We All Are Moving Images

“. . . a ‘pornography of transparency’ that we can only experience with irony and indifference.”

By Max Power -

“What will be the future of the individual imagination within the context of the so-called society of images? Will the power to recall images, in absentia, keep developing as humanity is increasingly overwhelmed by the storm of visual culture?” – This question was posed by Italo Calvino in his Lezioni Americane in the eighties before the digital era.

Real vs. Anime


If we look at Japanese society we could very easily state that the boundaries between Art and life, imagination, and reality are blurring away faster than anywhere else.

We all are moving images...


I collected some images from the web, and some quotes from contemporary philosophers and artists, imagining a world where life, art, and imagination bleed together in a great remix where people become images, animated images embody people’s sexual desires, reality becomes comic strips, and their characters become reality…

The Superhero Series«, 2009


“We might be able to engage with works, or events, that don’t look like art and don’t count as art, but are somehow electric, energy nodes, attractors, transmitters, conductors of new thinking, new subjectivity and action that visual artwork in the traditional sense is not able to articulate”

[In Other‘s Words: Daniel Birnbaum Talks with Sarat Maharaj,” in Artforum, February 2002, p. 106–110.]



“… what might properly be called the fate of the art image is the fate of a logical, paradoxical intertwining between the operations of art, the modes of circulation of imagery and the critical discourse that refers the operations of the one and the forms of the other to their hidden truth…”

[Jacques Ranciere, The Future of the Image, trans. Gregory Elliott, London, Verso, 2007.]





“There is no more ‘formal’ difference between art and reality, and this is a problem. Art has now collapsed into the aestheticized banality of everything else. . . a ‘pornography of transparency’ that we can only experience with irony and indifference.”

[Jean Baudrilliard, The Conspirancy of Art, Mit Press, 2005]

Takashi Murakami’s Ego Features 20-Foot Self-Portrait Balloon


“…As more and more media are readily available, the task of the artist becomes one of packaging, producing, reframing, and distributing; a mode of production analogous not to the creation of material goods, but to the production of social contexts, using existing material. Anything on the Internet is a fragment, provisional, pointing elsewhere. Nothing is finished…”

[Seth Price, Dispersion, 2002 , self produced booklet]

Tokyo Art Machine, selling works by European and American artists in Japan. UK Art Machine, selling works by Japanese Artists in the UK. By Yoke and Zoom.


“To talk about ‘the future of images’ is to talk about a meta-picture, an image of an image. Images don’t just HAVE a future, they ARE a future. The future of images is always viewed by means of the most recent development of the image, because it’s the closest we can come to the next development; as such it’s the best medium (or image) through which to understand or imagine the next image.”

[W.J.T. Mitchell, What Do Picture Want? University of Chicago Press, 2005]

The Meta picture


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