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Ariana Grande beams in smiley snap before jamming out to Wicked soundtrack in anticipation for her role as Glinda The Good Witch

December 27, 2021 by www.dailymail.co.uk Leave a Comment

Ariana Grande shared several unseen glimpses of her life as she posted an Instagram photo dump on Sunday.

The 28-year-old superstar shared a smiling snap, some sweet moments with husband Dalton Gomez and an image jamming out to the Wicked soundtrack in anticipation for her role in Wicked: The Movie.

In November it was announced that the No Tears Left To Cry singer had been tapped to star as Glinda the Good Witch opposite Cynthia Erivo’s Elphaba in a forthcoming big screen adaptation of the Broadway musical.

Beaming bright: The 28-year-old superstar shared a photo dump on Sunday which included a smiling snap at home as well as other unseen images with husband Dalton Gomez and more moments from her life

Grande beamed bright as she shared an at home snap crouched down wearing jeans and a brown bustier, with her brown locks back in a soft half ponytail.

Another image showed her the track One Short Day from Wicked blaring in her car, which she adorned with a string of heart face and tear drop emojis in anticipation for her role.

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The song was originally performed by Kristin Chenoweth, who played Glinda, and Idina Menzel who played Elphaba back in 2003.

Grande had revealed her big casting news by way of an Instagram post on November 4 with the caption ‘thank goodness,’ having found out she had gotten the part on a Zoom call with director John Chu and Erivo.

Getting in the Wicked spirit! Ariana Grande shared a photo of the track One Short Day from Wicked blaring in her car as she geared up for her starring role in Wicked: The Movie after being tapped to play Glinda the Good Witch

Overjoyed: One image posted as part of her December 26 photo dump showed the No Tears Left To Cry singer covering her mouth with her hand as she modeled a big black hair bow

Wife life: A blurry selfie showed she and Dalton cuddled up together, as both seemed to be enjoying married life together after tying the knot back in May

In 2011 she seemed to manifest the role for herself as she tweeted about ‘how badly’ she wanted to play Glinda at some point in her life, and called it her ‘dream role.’

Other images as part of Ariana’s December 26 photo dump included a cuddly moment with her husband, snaps with her dogs and behind the scenes pictures from the film Don’t Look Up.

The former Nickelodeon star has continued to make her foray back into acting, having a small role as a singer Riley Binna in the Leonardo DiCaprio and Jennifer Lawrence led film.

She played alongside Kid Cudi in the newly released Netflix disaster comedy, and both singers penned an original track called Just Look Up which they performed in the movie.

Don’t Look Up: She played alongside Kid Cudi in the newly released Netflix film Don’t Look Up, and both singers penned an original track called Just Look Up! for the film

A wardrobe wow! A behind the scenes snap showed Ariana dressed in an elaborate costume while playing the role of Riley Binna in Adam McKay’s newly released disaster comedy

Getting glam up: Another image showed the stunning songstress getting glammed up

The Seven Rings singer also posted a sweet moment with her dogs as she fed one a bit of pizza.

Still enjoying some holiday down time, Grande additionally posted videos with her grandmother Marjorie, who famously had a part in helping to design her pearl and diamond engagement ring.

Ahead of Christmas The Voice judge shocked her fans as she suddenly deactivated her Twitter account without reason, but has continued to utilize Instagram.

‘ariana went from telling us she loves us every day to deactivating… these r dark times,’ wrote one user, while another remarked: ‘ariana deactivated. there’s no point of twitter anymore.’

Dog mom: The Seven Rings singer also posted a sweet moment with her dogs as she fed one a bit of pizza

Riding passenger: One of her dogs was seen in a blurry car snap during a little night time joy ride

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The First Incredibles Movie Is a Web of Massacred Disney Superheroes

June 8, 2018 by gizmodo.com Leave a Comment

The Incredibles 2 sees the return of iconic “supers” like Mr. Incredible and Elastigirl, along with some new ones . But let’s not forget that Disney Pixar’s first venture into the superhero genre resulted in one of Pixar’s highest body counts. Twenty supers died to make this movie. But even though they were barely onscreen—at least not alive—many of them had surprisingly complex stories. And we’re going to tell you all about them.

