http://www.parkettart.com/
GLADYS TROCONIS
November 17, 2011 at 11:45pm
http://www.youtube.com/watch?
CHITRA SINGH - UMRAN DE SARVAR PEOT - SHIV KUMAR BATALVI
http://www.youtube.com/watch?
Simon gauzy a l'entraînemen
December 15, 2011 at 11:45pm
Saturday December the 17th 2011, at 2:30 PM ET. France's National Champion Adrien Mattenet, goes for his fifth match. "No Aerial Landing"
December 16, 2011 at 11:45pm
It turns out that some selected readers were expecting rigors, art and literature in a fundamental manner. There might not be such things in here, it's rather irrelevant. What we have instead is this blog; hopefully corrosive for some readers, just as for others with less commitment to formality can dive in and still get away with something. There are no demands on my behalf regarding the use you may give to this blog. I don't even want a schedule for it. I go at it when I have the time and desire mostly. But I also go at it when I have seen things that are too much for anyone, and too much for myself. But these readers demand a profound study of the subject matter displayed in numbered chapters with notes, index, conclusions, etc. Why would I bother?. It has been done endless times by others with respect and commitment to academicism, history and copyright. Don't you prefer to walk into a theater and see "The Society of the Spectacle" with your own eyes?. Listen to this one. “The only interesting venture is the liberation of everyday life, not only in the perspectives of history but for ourselves and right away. This entails the withering away of alienated forms of communication. The cinema, too, has to be destroyed".
December 17, 2011 at 11:45pm
Check out this video:
French League 2010/11: Adrien Mattenet-He Zhi Wen
December 17, 2011 at 11:45pm
The score-board displayed on the screen throughout the entire match is mistaken. So those points and games given to He Zhi Wen, are in reality for Mattenet. This is a Broadcast error, no strategy.
The Chinese born and naturalized Spaniard, He Zhi Wen, 何志文, 1962!, ITTF's #70, and ranked #1 in Spain. Currently playing for Angers La Vaillante; with a playing style that could be said as a "Flat Hitter, Short Pips Penholder". His strength lies in the attacks he develops mostly after his service; that by tossing the ball very high, makes you look up and follow as the ball rises and falls. The higher the toss, the stronger the spin and speed. Because the ball falls faster on the paddle, placing fast and deep services addressed to unpredictable angles, making Mattenet block without much control as a first response, and allowing He Zhi Wen to start several flat forehand smashes. Making Mattenet back off to defend by lobbing and hoping for a mistake, which never comes. If Mattenet can't keep his blocks to He Zhi Wen's services short and low, the point will go mostly for He Zhi Wen. Mattenet's lobs are so high in an attempt to reposition himself, seeking out for an opportunity to drill, which is something he does very well against many players. But here, He Zhi Wen's forehand smashes are struck at the highest point he can reach, and not even too deep, just fast, strong and placed on the middle of the table aerial game, therefore rising very high, where the chances of responding with a drill are minimal. Aside from that, He Zhi Wen's counter-hitting flat at the bounce is also very tough at high speeds; so Mattenet gets the match rather by serving and spinning short and creating short volleys with lots of effect that he can attack, and that unlike him, He Zhi Wen struggles to rip and smack flat, given that his spin is limited with "short pips", and because of his grip as a penholder. So Mattenet moves ahead with a 3-1.
Sunday December the 18th 2011, at 4:30 PM ET. The Portuguese Marcos Freitas on "Free Culture".
