps of City Hall. Just as some have argued that the film's depiction of gay sex should have been more explicit, others have criticized Milk for not including the White Night Riots, the furious reaction that followed Dan White's sentencing. (He got off with seven years.) I prefer the formally satisfying catharsis of a candlelight vigil. The facts about White and the riots are duly noted in the end titles. The fighting is better left for the streets.
— Amy Taubin


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In co-operation with Analysera, we have developed a new, modern , responsive website for Dr P Håkanssons stiftelse. As usual, the Drupal CMS system is behind the surface. Dr Per Håkanssons stiftelse has since 1920 awarded scholarships and grants for scientific research in the disciplines of medicinal chemistry, physiology and food chemistry.
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In collaboration with S:t John's Church in Linköping, we have developed their new website. A few years ago we developed their previous website. This time the emphasis was on simplicity and connection to Facebook. With Drupal as CMS system it is not hard to satisfy every kind of request. The church presents itself as follows: "We are a Christian church which consists of ordinary residents of Linköping which have in common that we have been fascinated by Jesus, and who believe that He can give hope, meaning and happiness to all people."
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We have been helping with the back-end development of the Swedish Bible Society's award-winning web venture Bibeln.se (database that includes biblical text, parallel references and encyclopedia), development of mobile pages and further database work on Bible 2000.
Read more about Svenska Bibelsällskapet
Together with Analysera and Sandbring (photo), we have developed a new website for BA Bygg Fastigheter (real estate). With Drupal as CMS system, and with features as Expression of interest and Time management, the site becomes a modern platform for the company to present buildings and objects and to reach out to customers. BA Bygg Fastigheter is a dedicated family business with Jennie and Bert Andersson and their sons Stefan and Björn in the lead.
Read more about BA Bygg Fastigheter
In co-operation with Tromsø Tennis Club, we have developed their new website. The CMS system is Drupal. To the site we have connected an advanced booking system, the opportunity to purchase certain services (e-commerce) and a specially developed system for handling of members. Inmedit is also entrusted with the role of webmaster. Tromsø Tennis Club has now nearly 250 members. The club has a hall with three indoor courts and two squash courts located just a few minutes from the University of Tromsø and University Hospital of Northern Norway. The Club has also two outdoor courts.
Read more about Tromsø Tennisklubb
In co-operation with Analysera, we have created a website for Stay Connected. Stay Connected is a forum where you can stay updated about the present and the future - challenge old ideas, get inspiration and embrace new trends. As usual, we have used Drupal as a CMS system, this time also with event booking and e-commerce.
Read more about Stay Connected
In a very long-term cooperation, we have helped Libris publishers with web design, intranet with connection to their business system, the web and external warehouse. This work has included techniques such as MS IIS, MSSQL, ASP, PHP, Perl and XML. We have also worked with translation, typesetting and production of computer books (eg the bestselling Swedish book in web design Att göra en hemsida).
Read more about Libris publishers
In co-operation with Safety and security unit at the City Office in Malmö city we develop a digital system for systematic fire prevention. It will be able to mangage over 1000 community units and about 4000 users. The system, which has Drupal as engine, makes it simpel for community units to manage their fire protection documentation.
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Sporting KC signs 22-year-old defender from Rwanda
Sporting Kansas City filled an international roster spot Tuesday with the signing of defender Abdul Rwatubyaye of Rwanda.
Rwatubyaye, 22, will be added to the Sporting KC roster pending receipt of his International Transfer Certificate and P-1 visa. He signed an MLS contract for the 2019 MLS season with options for 2020, 2021 and 2022.
The center back, a native of Kigali, Rwanda, spent the last three seasons with Rayon Sports FC of the top-flight Rwanda Premier League. A professional since he was 16, he has won three Rwanda Premier League titles and played 22 matches for the Rwanda Men's National Team, including appearances in FIFA World Cup and Africa Cup of Nations qualifying. Rwatubyaye has represented Rwanda at the U-17, U-20, U-23 and senior levels.
Rwatubyaye has started each of Rwanda's four matches during 2019 Africa Cup of Nations qualifying.


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Enter er debutalbummet fra det hollandske goth metal-band Within Temptation, udgivet i 1997 i DSFA Records. Selvom man hører Sharon den Adels stemme, udfører bandets guitarist Robert Westerholt også death metal-growl.

Albummets stil er meget instrumental i forhold til bandets senere arbejde. Mange af numrene er meget instrumentale uden nogle rigtige tekster. I nogle sange udfører Westerholt growling (i kontrast til bandets nuværende arbejde hvor growling ikke længere bliver brugt).

Teksterne fokuserer på død, mørke, helvede, krig, romance, tomhed og spøgelser i forhold til kærlighed, natur og fantasy på de senere album. Sangene er meget længere og langsommere og er generelt mere depressive.

Spor
 "Restless" – 6:06
 "Enter" – 7:11
 "Pearls of Light " – 5:14
 "Deep Within" – 4:29
 "Gatekeeper" – 6:41
 "Grace" – 5:08
 "Blooded (Instrumental)" – 3:36
 "Candles" – 7:05
 "The Dance" – 5:00
 "Another Day" – 5:45
 "The Other Half (Of Me)" – 4:48

Referencer

Album fra 1997
Within Temptation-album

redpajama_set_name: RedPajamaWikipedia