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In The Incredibles , everything we know about supers (and life before the Superhero Relocation Program) is secondhand information, stories shared by Bob Parr and Lucius as they wait near a police scanner, or words of caution from a fashion designer who hates capes . But Disney gave the world of Incredibles ’ supers a surprising amount of development. Not only were there comic books , but The Incredibles DVD featured a number of biographies about the never-seen characters. Some of the bios included audio interviews , but after reading about them, you may wonder how some were considered superheroes in the first place.

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Before supers went into hiding, there were three main superhero groups registered through the National Supers Agency, or NSA, along with some other temporary alliances and team-ups. The most controversial group was the Thrilling Three, led by the famous Gazerbeam. They disbanded after tons of infighting, mostly caused by Gazerbeam being an egotistical douchebag. However, not every superhero was part of a team—as Mr. Incredible lovingly put it during the first film, he worked alone. Among the other “freelancers” included an alcoholic, a woman who used her powers to steal boyfriends, and a potential supervillain who said supers were the “superior race.” Yikes.

Killed by Syndrome’s Omnidroid Robot

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These are the heroes who Syndrome lured to his island in order to have them test out his Omnidroid robot, much like he did with Mr. Incredible. It’s really sad to think that he brought them all there under false pretenses solely so he could kill them. All they wanted was to be supers again, dammit!

Apogee

A former (and very disgruntled) member of the Thrilling Three, Apogee had solar powers. She could control gravity when the sun was out, with her powers growing around high noon, and she could fly thanks to solar-powered levitation. But her powers only worked in the daytime. “It makes me look like an idiot if something happens at night,” she said during an NSA recording. “Unless evil breaks out at a tanning salon, I’m done for.”

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Blazestone

Blazestone was pyrokinetic. She could shoot fire from her hands and control heat, giving her the ability to fly. But her hot-headedness wasn’t limited to her powers. She spoke incredibly fast sometimes (based on which dimension she was in), and had a nasty temper. And she really didn’t like having to work with a team—though the NSA put her in Beta Force anyway.

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“They always have to keep an eye on me. I don’t know why. I only light a couple things on fire that I shouldn’t light on fire,” Blazestone said. “I mean, when I think about things that anger me just a little bit, then, you know, boom! The building lights on fire. And next thing you know the hills light on fire.”

Blazestone had a temporary partnership with Frozone, and it’s implied that they were in a relationship at some point. Even though she didn’t seem to like him much, this tidbit adds an extra tragedy to The Incredibles ; as worded by the Disney Wiki , Mr. Incredible would’ve had to tell Frozone that his former partner (and possibly lover) had died.

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Blitzerman

He wasn’t given an NSA file, sadly, so the only thing we have to go on is the brief flash we see during the death montage. According to the Disney Wiki , his character description may read “super powered locomotion,” meaning he could speed up really quickly.

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Downburst

This guy was kind of a sad sack. Downburst had the ability to manipulate matter—but only to heal “a cut or a boo-boo,” as he liked to put it. He started out at a doctor’s office but then got bored, so he moved to superhero work… where the NSA had him practice making bicycles. Downburst had a crush on Blazestone, and seemingly resented Frozone because of their possible relationship. According to his interview, supers had their own fan conventions.

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Everseer

Everseer was the telepathic leader of Phatasmics with a separate power he called “magnoscopic vision,” meaning both microscopic and telescopic. As a result, he could basically see everything down to its cells and was a major germophobe. In his private life, he was a therapist and author of books like Shut Up! Quieting Your Inner Voice .

