#giselle zatonyl

[post-internet-life]

Compiled by Lorna Mills 

Ways of Seeing

(Based on John Berger’s text and series)

Minute #1 - Daniel Temkin Minute #2 - Rollin Leonard Minute #3 - Sara Ludy Minute #4 - Rhett Jones Minute #5 - Jaakko Pallasvuo Minute #6 - Dafna Ganani Minute #7 - Jennifer Chan Minute #8 - Rea McNamara Minute #9 - Theodore Darst Minute #10 - Matthew Williamson Minute #11 - Hector Llanquin Minute #12 - Christina Entcheva Minute #13 - V5MT a.k.a Małgosia Woźnica Minute #14 - Marisa Olson Minute #15 - Joe McKay Minute #16 - Carla Gannis Minute #17 - Nicholas O'Brien Minute #18 - Eva Papamargariti Minute #19 - Rosa Menkman Minute #20 - Kristin Lucas Minute #21 - Jeremy Bailey & Kristen D. Schaffer Minute #22 - Giselle Zatonyl Minute #23 - Paul Wong Minute #24 - Alfredo Salazar-Caro Minute #25 - Sally McKay Minute #26 - RM Vaughan & Keith Cole & Jared Mitchell Minute #27 - Andrew Benson Minute #28 - Christian Petersen Minute #29 - Faith Holland Minute #30 - Jennifer McMackon

[e-stranger]

SCI FI realism - visual language

In 2015 Eric Zepka in the article Science Fiction Realism published by Furtherfield wrote on sci-fi images and their “meaning”. He sees them as a kind of folk language for common experience within a technoscientifically oriented world. Reading it made me feel sad.

Is it about fleeing reality - escaping responsability - creating a dream, a nightmare ... is this us? Give me Ursula Le Guin’s words.

With visual language, very quickly we get to a stranger and more indeterminate range of science fiction possibilities than narrative tends to map out for us........If our environments advance exponentially quicker than any generational or traditional mythology, what sort of language can we have for expression?

A world not of local cultures, but of computational production. Here anyone can know anything, it doesn’t matter where you’re from.

The real is replaced by the potential.

Image : Giselle Zatonyl

What is the language to talk about the world? If we turn to artists’ visualizations, what does that tell us about languages we speak, and ones we read? What does the graphing of incomprehensible mechanisms tell us in turn about art and its history? The machine’s narratives tend to drown out any functional reality. Genre storytelling tropes become repurposed as collective cultural ideas.

In the realm of speculation, anything is possible, and nothing is fully acceptable.

Is this about fleeing reality - escaping responsability - creating a dream, a nightmare ... is this us? We are the aliens. But maybe I should try to see and read this in the frame of ostranenie or defamiliarization or estrangement as first used by Viktor Shklovsky in 1917; it refreshes human perception and revitalizes the experience of being alive?

[untrustyou]

Giselle Zatonyl

[omggifpop]

A gif from a VISUAL INTERVIEW with new media artist Giselle Zatonyl. This one answers the question 'What do you have nightmares about?'

[dashboardmilano]

Giselle Zatonyl, Lazurite - initiator factor one, 2013

http://vimeo.com/80479482

[fuckyeahsheroes]

Giselle Zatonyl’s "Dusty Appliances Collection" GIF for The Collective Lesbo Consciousness group GIF show at Sheroes #11: Dusty Springfield.

[fuckyeahsheroes]

Giselle Zatonyl’s GIF for Les post-Gendered et les autres group GIF show at Sheroes #10: Grace Jones.

[fuckyeahsheroes]

Giselle Zatonyl's GIF for Sheroes #9.

[fuckyeahsheroes]

i'm making this ranch for Dolly

[fuckyeahsheroes]

GIF by  Giselle Zatonyl for Sheroes #8.

[fuckyeahsheroes]

Animated GIFs by Giselle Zatonyl for Sheroes #6: Erykah Badu.

[fuckyeahsheroes]

Animated GIF by Giselle Zatonyl for Sheroes #6: Erykah Badu.

[post-net-blog]

Giselle Zatonyl Exorcise Willow 2011 Video 720 x 480 px (looped) Willow Smith, meet Linda Blair, meet Giselle Zatonyl, a video and multimedia artist with an innate skill for remixing the past with the present. Exorcise Willow mashes original footage from William Friedkin’s “The Exorcist” with the 2010 breakout hit “Whip My Hair” by Willow Smith. The synchronization, uncanny, the result, undeniably hip. The age of viral videos, YouTube re-mixing, and Internet memes is prime source material for her conceptual remaking of classics.