Best Laptop for Suffering on Screen

In the second decade of the 21st century, the decay of the post-bourgeois class has finally become a reality in the form of an economic black hole. A drainage pump has begun to consume and destroy the products of two centuries of diligence and collective wisdom, transforming the concrete realities of social civilization into abstract entities - digits, algorithms, precise atrocities, and the accumulation of nothingness. History has been replaced by the endless, fluid fragmentation of recombined images. However, a new form of research is emerging, as artists seek a common starting point to understand these changes. Hito Steyerl is undoubtedly one of the most representative artists and writers in this trend.

This book is a representative collection of Steyerl's research, revolving around the steadily advancing powerful image politics in her artistic creation and writing. It includes several landmark articles published in recent years, such as the acclaimed "Free Fall: A Thought Experiment on Vertical Perspective," "In Defense of the Poor Image," and "Is a Museum a Factory?". These distinctive, insightful writings reflect the author's reflections on digital images, museums, cinemas, and even spam, as well as her exploration and questioning of social issues and the human predicament, constantly breaking the boundaries of traditional art criticism.

The weak image is the sufferer on the screens of our time, the remnant of audiovisual products, the refuse washed ashore on the digital economy. Its existence testifies to the violent dislocation, transfer, and displacement of images - accelerating their production and circulation in the vicious cycle of audiovisual capitalism. The weak image, as a commodity or its clumsy simulacrum, as a gift or a reward, is dragged around the globe. It disseminates happiness or death threats, conspiracy theories or contraband, resistance or repression. The weak image can display the rare, the obvious, the unbelievable - provided we can still decipher its content.

These one-of-a-kind, sharp-sighted texts reflect the author's reflections on digital images, museums, cinemas, and even spam, as well as her exploration and questioning of social issues and the human predicament, constantly breaking the boundaries of traditional art criticism. The book is a representative collection of Steyerl's research, revolving around the steadily advancing powerful image politics in her artistic creation and writing.

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