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He also claimed to be able to see the future, something other supers didn’t take seriously. But the joke was on them. According to a Boom Studios comic book series , Everseer foresaw his death and left instructions to have a packet delivered to Bob Parr 10 years after he died. And that wasn’t the end of his story. Apparently, his brain had been lobotomized and preserved so that supervillain Xerek (the original villain from The Incredibles movie) could use his clairvoyance as a weapon. The comic was canceled shortly after, so we never found out what happened to his brain.

Gamma Jack

If this guy hadn’t been killed before the events of the first movie, he probably would’ve become the NSA’s first hero-turned-supervillain. Previously known as “Handsome Jack,” Gamma Jack produced controlled radiation bursts and did not give a shit how much collateral damage he caused as a result. He tended to pick and choose which mission he took on based on which ones had beautiful women that needed to be saved. Then, there was his whole obsession with female villains. It’s kinda creepy.

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“The real kicker is I get these dames, man, these dame villains and they’ve got the curves and the hair and the big eyes. And boy, those ones are really hard to kill,” Gamma Jack said. “You’ve really got to take a jog around the block real quick to get your concentration back.”

There’s also a note in his NSA file about how he believes supers are “a superior race,” which goes right up there with “pureblood” as a totally evil thing to say or think. Gross.

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Gazerbeam

This is the only super whose body we actually see in the film. He was found by Mr. Incredible after fleeing Syndrome and had scrawled the password “KRONOS” into the cave wall with his laser vision. In the “real world,” Simon Paladino was a pro bono lawyer who also attended Bob and Helen’s wedding. He also spent years trying to get the supers ban repealed before his death.

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Gazerbeam he was also a total asshole and his colleagues in the Thrilling Three hated him. Case in point: Their official team vehicle was a motorcycle with two side cars. Guess who rode the motorcycle.

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Hypershock

All we know about this super was that he was an angry alcoholic who created earthquakes with his fists.

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Macroburst

They had the power to generate “high-velocity wind,” which gave them the ability to fly. They had served as Everseer’s sidekick before becoming a full-fledged member of Phantasmics (mostly serving as group transportation). The NSA was uncertain of the super’s gender identity, saying the constant wind on their hair made them look “oddly androgynous.”

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Phylange

This guy could create sonic waves with his voice—well, except when he had laryngitis, which seemed to happen a lot. He was a member of the Thrilling Three but quit because Gazerbeam was a jerk, though he later swears the two of them were totally cool. According to the NSA, he “demands respect he doesn’t earn” and was never embraced by the public. At least he had a side gig as an opera singer… when he didn’t have laryngitis.

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Psycwave

She was a former therapist with Everseer, but quit because she got pissed that people couldn’t solve their own problems. This was likely related to her superpower, which was the ability to psychically possess other people and make them do anything she wanted. In an NSA recording, she admitted that she mostly used it to steal boyfriends.

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“I had a crush on the quarterback of the [high school] football team, who was also my best friend’s boyfriend. I psych-waved him into asking me to the homecoming dance and breaking up with Shelly,” she said. “I never really used it to harm people—except for all those girls I made the guys break up with because I wanted to date them.”

Stormicide

A brilliant graduate student in chemistry who had the ability to absorb and emit different gases and vapors, like oxygen or carbon monoxide. “Because I’m all about gas emissions—yes, I have been the butt of many jokes,” she said.

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Tradewind

Nothing is known about him other than he could control the elements.

Universal Man

This guy was kind of hilarious. He had a unique view of himself and his gifts of being able to change molecular density and make black holes. While many of the other superheroes strove to separate their normal and superhero lives, Universal Man had no alter ego. He saw himself as only a super. In an NSA recording, he described going on dates with women, getting to the point where they’d be in a private situation with her wanting to take off his mask. He’d refuse: “There’s no one underneath! They would be horrified if I asked them to take off their face!”

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Vectress

She could make sub-sonic bursts. No other information is available.

Killed by ‘Suit Malfunction,’ aka Capes

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My coworker James Whitbrook may call Edna Mode’s “no capes” claims blasphemy, but in The Incredibles a lot of superhero deaths are blamed on them. Those deaths may carry a different weight than the ones set up by a little boy in order to make his fake killer robot a better killer, but they’re still pretty gnarly. Especially because we actually see these deaths happen—at least in Edna’s flashbacks.