The question that rises is: Should creativity be regulated?. The term “Free Culture” was originally the title of a 2004 book by Lawrence Lessig, a founding father of the "Free Culture" movement. This movement promotes the freedom to distribute and modify creative works in the form of free content by using the Internet and other forms of media. But to speak of "Free Culture" aside from the movement, implies realizing that copyright laws, greatly diminish the span of investigation and creativity. Through the copyright laws, "Big Media attempts to lock down culture to control creativity". Although the state of intellectual property has always been in peril. More than ever, today, if we look into the cyberspace; public domain just can't be shrunk. However the argument is ongoing, and the idea of borrowing, modifying or sharing information remains in the shadow of copyright, which imposes regulations that jeopardize the freedom to create. Therefore the axis of "Free Culture", proposes a recalibration on copyright law, intellectual property and telecommunications policy; to reduce the holder's ability to prevent derivative works. From the perspective of copyright law, every time you take a quote, or download an image or a song from the Internet, it becomes a Federal case and an administrative fault. Mainly because copyright law insists that without property rights there can't be no markets, so fundamentally they want more copyright protection, to conserve the health of the market, that from the copyright perspective ranks higher than culture in the hierarchy of necessary health for a contemporary society. In opposition, the basis of "Free Culture", sustains that "the broader the culture, the broader the markets and the more creative expression we get". Today, the term stands also for hacker computing as for the knowledge and copyleft movement.
By instance in the film "The Society of the Spectacle", a large selection of edited Russian films are posit as tools of control and as the currency of contemporary society, and it is no other than editions from a historical cinematic Chop Shop. Consider "Détournement", and how it operates for the Situationists International.-“Détournement: the reuse of already existing artistic elements in a new ensemble. The two fundamental laws of détournement are the loss of importance of each detourned autonomous element — which may go so far as to completely lose its original sense — and at the same time the organization of another meaningful ensemble that confers on each element its new scope and effect. Détournement has a peculiar power which obviously stems from the double meaning, from the enrichment of most of the terms by the coexistence within them of their old and new senses. It’s practical because it’s so easy to use and because of its inexhaustible potential for reuse.”
http://www.bopsecrets.org/SI/
== Free Culture ==
www.free-culture.cc
For the student movement, click here. FreeCulture.org
Marcos Freitas-Wang Zeng Yi
December 18, 2011 at 11:45pm
The Chinese player Wang Zeng Yi; 王增羿, 1983, ITTF's # 98, came illegally into Poland at age 18, becoming later a Citizen and the #2 ranked Polish player. In this match, he confronts Marcos Freitas at taking the game at the front. Freitas starts by loosing the first game and at the point where he is about to loose the second with a big disadvantage of 2-8, he realizes that he can't overspeed Zeng close to the table. So he makes a comeback by readjusting and allowing Zeng at the front, to start a looping offense from mid-distance instead, where he finds the time to position himself and loop from slow to fast and from short to long, creating a timing crisis on the Chinese-Polish player, whose shots if fast, are missing the necessary effect to be hard to attack by looping. Zeng's backhand is somewhat weak, but Freitas can't get there because Zeng rarely needs it, as he prefers to rely solely on his
forehand to do 70% of his shots, which is common with many players. Ultimately Marcos
Freitas takes full control of the match by playing the "All Around Looper", which is also a common strategy against "Penholders".
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Friday December 23rd 2011 at 1:00 PM ET. France's and European Junior
Champion Simon Gauzy on "Process Work".
