From 036b549e7517eada2248d8826125b1dec32156f6 Mon Sep 17 00:00:00 2001 From: gauthiier Date: Wed, 15 Jan 2020 15:56:23 +0100 Subject: [PATCH] Network --- conda_env.yml | 1 - erratum/notes.txt | 9 + www/routes.py | 62 +- www/static/xml.js | 6 +- www/templates/xml.html | 2 +- xml/1.Welcome.xml | 52 - xml/3.Network.xml | 11657 +++++++-------------------------------- 7 files changed, 1996 insertions(+), 9793 deletions(-) create mode 100644 erratum/notes.txt diff --git a/conda_env.yml b/conda_env.yml index 37afd90..1d99ddb 100644 --- a/conda_env.yml +++ b/conda_env.yml @@ -26,5 +26,4 @@ dependencies: - jinja2==2.10.3 - markupsafe==1.1.1 - werkzeug==0.16.0 -prefix: /Users/gauthiier/ZzZzzZ/D/_systems/miniconda/envs/digest diff --git a/erratum/notes.txt b/erratum/notes.txt new file mode 100644 index 0000000..4b6f592 --- /dev/null +++ b/erratum/notes.txt @@ -0,0 +1,9 @@ +- Ch. 3.Network + + numbering starting at page 179 reverts back to 15.0.. + + layout is not consistent (ex. p.177) + + end of words in title + + 15.0-p.179 Unsubscri + + 16.0-p.179 tex + + 22.29 -- empty... + + email address in from -- 25.2 auskadi {AT} tvcabo.co.mz + + text formating -- 19.0 p.182 \ No newline at end of file diff --git a/www/routes.py b/www/routes.py index 45c5c6f..5ee750c 100644 --- a/www/routes.py +++ b/www/routes.py @@ -26,10 +26,21 @@ def read_xml(d, fn): subject_str = m.find('subject').text xml_data.append({'nbr': nbr_str, 'date': date_str, 'from': from_str, 'subject': subject_str}) + # sort + xml_data[:] = sorted(xml_data, key=lambda x: parse_nbr_xml(x['nbr'])) return xml_data -def update_nbr_xml(d, fn, nbr, new_nbr): +def parse_nbr_xml(nbr_str): + if '-' in nbr_str: + nbr_str = nbr_str.split('-')[0] + # split number and return a tuple + # ex. 15.4 -> (15, 4) + tok = nbr_str.split('.') + tup = (int(tok[0]), int(tok[1])) + return tup + +def update_nbr_xml(d, fn, nbr, new_nbr, date): fp = os.path.join(d, fn) if not os.path.isfile(fp): return False @@ -37,24 +48,54 @@ def update_nbr_xml(d, fn, nbr, new_nbr): tr = et.parse(fp) m = tr.xpath(".//nbr[text()='" + nbr + "']") - if m is None or len(m) > 1: + if m is None: return False + mm = None + for k in m: + if k.getparent().find('date').text == date: + mm = k + break + + if mm is None: + return False # replace nbr - m[0].text = new_nbr + mm.text = new_nbr # order all mails according to their nbr mails = tr.find('mails') - print(mails) - - mails[:] = sorted(mails, key=lambda x: float(x.find('nbr').text)) + mails[:] = sorted(mails, key=lambda x: parse_nbr_xml(x.find('nbr').text)) tr.write(fp) return True +def delete_nbr_xml(d, fn, nbr, date): + fp = os.path.join(d, fn) + if not os.path.isfile(fp): + return False + tr = et.parse(fp) + m = tr.xpath(".//nbr[text()='" + nbr + "']") + + if m is None: + return False + + mm = None + for k in m: + if k.getparent().find('date').text == date: + mm = k + break + + if mm is None: + return False + + mail = mm.getparent() + mail.getparent().remove(mail) + + tr.write(fp) + return True @app.route('/') @@ -78,11 +119,14 @@ def xmlfn(fn): return "File: " + fn + "does not exist." elif request.method == 'POST': data = request.form - print(data) a = data.get('action') if a == "update": - logging.info("POST update for " + fn + " -- " + data.get('nbr') + " ++ " + data.get('new_nbr')) - if update_nbr_xml(config.xml['path'], fn, data.get('nbr'), data.get('new_nbr')): + logging.info("POST UPDATE " + fn + " -- " + data.get('nbr') + " ++ " + data.get('new_nbr')) + if update_nbr_xml(config.xml['path'], fn, data.get('nbr'), data.get('new_nbr'), data.get('date')): + return "ok" + elif a == "delete": + logging.info("POST DELETE " + fn + " -- " + data.get('nbr')) + if delete_nbr_xml(config.xml['path'], fn, data.get('nbr'), data.get('date')): return "ok" return "-" diff --git a/www/static/xml.js b/www/static/xml.js index a599e02..43e9cc4 100644 --- a/www/static/xml.js +++ b/www/static/xml.js @@ -1,8 +1,10 @@ $(document).ready(function(){ $('.nbr_input').submit(function(e) { return false; }); - $('.update').click(function(e) { + $('.update, .delete').click(function(e) { + console.log("blabla"); var li = $(this).parent("li"); - $.post('/xml/' + li.data("file"), {'action': 'update', 'nbr': li.data("nbr"), 