“No capes!”

Dynaguy

Dynaguy was one of the first supers to get sued for public endangerment after Mr. Incredible. He had a disintegration ray and could fly thanks to some ion-powered gauntlets, so naturally, he caused a lot of collateral damage. He attended Bob and Helen’s wedding, only to later die after his cape snagged on the ground during one of his takeoffs. Gazerbeam took over as leader of the Thrilling Three after his death. I do want to give a shout-out to his NSA interview—it only reveals how he came up with his name, but it’s really funny.

One day, I’m having lunch in the local diner and I’m really desperate. I haven’t thought of a name yet. So i’m just looking around. Fork Man, didn’t work. How about Spoon Dude? Banana Cream Pie Throwing Man….I saw the placemat, it’s Ralph’s Diner. Maybe Diner Guy? No. If my name’s Diner Guy, I’m only protecting the diner. When people come in, I defend the diner. I didn’t want to restrict myself to that. I keep thinking diner, diner, Dynaguy. That kind of fit together.

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Meta Man

Not a lot is known about this guy, since his NSA audio file was “confiscated during surprise attack by Baron Von Ruthless” (aka the “monologue guy” Bob and Lucius make fun of during the movie). But he was basically their version of Superman. He had the powers of, like, five gods. Flight, super strength, X-ray vision, sonic scream, teleportation, magnetic manipulation, partial invisible, and the ability to talk with marine animals. He was being considered to oversee all the NSA’s superhero teams, before getting his cape caught in an elevator.

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Splashdown

Like Meta Man, Splashdown could communicate with marine creatures, along with being able to swim really fast and breathe underwater. By day, he was an oceanographer who was obsessed with finding the Lost City of Atlantis. He too was at Bob and Helen’s wedding and died when his cape was caught in a storm vortex.

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Stratogale

A teenager the NSA didn’t seem to like very much. She could fly, was super strong, and could communicate with birds. She was also at Bob and Helen’s wedding. Her death was by far the nastiest, as we see her get caught in a jet turbine.

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Thunderhead

Thunderhead also went to Bob and Helen’s wedding and was great with kids. He was the single father of five adopted children and, according to the NSA file, he raised them with his “roommate” Scott (come on, guys). Thunderhead had storm powers and could control the weather, but wasn’t the smartest tool in the shed. He died when his cape caught on a rocket.

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There were a couple of other supers mentioned in the film who didn’t die at the hands of Syndrome or their own capes, but for the most part, The Incredibles is a graveyard of heroic corpses. It’s unclear whether the next film will continue or even increase the predecessor’s high body count, but I can’t imagine it’ll be as bad as Finding Nemo . That’s right: 350 fishies died during that one.

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‘Black Panther’ Brings Hope, Hype and Pride

February 9, 2018 by www.nytimes.com Leave a Comment

“I suppose neither of us is used to the spotlight,” a dapper T’Challa, the prince of Wakanda, says upon meeting Natasha Romanova, a.k.a. the Black Widow, in “Captain America: Civil War.” A few scenes later, a recently orphaned and vengeful T’Challa, swapping his bespoke blue suit for a full-body bulletproof one, reappears as a new Marvel movie superhero.

The prince will have to live with the attention: Even before its Feb. 16 release, “ Black Panther ” smashed box-office records , beating out “Captain America: Civil War” on first-day advance ticket sales and surpassing “Batman v Superman: Dawn of Justice” to become Fandango’s top-selling superhero movie in history. Perhaps even more impressive, the film is also outpacing its cinematic counterparts in cultural reach.

“I’ve been waiting all of my life for ‘Black Panther,’” said DJ BenHaMeen, host of FanBrosShow , a weekly podcast on “urban geek” culture. “That said, I know where I was, the exact street in Houston and the exact time on Oct. 28, 2014, when Marvel officially announced that they were doing the movie.”

