zozeer – -Translation – Keybot Dictionary

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  Mediamatic.net - Amfibian  
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De charme van hun optredens zit 'm echter niet zozeer in verbale uitbundigheid als wel in de al even essentiële als typerende kleine gimmicks, onopvallende verschuivingen uit het dagelijks leven, of referenties aan eerdere optredens.
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). The charm of their performances, however, lies not so much in verbal exuberance as in the equally essential and characteristic little gimmicks, unobtrusive shifts of everyday life, or references to previous performances. Although you can’t really keep those last two separate, because their everyday personal lives run over so much into their professional activities.
  Mediamatic.net - Kopsug...  
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Dit komt niet zozeer voort uit een bewustzijn van beperking van lichaam en geest, maar eerder uit overmoed die ons doet vluchten in het uitvinden en de aanschaf van apparaten die aan onze mogelijkheden voorbijgaan.
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Aside from mechanical prostheses, like vehicles and machines, it is especially electronic prostheses which complete the image of the human being. This is not chiefly the result of an awareness of bodily and mental limitation; rather, it is recklessness which causes us to flee into the invention and acquisition of apparati which exceed our capabilities.
  Mediamatic.net - Theatr...  
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: ook daarin gaat het niet zozeer om het voedsel, de dienst of de service maar om de ervaring die je er kunt hebben. Mars 2112 bijvoorbeeld, een project van Daroff Design Inc, betreft een space-restaurant in New York waar je als bezoeker bij de ingang een visum voor Mars krijgt, om daar vervolgens met een virtueel ritje in een spaceshuttle naartoe gebracht te worden.
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: these, too, focus more on the experience than on the food or service. Mars 2112, for example, a Daroff Design Inc. project, is a space restaurant in New York, where at the entrance visitors are presented with a visa for Mars, and are then taken on a virtual space-shuttle ride to that planet. The restaurant is decorated with craters and lava fountains, and friendly Martians wait on the guests. Such an evening out has come to be called
  Mediamatic.net - Trance...  
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Zo krijg je kunst: op het moment dat je heel je filosofie en kennis en overtuigingen en oordelen en gevoeligheden niet zozeer overboord smijt om een wilde grensoverschrijding innerlijk te doorleven - zoals Georges Bataille zich dat in de jaren veertig voorstelde - alswel bemerkt dat je helemaal geen filosofie, samenhangend wereldbeeld of zelfs maar een mening nodig hebt.
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But when you embrace the postulate of 'objectively existing reality', you implicitly acknowledge the existence of media as a sphere which has nothing to do with the extramedial, as an environment with its own rules and concerns, its own pleasures and horrors, its own histories and futures. A sphere of which it is useless to demand that it tell us anything about anything other than itself, about the world outside it, just as you cannot ask the outside world to teach us what media are. Media, considered as an autonomous sphere, are not out to inform; what they create in their users is not informedness, knowledge or insight, but transport, ecstasy - hot or cool - hypnosis. Trance.
  Mediamatic.net - Fluite...  
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De banale variant daarvan wil, dat al bij de allereerste filmvoorstelling van de gebroeders Lumière (28-12-1895) een pianist was ingehuurd om het hinderlijke geratel van de projector te overstemmen en zodoende het koude mechanische geluid van het proces te verzachten door feestelijker klanken. Iets meer sophisticated is de formulering die uitmondt in Adorno's associatie: de piano dient niet zozeer om de projector te overstemmen, ze dient om de angst van het publiek te stelpen.
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Music can only broadly and bluntly emphasize what the image shows us in fine detail. Music is never more than a commentary on the image, it is never an organic part of a film, like set sound, voices, dialogues, or decor and lighting. The only exception proves this rule: when music is a part of the film – the radio is playing, someone is singing, a tape is being played – we don';t experience it first and foremost as music, but see it as a part of the action – someone turns the knob, the singer gazes longingly at the
  Mediamatic.net - Dreamt...  
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De komst van de videorecorder in de huiskamer schept niet zozeer verwarring in de deze stand van zaken, ze creëert eerder een niemandsland waarin de oorspronkelijke status van het uitgezonden materiaal wordt opgeschort.