Process work has no attachment to a final result, and not even to its content, which often only matters as an itinerary without a destiny. What matters is the trajectory of the making, and at a given end, to the archive and documentation that shows the process through which the work evolved to where it is; and from where it could evolve exponentially to infinity without ever reaching an end. Within a process piece, some elements might reach a point of exhaustion, but new ones could be generated exposing perpetually the same route. Or from a simpler perspective, it could remain static, as a section of a road without a destiny, and not even a beginning. This itinerary, become the subject to look into, even when the autonomous parts that compose it do not partake necessarily of a linear structure. It's interior consistency allows for all sort of heterogeneous elements, that may in place disperse the possibility of a single facade. Process work does not prioritize on a single result, because it compels you to an open lecture of all associative and dissociative elements within it. It points to all the parts, elements or components chronologically ordered, conveying an invitation in which by entering at any point, you can experiment with all other parts, and arrive to different planes, without necessarily reaching a destiny, but only possible stages that equally are parts of the resulting piece, since they suggest all different ends a piece could have. The elements that conform this trajectory lie exposed without presenting a unique entry through a last layer that would prevent you to see what's behind. Just as it does not expose a necessary destiny, but a route that should not be modified or recast. Otherwise the itinerary would disappear misleading its trace and altering what essentially constructs an open message, and a condensed information process through which you can see the interior surfaces of the work. Process work is a zone of discharge of information that points to the organization of elements, and the many positions that during creation, overflow an ultimate facade. A process piece exists on the other side of the commodified finished object, and brings the idea of consumption to a dead end, given that you can't get to a manageable result, but at many transitory stages. It deals with the will of gathering integral parts that can only guarantee continuity, since it is about our relationship to the making, in opposition to the result. Process is also development, as it is registry, articulation and orientation to accomplish multiple tasks. New technologies impact straight into the very matter of developing and documenting a process, since they synthesize, extend and multiply the process through and into a virtual realm of data. The process exists by linking and activating its interior parts, and it is both, absolute and relative. Relative to its independent components, but absolute in regard to the section it presents. Creativity is progressive, we learn and improve through processes, and most commonly our notions of time, life and evolution are processes too.
Check out this video:
Simon Gauzy vs Vladimir Samsonov
In this match the Belarusian Vladimir Samsonov, Уладзімір Самсонаў, also known in China as the Tai Chi Master, ITTF's #9, and number #2 ranked player in Europe, displaces one of the key elements of this PDF; the 16 years old European Junior Champion Simon Gauzy with a 3-1. Gauzy is a virtuous for the future that even manages to get a game from Samsonov, and perform spectacular points on minutes 1:51 and 3:51 between others. But Samsonov is an enormous wall to come across, and has such level of confidence that for moments looks as if he is not even trying so hard, and not particularly contempt to play a Junior. So here we part ways with the great Simon Gauzy, whose every match was outstanding and from who we will hear so much more in the future. Ahead we have Samsonov, Kishikawa, Monteiro, Apolónia, Freitas and Mattenet. But also another surprise player that may boost our "Quarterfinals", if you want to call it.
Thursday December the 29th 2011, at 11:30AM ET.
The Portuguese Joao Monteiro on "High Speed Sculptures of Control".
We met for a last time on the corner of Maxplatz and Postraße at 9:30 am. A few steps down the road and we slid through a small lateral door into a broad salon with two tables. Ten of us for a last exchange of paperwork. But they even spoke on Jean Genet and Kenneth Goldsmith. Still from my perspective, they were not only people or functionaries delivering on a ready-made thought. They had the ability to outperform the stagnant and defy my average notions of physics. They had tactics and autonomous capability to dismantle repressive effects; but were also intangible, virtual and detached from the obsolete, as from floors, walls and ceilings. They were transdisciplinary agents of renewal, using thought, systems and language. High speed sculptures of control, as critical machinery.
Check out this video:
Timo Boll-Joao Monteiro
In a match like this, there are four essentials that anyone would need to pull a victory. Power, spin, speed and control. Almost no defense and a few counters. Here the only tactic is the hi speed attack towards those positions where a rupture could happen. No shot almost ever rises above 16". Joao Monteiro does one of his greatest matches all in all, keeping ahead in the score for 70% of the time. Gone to a fifth game and above at 8-6, one could say that loosing was a matter of luck. But also the fact that on the other side is no average player but the German Timo Boll, ITTF's #4, and Europe's #1 ranked. Arguably the fastest player in the international circuit, as one of the very few that consistently keep up with the Chinese. But the question will always remain in a match like this; what exactly made him win?
http://www.ubu.com/
Thursday January the 5th 2012, at 11:45 PM ET.
Tiago Apolónia on "Chamber Paralysis"
The art-world is a very small faction of our entire endeavor. But this faction is in
itself a divided chamber, with almost infinite number of interior divisions mostly changing
and readjusting, but sometimes in its own dynamic, necessarily gridlocked and paralyzed.