Not since Spike Lee’s “Malcolm X” in 1992 has there been so much hype and hope for a movie among African-American audiences. From special group outings planned by excited fans to crowdfunding campaigns to ensure children can see it, “Black Panther” is shaping up to be a phenomenon. In December, a viral video of two African-American men excited to see the movie’s poster with its all-star black cast — “This is what white people get to feel like ALL THE TIME?!!!!” one man wrote on Twittered — seemed to capture the anticipation, garnering more than 2.5 million views.

What has audiences so eager this time is in part the combination of an auteur African-American director (Ryan Coogler of “Fruitvale Station” and “Creed”), a heavyweight cast (Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Angela Bassett and Forest Whitaker) and a soundtrack co-produced by a rap superstar (Kendrick Lamar), all working on one of the most popular franchises in Hollywood. But the excitement has also been fueled by the origin story of the African superhero.

Created by Stan Lee and Jack Kirby, Black Panther was the first black superhero in mainstream comics, making his debut in Marvel’s Fantastic Four No. 52 in 1966. He went on to appear in Avengers titles and took his first star turn in Jungle Action No. 5 in 1973. He had his ups and downs: his own series largely penned by Kirby, a cancellation in 1979 and a return in the 1980s. From 2005 to 2009, he was the subject of another series, this one written by the filmmaker Reginald Hudlin (“Marshall”). In 2016, Ta-Nehisi Coates wrote a new series of comic books, while Joe Robert Cole and Mr. Coogler worked on the script.

In many ways, Black Panther is part of a current wave of black superheroes, like Netflix’s Luke Cage and CW’s Black Lightning . But “Black Panther” has the setting of Wakanda, a fictional African country that is wealthy (thanks to vibranium, a mineral with energy-manipulating qualities) and technologically advanced. Part of the movie’s emotional and visual appeal lies in the fact that Wakanda has never been colonized.

“Wakanda is a kind of black utopia in our fight against colonialism and imperial control of black land and black people by white people,” said Deirdre Hollman, a founder of the annual Black Comic Book Festival at the Schomburg Center for Research in Black Culture in Harlem. “To the black imagination, that means everything. In a comic book, it is a reality, and through a major motion picture, it’s even more tangibly and artistically a reality that we can explore for ourselves. There’s so much power that’s drawn from the notion that there was a community, a nation that resisted colonization and infiltration and subjugation.”

For Frederick Joseph, a marketing consultant who created the #BlackPantherChallenge , a GoFundMe campaign to buy tickets so youngsters can see “Black Panther” in theaters, the complexity of Wakanda takes on new meaning in our current moment. Compared with President Trump’s disparagement of Haiti and African nations , he said, “You have Wakanda as a place of Afro-futurism, of what African nations can be or what they could have been and still be had colonialism not taken place.” (Mr. Joseph’s campaign, which raised more than $40,000 to take children from the Boys & Girls Club of Harlem to the film, has led to more than 70 similar efforts.)

The Black Panther’s regal alter ego, Prince T’Challa, is a draw as well, said Jonathan Gray, author of the forthcoming “Illustrating the Race: Representing Blackness in American Comics.” He explained: “Now there you have every black boy’s fantasy. He is richer than Bill Gates, smarter than Elon Musk, better looking than Denzel.” And with vibranium, “he is the hereditary ruler of the richest nation on Earth. The movie is about wish fulfillment. When you see Bruce Wayne, this dashing billionaire, where is the black version of that? You got T’Challa.”

In this sense, “Black Panther” is as much an alternative to our contemporary racial discourse as it is a throwback, not only a desire for what could have been but also a nostalgia for what we once had. “I don’t think it’s a coincidence that this movie appears precisely in a moment in which our politics seems inescapable,” Mr. Gray said, adding later that “Black Panther” should be understood in a political context in which both the legal gains of the civil rights movement and the interracial optimism of the Obama era have been undermined.

