We live in a post-optic world. Human vision is decentralized as (sole) base for knowledge production to make room for the nonhuman (machines, animals, plants). Yet, our worldview is based on optical information (“seeing is believing”!) and our visual culture leans heavily on old habits: affirming the human spectrum as the norm, celebrating the indexical qualities of the image. The post-optic, as Carolyn L. Kane coins it, is an extension ànd a challenge of vision rooted in optics. It's through algorithmic imagery that we gain the ability to see beyond our own visual limits. This expansion of perception allows us to step beyond a human-centric viewpoint to embrace wavelengths visible to machines and other species. One of the most vivid examples of this pos-optic or algorithmic realm is the use of digital infrared technology. It transcodes invisible data into our visible world, expanding our visual territory. In contexts such as military strategies and facial recognition, digital infrared serves not only to make the invisible visible, but also to guide decision-making processes, silently participating in the invisible conversation that shapes our world. The memetic relationship of the optical world doesn’t exist in the post-optic; the relationship between the real world and its representation is constantly shaped by data and algorithmic processes. Digital infrared and ultraviolet images act as conduits, offering us reinterpretations of an unseen universe. The post-optic invites us to expand our parameters of normality and opens doors to the extrasensory. It can contribute to a shared and interconnected reality that fosters interactions between all entities - be they machines, humans or other entities. 　　In this video I investigate the possibilities of a shared, inclusive timespace by exploring visual realms that are invisible to the (human) naked eye, but can be seen by machines and animals. Leveraging technology’s ability to re-imagine, boundaries are slowly shifting between human and nature. Norms are challenged in the close-ups of flesh-like trees, blood-like mountain streams and cyborg-humans. An ultra-soundscape accompanies an ongoing conversation with ChatGPT. (Martine Stig)

We live in a post-optic world. Human vision is decentralized as (sole) base for knowledge production to make room for the nonhuman (machines, animals, plants). Yet, our worldview is based on optical information (“seeing is believing”!) and our visual culture leans heavily on old habits: affirming the human spectrum as the norm, celebrating the indexical qualities of the image. The post-optic, as Carolyn L. Kane coins it, is an extension ànd a challenge of vision rooted in optics. It's through algorithmic imagery that we gain the ability to see beyond our own visual limits. This expansion of perception allows us to step beyond a human-centric viewpoint to embrace wavelengths visible to machines and other species. One of the most vivid examples of this pos-optic or algorithmic realm is the use of digital infrared technology. It transcodes invisible data into our visible world, expanding our visual territory. In contexts such as military strategies and facial recognition, digital infrared serves not only to make the invisible visible, but also to guide decision-making processes, silently participating in the invisible conversation that shapes our world. The memetic relationship of the optical world doesn’t exist in the post-optic; the relationship between the real world and its representation is constantly shaped by data and algorithmic processes. Digital infrared and ultraviolet images act as conduits, offering us reinterpretations of an unseen universe. The post-optic invites us to expand our parameters of normality and opens doors to the extrasensory. It can contribute to a shared and interconnected reality that fosters interactions between all entities - be they machines, humans or other entities. 　　In this video I investigate the possibilities of a shared, inclusive timespace by exploring visual realms that are invisible to the (human) naked eye, but can be seen by machines and animals. Leveraging technology’s ability to re-imagine, boundaries are slowly shifting between human and nature. Norms are challenged in the close-ups of flesh-like trees, blood-like mountain streams and cyborg-humans. An ultra-soundscape accompanies an ongoing conversation with ChatGPT. (Martine Stig)

美剧版《富江》改编自伊藤润二的同名恐怖漫画，讲述一个美丽的高中女孩(Rudolph饰演)失踪了，其尸体的残骸散落在一个小镇各处，看似一起谋杀疑案，但随后变成了更可怕的事件……

美剧版《富江》改编自伊藤润二的同名恐怖漫画，讲述一个美丽的高中女孩(Rudolph饰演)失踪了，其尸体的残骸散落在一个小镇各处，看似一起谋杀疑案，但随后变成了更可怕的事件……

《说吴》是一部展现吴文化全景和吴地人文历史风貌的系列片。吴文化，作为中华文明重要的组成部分，长期以来，在传承、演变和与其他地域文化的交融中，共同构成了绚烂多彩，蔚为大观的华夏文明，对中华大文化有着重要的互补作用。

《吴聊》是由吴晓波老师主持发起，与两位嘉宾对谈的轻对话节目。在谈笑风生的气氛中，吴老师和他的朋友们以个人化的表达，就公共空间下的社会热点话题进行研究和对谈。吴聊吴聊，无所不聊。

《说吴》是一部展现吴文化全景和吴地人文历史风貌的系列片。吴文化，作为中华文明重要的组成部分，长期以来，在传承、演变和与其他地域文化的交融中，共同构成了绚烂多彩，蔚为大观的华夏文明，对中华大文化有着重要的互补作用。

金发的双性恋Mateo，性感的Maria，以及内心充满冲突的同性恋Angel。在现实生活中各种体验是他们寻找自我的手段。 金发的双性恋Mateo，性感的Maria，以及内心充满冲突的同性恋Angel。在现实生活中各种体验是他们寻找自我的手段。