Make no mistake, serve and attack, defense, flexibility and elasticity are essential tools to
break free from the control chamber and overcome a state of paralysis.
Check out this video:
http://www.youtube.com/watch?
Seiya Kishikawa - Tiago Apolonia
This match speaks of all the virtues required to be an "All Around" player. Where again both players know well the difficulties to play each other. An ample range of versatility is needed, and they will do it all striving for a victory. Seiya Kishikawa however, seems to do his average game, whereas Tiago Apolónia, relies in a strategy of spontaneity; that because unpredictable, will lead him to a victory. They make use of all imaginable combinations; all positions, all directions, all speeds. It's more about the subtleties applied in every different shot and collocation, than to radical attacks with all power, because both player's defenses are much above the norm. Apolónia is aware of Kishikawa's power timing, so sometimes he gets points, by pushing short dead balls to his backhand just to side spin right after towards Kishikawa's body as he is still too close to the table to execute his natural swing; making him fail on seemingly easy shots that without the side spin, he would normally rip irreversibly. In the third game Kishikawa comes back from a 2 games to 0, perhaps for an excess of confidence that Apolónia had already by being in full control of the match when entering in the third. So Kishikawa takes the third and fourth, reversing Apolónia's confidence and positioning himself in command with an odd advantage of 3-1 in the fifth. But from there on, the match leans on Apolónia's side again, by showing rarely seen solutions and a spontaneity that ultimately must come from deeply understanding his opponent's game, as from daily training and thorough discipline. These two might not do the most spectacular match, between others because neither one of them are purely offensive players and because the large variety of shots displayed put aside all theatricality, commonly found in the speed, power and long distance game that normally characterizes the European style. You want to see the most spectacular match in this PDF?, please wait a few days for our next encounter. Thanks for following.
January 5 at 11:45pm
Saturday January the 14th 2012, at 11:45 PM ET. Adrien Mattenet on "Full Contact Terminator"
The end of art has been brought up numerous times, from Hegel's "Historicist Philosophy", where art not only changes, but ceases to exist at a point in history; through Arthur C. Danto, where the "End of Art" refers to the beginning of our modern era of art in which art no longer adheres to the constraints of imitation theory but serves new purposes. This is how the end of art is not the end of the road, but the termination of limits. Given that art for and from its own sake, with no external connections was the only pure form to produce art. From a Western perspective, art has come to an end at its highest capacity of manifestation, so when representation is abolished by abstraction, aesthetic perception becomes the main focus and art is left aside as limited and superfluous. From a Modernist point of view, forms and concepts within Postmodernity or New Media are just shifted variations that remain into the unchaste channel of production; where it is not the object that counts but the scope it presents; turning all imaginable things into raw material and serving to the artists own purposes. Essentially art has turned into an artificial device without limits, where what interests is not the inherent qualities of the art object, but the perception we achieve through it; necessarily bringing the debate of, is this art or just propaganda?. So art has reached an end by being dissolved into all manageable information. In a general manner, utilitarian functions as an attachment to art are not considered pure, because fundamentally art must come from itself and should establish no connection with external and seemingly unrelated factors. However, art as decoration or entertainment will always exist within the impure category, just as the limitless exploration of aesthetics and its reformulations. But in the immediacy of our cultural environment what ultimately terminates the game, is the lack of critical content, because through its extension we now could affect and modify an external objective. By saying this I do not mean that we shouldn't do just a painting or a sculpture; but luckily at this point it is liberating from fundamental constraints to desecrate art's purity to achieve higher ends and extend our field of action. Because the end of art is also a rejoice and a liberation that benefits and widens our use for it.
January 14 at 11:45pm
Check out this video:
http://www.youtube.com/watch?
