I would like to consider a notion that I have felt was intuitively true but have never explored in depth: that the 8-bit or "low-res" aesthetic of much contemporary electronic art can be thought of as a form of digital materialism. By employing the phrase "digital materialism," I draw upon a specific term that has circulated within the sphere of avant-garde filmmaking from the 1970s onward. In this context, materialism describes a sensibility, most explicitly theorized in the writings of London-based filmmaker Peter Gidal, in which the physical materials of film technology are made visible within the work itself, and thereby become decisive components of a reflexively cinematic but predominantly non-narrative experience. Materialism reverses the usual Hollywood practice of hiding the mode of production so as not to disrupt the suspension of disbelief necessary to enter into a staged, fictional world.
-- EXCERPT FROM "THE MATTER OF ELECTRONICS" BY ED HALTER
[Originally published in the catalog for the exhibition PLAYLIST at LABoral in Gijón, Spain curated by Domenico Quaranta, available in pdf form here. Subsequently republished to Vague Terrain above.]
This clip of protesters in Bil'in, Palestine dressed as Na'vi from James Cameron's Avatar circulated widely across the internet this week, and that, paired with the recent announcement that Avatar is nominated for 9 Oscars, made me feel that it was about time to present a round-up of the more thoughtful articles I've collected on Avatar. Feel free to post links in the comments section - I'm hoping this post can become a resource for those who might be interested in additional reading concerning the film.
► "Avatar and Invisible Republic" by Rob Horning [From PopMatters]
By coincidence, I began reading Greil Marcus’s Invisible Republic, which in part is about the demise of the 1960s folk movement and Bob Dylan’s role in destroying it after having come to exemplify it. The folkies, in Marcus’s depiction, had the same patronizing attitude toward Appalachian poverty and civil-rights injustices (the Other America, as Michael Harrington dubbed it) that the makers of Avatar seem to evince about colonization. Capitalism sullied and exploited the pure rural people, as clear-headed bourgeois liberals can best recognize. To adherents, folk music (and Avatar) offers us glimpses of pre-capitalist America, a “democratic oasis unsullied by commerce or greed” in which art seems “the product of no ego but of the inherent genius of a people.” The Avatar planet is such a product, for the race occupying it and the film-industry execs who made it.
The substance of this fantasy about indigenous people at harmony with their appropriate environment is the denial of individual subjectivity (the overriding value of the folk revival, according to Marcus), which is rendered unnecessary and impossible. Everyone is at one and merged with one another. Just look at the blue people in the movie sway to the unsounded ...