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Video artists work for the medium of video, a medium that allows the viewer an access that engenders the role of reader and appropriator. In contrast, television is composed of events that unfold in diachronic time, a non-reversible narrative that is as to waking. It is a medium predicated upon consensus and agreed codes and over which the viewer has little control. The advent of the home video recorder does not so much confuse this state of affairs as create a limbo where the original status of broadcast material is suspended. As such, television neither affirms the author/reader relationship nor the particularity of the self.
  Mediamatic.net - Lookin...  
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Bij televisie-omroepen bestaat een uiterst precieze, pragmatische voorstelling van waar deze grens ligt en men respecteert haar, niet zozeer als ethisch taboe, maar eerder uit vrees dat bij het passeren van dit scherpst van de snede de kijker geen smoesjes meer resteren voor het eigen kijkgedrag.
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Television companies possess extremely precise technical knowledge about this boundary and respect it less as an ethical taboo than they fear it as that fine line which, when crossed, leaves the viewer at a sudden loss for a pretext for watching. Images of manhunts and murder can only be comprehended up to a certain point with concepts. Then, the camera eye insistently focused on the mob or the marauding military legitimizes itself as a duty of testimony, is declared information, moral appeal. That outrage over injustice can only be invoked by means of vivid imagery is a thesis that has been tirelessly repeated ever since the war images from Vietnam plunged the American public into turmoil. And after the
  Mediamatic.net - De Soc...  
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De socialist heeft zijn relatie met het verleden altijd als technische schakeling gelegd. Hij was van geboorte af niet zozeer revolutionair of ketter, maar een mediatechnicus. Boeken, pamfletten, kranten, stellingen, manifesten, interventies, polemiek en kritiek – het socialisme was een literaire beweging die geloofde in de overtuigingskracht van het woord om de revolterende meute in de juiste richting te manoeuvreren.
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The socialist has a good relationship with his own hard disk. Like the ex-Marxists, he learned the hard way, with mnemonics of steel. To him, history isn't just one of many possible areas to click into, but the domain where the driving principles at the root of recent data can be found. The socialist's relationship with the past has always been a technical connection. From birth, he was not so much a revolutionary or a heretic, but a media engineer. Books, pamphlets, newspapers, proposals, manifestos, interventions, polemic and criticism; socialism was a literary movement that believed in the word's power of persuasion in manoeuvring the revolting horde in the right direction. For the socialist, the words did not underlie the event, but they could direct it so that it could discriminate between the chance circumstances of riots and the iron dynamics behind them. For him an event is not a
  Mediamatic.net - Trance...  
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Maar het op een bepaalde manier leren kijken naar en leren denken over de werkelijkheid is in feite zozeer deel van je opvoeding, dat je onmogelijk kunt traceren waar je gedachten en percepties vandaan komen.
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As soon as you acquire self-awareness, your consciousness of how the world functions and what you are doing in it, is completely crystallised, as much as that self-awareness presents itself as doubt, confusion, desperation - in short, adolescence. Antonio Gramsci insisted that the social class in which an individual grows up preprograms his or her consciousness. Marshall McLuhan believed that the media with which that consciousness develops will determine how and what it can see and think and know and feel. How things really are, I wouldn't know. What is clear is that there is always something that comes before what you know, and that it's what came before that makes it possible for you to know something in the first place: Maybe no more than that what came before was nonsense. Or that you know nothing.
  Mediamatic.net - Kussen...  
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De zijkant van de Ludovische troon toont muzikanten die op kussens gezeten zijn. Het gaat hier niet zozeer om de tegenstelling van vluchtige muziek en duurzame beeldhouwkunst, als wel om de vraag naar de positie van de mens tussen kosmische orde en vormeloze materie.
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Art and culture begin with the invention of the cushion. With the aid of the cushion it was possible to ease the harshness of being and to create a base for the cheerful and intellectual sides of life. Without cushions, such conversations and drinking bouts such as those Plato tells of in the Symposium, would not have been possible. As much as cushions are therefore the base for every kind of art, the first examples of a reflected analysis of this context were not handed down to us until the year 5 bc. A side wing of the Ludovisian throne and its counterpart show musicians sitting on cushions. It is not so much a matter of the contrast between fleeting music and permanent sculpture as the question as to the position of man between cosmic order and formless matter. Ancient man attempted to reproduce in music the ideal harmony of the music of the spheres. This approach towards the ideal required a distance to the real which is produced by the cushion, which can be produced as the cushion conveys reality and ideality in itself. It makes the transition between opposites possible.