Adrien Mattenet vs Vladimir Samsonov
January 14 at 11:45pm
January 14 at 11:45pm
Keeping a highly offensive counter attack and attempting maximum levels of risk, turned into the only way out in this match for Adrien Mattenet. Whose forehand loop drive, makes a difference in many brilliant attempts. He, fully energized remains aware that no concealed trick can confuse Vladimir Samsonov's smarts and own power machinery. The match evolves within this constant of high levels of mobility and energy that involve taking serious risks and the right decisions on every shot. But also other factors may have played an important roll. From the compromise that Mattenet might have felt by being playing in Paris, as to keeping a great defense and seldom seen reactions and levels of spin and speed that defy the reach of language and the chances to explain. Because here, physical reality escapes our visual grasp, and perhaps only the players fully understand what goes on. Both players find chances to do full contact forehand smashes, but ultimately Mattenet's forehand, if riskier, is also faster, because the arm is almost completely extended, creating more leverage, surprise and collocation angle. And because the wider the radio of the swing, the longer the ball will travel on the paddle, so modifying the ball trajectory remains within possibilities until the ball is fully detached from the racquet and returned. His attempts often occur as counter attacks at low bouncing, as he knows that there is no limit to the power needed to get a point from the Russian. Samsonov in place, does safer forehand smashes by keeping his arm contracted, with his elbow towards his rib cage and gaining control by deducting the attention to the shoulder articulation. So the smashes, even when strong, remain safer, spinier and relatively slower, since it is known that all the speed that can be developed when making contact, is often more than the speed ultimately needed. But this is something that Mattenet understands
Sunday January the 22nd, at 11:45 PM ET. The Portuguese Marcos Freitas on "Court Asymmetries".
The Master-Slave dialectic is a passage of Hegel's Phenomenology of Spirit, that describes the encounter between two self-conscious beings, who engage in a struggle to death, before one enslaves the other, just to discover that it doesn't give him the control over the world that he had sought. It explains Hegel's idea of how self-consciousness dialectically redirects into what he refers to as Absolute Knowledge, Spirit, and Science. For Hegel, Mind or Spirit manifests itself in a set of contradictions and oppositions that are integrated and united without eliminating either pole or reducing one to the other. This passage addresses the basis for social life, which is mutual recognition. But it rises the problem that since recognition should be reciprocal, at the end of the dialectical process, it turns into an unlikely reality. As far as the Master doesn't get the Slave's respect in reciprocity and vice versa, they will remain in a state of struggle, which is not a state of realization. Hegel contributes to the understanding of the asymmetric relation of the duel. Although the reader may be confronted by other interpretations from incompatible schools of philosophy. By instance Schopenhauer, Kierkergard, Nietzsche, Popper, Heidegger and of course Marx among others were Hegel's detractors from diverse perspectives. Fear feels protected under the rule of an imposition; where metaphysically defective methods have a limited application within groups that remain divided. No formula should make the player operate like a manual, because the problem ultimately lies outside the formula. A perfect mechanical adaptation to a model, will be a defeat when the context is different.
Check out this video:
German League Final 2011: Timo Boll-Marcos Freitas
http://www.facebook.com/ttprov
Given these two players respective rankings, the rule would dictate that Timo Boll, Europe's #1 ranked and ITTF's #4, should have won the match over Marcos Freitas, Europe's #11 and ITTF's #34. With both players being essentially "Offensive Loopers", the first thing that calls our attention is the capacity of recovery into an offensive position that they have after every attack. Because the necessary motion implied in an attack, also requires an automatic and immediate recovery to position themselves back into the rhythm of an offensive point. Initially Freitas falls in the first game by believing he can get through Boll's forehand, which is definitely not the case or the opponent to attempt such motion. Typically in Freitas case, there is a tactical readjusting once on the second game. Where most rallies now will run diagonally between backhands, to avoid the mutual overpowering of forehands. A mistake on this condition regularly turns into a point for Boll's power forehand, who solidly sticks to his initial strategy. However Freitas top spin seems to be at his sharpest, off timing Boll's blocks, as if his racquet's angle inclination would be a bit too closed and leaving several responses at the net. Both players services remain short, spiny and centered on those areas where they can't be easily swung or attacked. But generally speaking Freitas's services seem better placed and within a relatively free offensive routine. Luck also plays an important roll on Freitas side, by hitting edges and passing dead balls really short on his opponents side, that basically flatten almost without a single bounce. Instead, Boll commits rare mistakes and even fails two services at critical moments on the fourth game. Letting the match slip away, and conceding a victory of 3-1 favouring Freitas. Who, through his uncompromised ranking position, gets a remarkable final result over one of the very greatest players currently in the international circuit; the German Timo Boll. So we will have Marcos Freitas, who represents freedom and adaptability once more into the near future. Thanks for watching.