'new_nbr': li.children(".nbr_input").val()}, function(d) { + console.log($(this).attr('class')); + $.post('/xml/' + li.data("file"), {'action': $(this).attr('class'), 'nbr': li.data("nbr"), 'new_nbr': li.children(".nbr_input").val(), 'date': li.data("date")}, function(d) { if(d === 'ok') { location.reload(); } diff --git a/www/templates/xml.html b/www/templates/xml.html index 19f170f..5851c28 100644 --- a/www/templates/xml.html +++ b/www/templates/xml.html @@ -11,7 +11,7 @@ diff --git a/xml/1.Welcome.xml b/xml/1.Welcome.xml index 7935656..65303c9 100644 --- a/xml/1.Welcome.xml +++ b/xml/1.Welcome.xml @@ -719,57 +719,5 @@ Inke Arns, Andreas Broeckmann Berlin, November 2001 - -7.1 -[spectre] Rise and Decline of the Syndicate-SOME THOUGHTS -KINGA ARAYA -spectre@mikrolisten.de -Tue, 13 Nov 2001 15:35:42 -0500 (EST) -Dear Inke and Andreas, - -I have been a rather 'silent' member on your ex-Syndicate list. After the -unpleasant events with Miss nn et al., I abandoned the Syndicate list and -I gladly joined the Spectre list you created. I do appreciate time you -took in writing to all of us about the summer events on the old Syndicate -list. I actually did not have a clear idea what was really going on except -that I was sensing that SOMETHING was going wrong with the virtual -community you created. I did not know who the nn-crowd was and what they -really wanted. - -Even though I was not a very active member of the Syndicate, I always -appreciated the pieces of information you provided. THANK YOU VERY MUCH TO -ANDREAS and INKE FOR YOUR WORK. And since I am an artist and a doctoral -student who is always 'on the run', I regret that fact that when nn -abusive e-mails where polluting my e-mail box I was simply deleting them -and kept going on with my busy life in-between languages, countries and -cultures. (I do not live on internet). - -Your e-mail Inke MADE ME understand that the silence of the members is no -longer possible. Yes, we DO have certain responsibilities to each other, -we-virtual and invisible specters. I think that your e-mail touches on a -very critical issue of ethical and aesthetic responsibilities of virtual -e-mails that have never been dealt successfully (at least to my -knowledge). - -Well, now when I finally CAME OUT what would be my/our next step? - -I believe that all the Spectre subscribes share certain responsibilities -to each others (it is already voiced in Inke's mail) and I am not sure -what to propose given the large number of member of Specters. We cannot -send each others personal e-mails and start interdicting each other - it -would create a virtual chaos! But I strongly believe that we have to DO -something. As a flamboyant artist I would say: "Hey, who/where are you? -Let's go for a drink and talk about art!" Unfortunately it can only remain -a rhetoric call. The only thing I CAN do right now is to VOICE my virtual -presence more often on the Specter's list because I have great respect to -people who work very hard to make sure that we get important and wonderful -information about our cultural and political status quo. - -Thank you and best wishes to Inke, Andreas and all the 250 (+) member of -the Specter, - -Kinga Araya (an interdisciplinary artist currently working and studying in -Montreal, Canada) - \ No newline at end of file diff --git a/xml/3.Network.xml b/xml/3.Network.xml index 7f62c83..1a65fc9 100644 --- a/xml/3.Network.xml +++ b/xml/3.Network.xml @@ -8,8 +8,7 @@ Geert Lovink nettime-l@desk.nl Fri, 7 Aug 1998 11:25:14 +0200 (MET DST) - -Network Fears and Desires +Network Fears and Desires Some Strategies to Overcome the Malaise By Geert Lovink @@ -249,17 +248,7 @@ digitised, stuck between real growth and an even more real crisis. Obsessed with progress, in full despair. But there are other options, and we can realise them. "Get Organised" (n5m3) -[edited by matthew fuller] - - ---- -# distributed via nettime-l : no commercial use without permission -# <nettime> is a closed moderated mailinglist for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} desk.nl and "info nettime-l" in the msg body -# URL: http://www.desk.nl/~nettime/ contact: nettime-owner {AT} desk.nl - - +[edited by matthew fuller] 