For Marc Bernardin, an author of the comic book “Genius” and host of the podcast “Fatman on Batman” with the director Kevin Smith, the movie taps into “the cultural longing for what Obama was, the time in which you didn’t check your phone every day hoping the world wasn’t on fire again. A time where devaluation of young black life wasn’t as stark and awful as it feels like it is right now.”

Simply going to the movie can be interpreted as a small gesture of protest and a grand expression of cultural pride.

“Black Panther” has already become a kind of shared language. “Last week I was at the mall when another black dude passed by me,” Mr. Bernardin said. “We gave each other a nod, and he said, ‘Black Panther’s’ in a month, yo.’ That was his version of ‘what’s up,’ his way of marking of time.”

In addition to fans wearing custom-made Black Panther costumes and African-inspired haute couture to the premiere last month, African-American civic groups and others are buying out movie theaters so African-American children can experience the film with one another.

In Oakland, Calif., LaDawn James Williams originally intended to fly to New York to see it with her college friends from Howard University. Instead she plans to host a “Black Panther” screening for her local chapter of Jack and Jill of America. She, her husband, and their 9-year-old daughter and 7-year-old son will watch it with more than 90 other African-American families in a private viewing.

“We’ll be able to take the mask off,” she said. “It’s going to be really subtle, but we’re going to get certain things about the movie and its language that only we know. So I want this to be something we do together: my family, my chapter and my community.”

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A Video Art Retrospective At MoMA Reveals The Utopian Hopes Behind Tech We Now Dread

March 27, 2023 by www.forbes.com Leave a Comment

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On January 1, 1984, George Orwell was greeted with a television program unlike any ever broadcast. The fact that Orwell died in 1950 was utterly beside the point. As the author of Nineteen Eighty-Four , Orwell had set expectations for the mid-80s more than anyone alive. With Good Morning, Mr. Orwell , the video artist Nam June Paik sought to reclaim the maligned future for the present.

In Orwell’s visionary fiction, TV was destined to become a primary instrument of political control, a delivery mechanism for propaganda slyly combined with a surveillance system by which thought police would be able to monitor private citizens 24/7. Paik believed that television could, to the contrary, become an apparatus for cultural liberation.

“I want to show [television’s] potential for interaction, its possibilities as a medium for peace and global understanding,” Paik explained. “It can spread out, cross international borders, provide liberating information, maybe even punch a hole in the Iron Curtain.”

Good Morning, Mr. Orwell showed that Paik wasn’t alone. Mixed live using an intercontinental satellite link facilitating simultaneous participation by everyone from John Cage to Allen Ginsberg to Peter Gabriel to Oingo Boingo, the free-flowing program anticipated media ranging from MTV to YouTube. The live viewership of 25 million exceeded the number of copies of Nineteen Eighty-Four printed since the first edition was released in 1949.

After falling into obscurity for decades, Good Morning, Mr. Orwell has recently been brought back into the public sphere as part of a vast retrospective of new media at the Museum of Modern Art . This rescreening of the broadcast, nearly forty years after it went live, is not only a bounty for art history. It also holds broad cultural interest, interrogating the ‘80s techno-utopian dream much as Paik questioned Orwell’s dystopian rhetoric.

Like visionary literature, visionary media art is interesting not only for what it foretells but also for what it overlooks. The latter can in fact be more significant in retrospect because it may also reflect our own blind spots.

In the case of Good Morning, Mr. Orwell , we witness the celebration of technological salvation. In the midst of the Cold War, when political borders appeared to be impenetrable and the division between East and West threatened all with nuclear apocalypse, live satellite broadcasting defied geographic separation, seemingly suggesting that nothing could hold people back from intermixing and finding common purpose. The technology appeared to present a solution to the predominant problem of the time (while a truly Orwellian state lurked behind the Iron Curtain). The irony is that Paik was pitching the future by looking backward. Responding to Orwell’s representation of TV as an instrument of the enemy, Paik repositioned it as the enemy’s friendly foe.