February 6 at 11:45 PM ET. Tiago Apolónia on "The Space Reversed".
The practice of reversing a PDF, is made with small nucleus and free fragments. It runs on appropriation, short non sequitour videos and low key literature, that keep the subject tautologically fast and progressive. It settles in a laboratory, as the only place where different disciplines can meet. It accomplishes a few different things. For instance, if reversed again, it now zig zags between deconstruction, legitimacy and assemblage. It has other metaphysical applications, it could even adapt from the virtual space where it is, to occupying an entire stadium. It blocks a conventional analysis by subverting all disciplines involved with a non formal approach. Lending oneself for an easy interpretation equals lending oneself to the guillotine. That is why the reverse of the PDF plays with the similarities between the vocabulary of different practices, but especially Ping Pong and Psychoanalysis. Hopefully discouraging from going into the nursery instead of the club. Reversing a PDF involves diverse nationalities, but the ontological is also reversed, so It brings everyone into a socio-political situation; where having six main characters playing several opponents, equals having multiple guards and at least six different uncodified projects running on parallel. This exponentially negate a single subject's will, as it affirms the impossibility to interpret a process that above everything else, only offers experimentation.
Creativity pops up outside of an explicit division. For somebody it might be within the genealogy of a Metanarrative of historical progress, as those of dialectical materialism. Or Minor Literature, Anti-Essay, Literary Criticism etc. You name it.
Check out this video:
Tiago Apolonia vs Adrien Mattenet
Our second semifinal is a match between a "Lobber", Adrien Mattenet, and an "All Around" player, Tiago Apolónia. Where as Mattenet enters not to do his regular game playing the match, Apolónia enters to play only Mattenet. Winning a match often implies finding the thin thread through where the match can be won; which equals doing only what your opponent allows you to do. So it is that, or reversing it by setting an unforeseen tactic. Because an all around player can't be easily interpreted or studied, he has a wide margin of options strategy wise, which may include being very offensive if necessary. One major advantage to turn into an offensive player, lies in that once an attack has started, the attacker will have the opportunity of repeating at least two times the exact same offensive stroke consecutively. Because an attack follows a defense and it allows the attacker for exact continuity. The defender needs to suspend this condition, given that defending splits into defeat or transformation. A match gets won at the front, and that rarely changes, unless you are playing a "Defensive Chopper", but even then, ripping the ball will eventually end up breaking through the best defense. This is a match full of third ball attacks; there is a service, there is a push and there is an attack. But Apolónia finds the time to locate Mattenet out of position, and still places his shots either way far of Mattenet's reach, or right on his body, where he, by playing closer than he would do otherwise, can only loop arches at mid velocity that Apolónia can snap flat crosscourt. There is a dubious point on minute 02:55 that the umpire calls. It is either a net of Apolónia's service, or the ball touches slightly on his shirt after being tossed when serving. However only the umpire seems to see it as Mattenet response goes out. After a brief argument, the point repeats to the disagreement of the Portuguese, and goes this time for Mattenet, who generally struggles throughout the entire match with Apolónia's services. Anyhow, very strong players both, in a match with high sound quality that leans on Apolónia's side, who represents multiplicity and guidance, with an irreversible 3-1 over the great French Champion, Adrien Mattenet.
Every point is a spatial adventure. Always a beginning, just a fragment of an uncertain early ellipse. A stranger stands at the other side of the table.
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