1.0 @@ -267,9 +256,7 @@ we can realise them. "Get Organised" (n5m3) t byfield nettime-l@desk.nl Mon, 10 Aug 1998 15:18:22 -0400 - - -[What follows is a response by Caroline Nevejan of the Society for Old +[What follows is a response by Caroline Nevejan of the Society for Old and New Media to Geert Lovink's "Network fears and Desires." It wasn't written with a larger audience in mind (which in the context of nettime is a good thing: nettime is sinking under the weight of these mailbomb @@ -743,15 +730,7 @@ we can realise them. "Get Organised" (n5m3) > daily lives, the power and the force that comes from that we should use to > dare formulate and create other and new realities. To do that in a > sustainable way, and in such a way that people we do not know yet will be -> able to participate. ---- -# distributed via nettime-l : no commercial use without permission -# <nettime> is a closed moderated mailinglist for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} desk.nl and "info nettime-l" in the msg body -# URL: http://www.desk.nl/~nettime/ contact: nettime-owner {AT} desk.nl - - +> able to participate. 2.0 @@ -759,9 +738,7 @@ we can realise them. "Get Organised" (n5m3) Ned Rossiter nettime-l@bbs.thing.net Thu, 22 Apr 2004 14:19:59 +0100 - - -The Life of Mobile Data: Technology, Mobility and Data Subjectivity +The Life of Mobile Data: Technology, Mobility and Data Subjectivity April 15-16, 2004 University of Surrey, England http://risome.soc.surrey.ac.uk/conference.htm @@ -1461,7 +1438,7 @@ Flew, Terry (2002) New Media: An Introduction, Oxford: Oxford University Press. Garcia, David and Lovink, Geert (1997) 'The ABC of Tactical Media', posting to nettime mailing list, 16 May, http://www.nettime.org -Genosko, Gary (2003) 'Félix Guattari: Towards a Transdisciplinary +Genosko, Gary (2003) 'Félix Guattari: Towards a Transdisciplinary Metamethodology', Angelaki 8.1: 29-140. Giddens, Anthony (1998) The Third Way: the Renewal of Social @@ -1543,17 +1520,7 @@ Wark, McKenzie (1997) 'Antipodality', Angelaki 2.3: 17-27. Wark, McKenzie (2002) 'Re: From Tactical Media to Digital Multitudes', posting to nettime mailing list, 2 November, -http://www.nettime.org. - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +http://www.nettime.org. 3.0 @@ -1561,13 +1528,9 @@ http://www.nettime.org. Ned Rossiter nettime-l@bbs.thing.net Tue, 28 Sep 2004 23:58:12 +1000 - - -The Italian Effect: Radical Thought, Biopolitics and Cultural Subversion +The Italian Effect: Radical Thought, Biopolitics and Cultural Subversion Sydney University, September 9-11, 2004. http://www.arts.usyd.edu.au/departs/rihss/italianeffect.html - - Ned Rossiter 'Virtuosity, Processual Democracy and Organised Networks' [short version] @@ -1720,8 +1683,6 @@ political". A processual democracy institutes a socio-technical network with the capacity to create conditions that sustain needs, interests and passions. - - References Deleuze, Gilles (2004) 'On Gilbert Simondon', in Desert Islands and @@ -1739,16 +1700,7 @@ http://www/makeworlds.org/book/view/104. Virno, Paolo (2004) A Grammar of the Multitude, trans. James Cascaito Isabella Bertoletti, and Andrea Casson, forward by Sylv=E8re Lotringer, -New York: Semiotext(e). - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +New York: Semiotext(e). 4.0 @@ -1811,20 +1763,7 @@ and basically up until today? best, -Kristoffer - - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: http://mx.kein.org/mailman/listinfo/nettime-l -# archive: http://www.nettime.org contact: nettime@kein.org -# @nettime_bot tweets mail w/ sender unless #ANON is in Subject: - - - +Kristoffer 4.1 @@ -1834,87 +1773,7 @@ Kristoffer Mon, 1 Jul 2019 11:13:58 -0400 I don't usually comment, but the issue of networks vs social media is of personal interest. So much if the web is a commercialization of what were originally publuc, open spaces, now rdndered as private property. A parallel could be drawn to the enclosure movement. What lurks in the background is the commercialization of human action and association, not jyst the "maker movement," but all of social relationships. This is the real issue, even surveillance/agnotogy is just symptomatic. -It's striking how these dynamics