As the MoMA exhibition shows, Good Morning, Mr. Orwell belongs to a whole genre of optimistic media art. The genre also includes Stan VanDerBeek’s Movie-Drome of 1964-65 and Hole-in-Space , created by Kit Galloway and Sherrie Rabinowitz in 1980.

The former was a theater-in-the-round in which people were collectively immersed in moving images from around the world. Intended to be the first node in a global network for exchanging visual information, VanDerBeek’s invention was meant to “make the world audience ‘self’ conscious of itself,” which he believed to be “an essential step in the bringing about of peaceful co-existence.” Only one Movie-Drome was built under VanDerBeek’s watch. It took the internet for shared media to become ubiquitous – the immersive experience manifesting not in a physical drome but as a media bubble.

Hole-in-Space was simpler than Movie-Drome conceptually – if not technically – comprising two TV cameras and big screens on opposite coasts, both situated on the street, enticing people 2,700 miles apart to virtually meet. Passersby were enthralled, never suspecting that a hole in space would make time porous, forcing future Zoomers to live in every time zone at once.

Orwell was not overtly an influence in the creation of Movie-Drome or Hole-in-Space , nor did they overtly influence Nam June Paik. What connects these three works – spanning two decades and marking technological advancement in the transition from local projection to satellite connection – is the tendency to see the present as exceptional, defying history, making progress. The past is necessarily referenced, providing a basis for showing innovation, but the problem space of the past gets compressed at precisely the moment it should be expansively reexamined.

This blind spot does not only apply to visionary media art, but also to groundbreaking technology in the commercial sector. The difference is that the latter is generally destined for the oblivion of landfill whereas the former gets preserved in museums.

In a cultural archive such as MoMA, visions from the past can still influence the future. They can impact the future for the better by providing a background check on claims of technological salvation. Knowledge of history deepens the problem space, a crucial counterbalance to unforeseen consequences.

Good morning, Mr. Paik. Mr. Orwell is watching you.

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Lamar Jackson Reveals He Requested Trade From Ravens

March 27, 2023 by www.tmz.com Leave a Comment

lamar jackson

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Lamar Jackson just dropped some bombshell news — the NFL superstar announced he requested a trade from the Baltimore Ravens earlier this month … claiming the team is not interested in paying him what he deserves.

The former MVP shared his intentions via Twitter minutes ago … giving his fans a direct update on his NFL future.

“As of March 2nd I requested a trade from the Ravens organization for which the Ravens has not been interested in meeting my value,” Jackson said Monday. “any and everyone that’s has met me or been around me know I love the game of football and my dream is to help a team win the super bowl.”

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“You all are great but I had to make a business decision that was best for my family and I,” he added. “No matter how far I go or where my career takes me, I’ll continue to be close to my fans of Baltimore Flock nation and the entire State of Maryland. You’ll See me again”

Of course, Jackson’s contract situation has been a hot topic this offseason … with the Ravens placing a nonexclusive franchise tag on the former first-round pick, which allows him to sign an offer sheet with another team.

Lamar made it clear he wanted to be locked in long-term with a big payday … but that didn’t happen.

As it turns out, Ravens coach John Harbaugh was speaking with the media as Jackson sent out the tweet … and he said he expects Lamar to be a Baltimore Raven come Week 1.

Coach Harbaugh from owners meetings: pic.twitter.com/TOcrMPZeX3

— Baltimore Ravens (@Ravens) March 27, 2023 @Ravens

“Thinking about Lamar all the time, thinking about him as our quarterback, we’re building our offense around that idea,” Harbaugh said. “I’m just looking forward to getting back to football and I’m confident that’s gonna happen.”

“I’m pretty fired up about Lamar Jackson,” he added. “Lamar Jackson is a great player. Lamar came back in great shape last year, he’s fired up to play. That’s the Lamar I’m looking forward to seeing. Can’t wait to get back on the grass and go to work, and I’m confident that’s gonna happen.”

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