emerge, create responses and then commercially assimilate them. This valorization seems to me to be the structural driver that's cresting the current discontent. - - - -> On Jul 1, 2019, at 10:24 AM, Kristoffer Gansing <kg@transmediale.de> wrote: -> -> Dear all, -> -> Maybe I can take the opportunity to plug in to the running discussions -> by shamelessly plugging the announcement of the next transmediale -> festival which aims to deal exactly with the topics of networks, as it -> appeared here as a recurring common concern. -> https://2020.transmediale.de/festival-2020 -> -> I think its quite interesting how the thread on nettime being in a bad -> shape and the one Rachel O' Dwyer started on net-art is converging -> around questions that have to do with how the limits of networks have -> become more tangible today, technically as well as in the form of -> "network idealism". -> -> Molly Hankwitz wrote: -> ->> The question comes up more and more - where is the whole idea of networks ->> that was once? Answer: sorry, social media has everyone blissed out on ->> their own screen. ->> ->> The great debates that enlivened networks of the 90s, have become muddled ->> to the point that "networks" per se don't seem to carry much weight online ->> - now its the app, its the website - which don't always reflect a living ->> community of net-users as we know...or maybe we are imagining networks ->> differently than before and that does not help. Common interests which ->> drove the formulation of networks and network 'flows' seem to have been ->> replaced by something else. Who is the we of any network now... -> -> Rachel: -> ->> Can we still speak about ?tactical media? or ?the exploit?, and if not is ->> this because ->> ->> a) network activism has transformed so that these older descriptions no ->> longer accurately describe net art and ?hacktivist? practices, or ->> ->> b) these art practices have stayed much the same, but they are no longer ->> effective in the current political and economic context? -> -> I would not agree with David Garcia that these meta-discussions is a -> sign of the decline of nettime however, rather that the discussion of -> networked forms seems to be returning at the moment, maybe especially -> also on a list like nettime, because it seems as if it disappeared from -> the big "digitalisation" debates that are now anyway everywhere. (except -> for the breaking up of THE social network) Meanwhile, users are -> returning to smaller networked forms in the form of the fediverse or in -> other intimate constellations taking their cue from safe spaces and -> intersectional practices online, offline or rather in between. Maybe we -> need new ways of modeling networks also beyond the canonical Baran -> diagram of centralized, decentralized and distributed, along with -> nodocentric visualizations that have been so prevalent from the 1990's -> and basically up until today? -> -> best, -> -> Kristoffer -> -> -> -> -> # distributed via <nettime>: no commercial use without permission -> # <nettime> is a moderated mailing list for net criticism, -> # collaborative text filtering and cultural politics of the nets -> # more info: http://mx.kein.org/mailman/listinfo/nettime-l -> # archive: http://www.nettime.org contact: nettime@kein.org -> # @nettime_bot tweets mail w/ sender unless #ANON is in Subject: -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: http://mx.kein.org/mailman/listinfo/nettime-l -# archive: http://www.nettime.org contact: nettime@kein.org -# @nettime_bot tweets mail w/ sender unless #ANON is in Subject: - - - +It's striking how these dynamics emerge, create responses and then commercially assimilate them. This valorization seems to me to be the structural driver that's cresting the current discontent. 4.2 @@ -1924,108 +1783,19 @@ It's striking how these dynamics emerge, create responses and then commercially Mon, 1 Jul 2019 11:10:27 -0700 Dear Kristoffer, et al, -Yes, you have hit on it for me...<Maybe weneed new ways of modeling networks also beyond the canonical Barandiagram of centralized, decentralized and distributed, along withnodocentric visualizations that have been so prevalent from the 1990'sand basically up until today?>Very important - as it is not the tools per se or the platform, but now, possibly new contexts in which even tactical media or “community-based” networks occur, which utilize varied tools. +Yes, you have hit on it for me...<Maybe weneed new ways of modeling networks also beyond the canonical Barandiagram of centralized, decentralized and distributed, along withnodocentric visualizations that have been so prevalent from the 1990'sand basically up until today?>Very important - as it is not the tools per se or the platform, but now, possibly new contexts in which even tactical media or “community-based” networks occur, which utilize varied tools. -I have been doing both artistic/curatorial research and community-based work with non-profits around these overlaps. With waterwheel.net, a team of 30 curators programmer online performance and events for a week with 120 artists from all over the world. This project, the brainchild of Suzanne Fuks and James Cunningham, utilized popular online tools such as Skype and Facebook and email - along with a custom designed media archive and online performance space. Suzanne kept this network in close connection for 3 years. We integrated our work remotely with the Balance/Unbalance festival at Arizona State. For me, this project about water and art was, in addition to the art, ingenious for a) it’s utilization without apology of everyday social media b) it’s capavity to connect in person and online via online performance space - for conferences/panels such that we all actually “saw” and “met” and heard each other. I am still connected to many of the artists I worked with! +I have been doing both artistic/curatorial research and community-based work with non-profits around these overlaps. With waterwheel.net, a team of 30 curators programmer online performance and events for a week with 120 artists from all over the world. This project, the brainchild of Suzanne Fuks and James Cunningham, utilized popular online tools such as Skype and Facebook and email - along with a custom designed media archive and online performance space. Suzanne kept this network in close connection for 3 years. We integrated our work remotely with the Balance/Unbalance festival at Arizona State. For me, this project about water and art was, in addition to the art, ingenious for a) it’s utilization without apology of everyday social media b) it’s capavity to connect in person and online via online performance space - for conferences/panels such that we all actually “saw” and “met” and heard each other. I am still connected to many of the artists I worked with! -Local “campaigns”, for instance, for safe walking streets - from senior citizen groups - use Twitter, FB, etc and more to “network” —while neither art nor sophisticated, these campaigns do represent living communities with “interest in common” - condition of the old online communities AND, importantly, blur distinctions between virtual spaces and “real” spaces. +Local “campaigns”, for instance, for safe walking streets - from senior citizen groups - use Twitter, FB, etc and more to “network” —while neither art nor sophisticated, these campaigns do represent living communities with “interest in common” - condition of the old online communities AND, importantly, blur distinctions between virtual spaces and “real” spaces. -The latter point may seem crude, but it’s possible that social networks such as these are an historical advancement on communities which put the network before the flesh meet, or never had a flesh meet and died OR never had the “real” profile pic at least to color and pepper the imagination. +The latter point may seem crude, but it’s possible that social networks such as these are an historical advancement on communities which put the network before the flesh meet, or never had a flesh meet and died OR never had the “real” profile pic at least to color and pepper the imagination. -I’m no fan of Facebook per se...but it’s not FB alone, but a helpful feature of FB to have visuals...So talking theory...I throw this bone...with bandwidth depletion out of the way and compression technologies vastly superior, network practices have been able to better color-in their members...add more graphics...enrich and make robust vision of community. This may be an important development in network practice and one to assist radical practice...as well as a reason why we are occasionally depleted by text-only communication. +I’m no fan of Facebook per se...but it’s not FB alone, but a helpful feature of FB to have visuals...So talking theory...I throw this bone...with bandwidth depletion out of the way and compression technologies vastly superior, network practices have been able to better color-in their members...add more graphics...enrich and make robust vision of community. This may be an important development in network practice and one to assist radical practice...as well as a reason why we are occasionally depleted by text-only communication. I will post later a link to Haraway interview where she talks about making networks now -Molly - -On Mon, Jul 1, 2019 at 7:25 AM Kristoffer Gansing <kg@transmediale.de> wrote:Dear all, - -Maybe I can take the opportunity to plug in to the running discussions -by shamelessly plugging the announcement of the next transmediale -festival which aims to deal exactly with the topics of networks, as it -appeared here as a recurring common concern. -https://2020.transmediale.de/festival-2020 - -I think its quite interesting how the thread on nettime being in a bad -shape and the one Rachel O' Dwyer started on net-art is converging -around questions that have to do with how the limits of networks have -become more tangible today, technically as well as in the form of -"network idealism". - -Molly Hankwitz wrote: - -> The question comes up more and more - where is the whole idea of networks -> that was once? Answer: sorry, social media has everyone blissed out on -> their own screen. -> -> The great debates that enlivened networks of the 90s, have become muddled -> to the point that "networks" per se don't seem to carry much weight online -> - now its the app, its the website - which don't always reflect a living -> community of net-users as we know...or maybe we are imagining networks -> differently than before and that does not help. Common interests which -> drove the formulation of networks and network 'flows' seem to have been -> replaced by something else. Who is the we of any network now... - -Rachel: - -> Can we still speak about ?tactical media? or ?the exploit?, and if not is -> this because -> -> a) network activism has transformed so that these older descriptions no -> longer accurately describe net art and ?hacktivist? practices, or -> -> b) these art practices have stayed much the same, but they are no longer -> effective in the current political and economic context? - -I would not agree with David Garcia that these meta-discussions is a -sign of the decline of nettime however, rather that the discussion of -networked forms seems to be returning at the moment, maybe especially -also on a list like nettime, because it seems as if it disappeared from -the big "digitalisation" debates that are now anyway everywhere. (except -for the breaking up of THE social network) Meanwhile, users are -returning to smaller networked forms in the form of the fediverse or in -other intimate constellations taking their cue from safe spaces and -intersectional practices online, offline or rather in between. Maybe we -need new ways of modeling networks also beyond the canonical Baran -diagram of centralized, decentralized and distributed, along with -nodocentric visualizations that have been so prevalent from the 1990's -and basically up until today? - -best, - -Kristoffer - - - - -# - - distributed via <nettime>: no commercial use without permission -# - - <nettime> - - is a moderated mailing list for net criticism, -# - - collaborative text filtering and cultural politics of the nets -# - - more info: http://mx.kein.org/mailman/listinfo/nettime-l -# - - archive: http://www.nettime.org contact: nettime@kein.org -# - - @nettime_bot tweets mail w/ sender unless #ANON is in Subject: - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: http://mx.kein.org/mailman/listinfo/nettime-l -# archive: http://www.nettime.org contact: nettime@kein.org -# @nettime_bot tweets mail w/ sender unless #ANON is in Subject: - +Molly 4.3 @@ -2035,130 +1805,7 @@ Kristoffer Wed, 3 Jul 2019 11:50:32 +0100 Thank you Molly!I will post later a link to Haraway interview where she talks about making networks now -Please do!ROn Wed, Jul 3, 2019 at 11:14 AM Molly Hankwitz <mollyhankwitz@gmail.com> wrote:Dear Kristoffer, et al, - -Yes, you have hit on it for me...<Maybe weneed new ways of modeling networks also beyond the canonical Barandiagram of centralized, decentralized and distributed, along withnodocentric visualizations that have been so prevalent from the 1990'sand basically up until today?>Very important - as it is not the tools per se or the platform, but now, possibly new contexts in which even tactical media or “community-based” networks occur, which utilize varied tools. - -I have been doing both artistic/curatorial research and community-based work with non-profits around these overlaps. With waterwheel.net, a team of 30 curators programmer online performance and events for a week with 120 artists from all over the world. This project, the brainchild of Suzanne Fuks and James Cunningham, utilized popular online tools such as Skype and Facebook and email - along with a custom designed media archive and online performance space. Suzanne kept this network in close connection for 3 years. We integrated our work remotely with the Balance/Unbalance festival at Arizona State. For me, this project about water and art was, in addition to the art, ingenious for a) it’s utilization without apology of everyday social media b) it’s capavity to connect in person and online via online performance space - for conferences/panels such that we all actually “saw” and “met” and heard each other. I am still connected to many of the artists I worked with! - -Local “campaigns”, for instance, for safe walking streets - from senior citizen groups - use Twitter, FB, etc and more to “network” —while neither art nor sophisticated, these campaigns do represent living communities with “interest in common” - condition of the old online communities AND, importantly, blur distinctions between virtual spaces and “real” spaces. - -The latter point may seem crude, but it’s possible that social networks such as these are an historical advancement on communities which put the network before the flesh meet, or never had a flesh meet and died OR never had the “real” profile pic at least to color and pepper the imagination. - -I’m no fan of Facebook per se...but it’s not FB alone, but a helpful feature of FB to have visuals...So talking theory...I throw this bone...with bandwidth depletion out of the way and compression technologies vastly superior, network practices have been able to better color-in their members...add more graphics...enrich and make robust vision of community. This may be an important development in network practice and one to assist radical practice...as well as a reason why we are occasionally depleted by text-only communication. - -I will post later a link to Haraway interview where she talks about making networks now - -Molly - -On Mon, Jul 1, 2019 at 7:25 AM Kristoffer Gansing <kg@transmediale.de> wrote:Dear all, - -Maybe I can take the opportunity to plug in to the running discussions -by shamelessly plugging the announcement of the next transmediale -festival which aims to deal exactly with the topics of networks, as it -appeared here as a recurring common concern. -https://2020.transmediale.de/festival-2020 - -I think its quite interesting how the thread on nettime being in a bad -shape and the one Rachel O' Dwyer started on net-art is converging -around questions that have to do with how the limits of networks have -become more tangible today, technically as well as in the form of -"network idealism". - -Molly Hankwitz wrote: - -> The question comes up more and more - where is the whole idea of networks -> that was once? Answer: sorry, social media has everyone blissed out on -> their own screen. -> -> The great debates that enlivened networks of the 90s, have become muddled -> to the point that "networks" per se don't seem to carry much weight online -> - now its the app, its the website - which don't always reflect a living -> community of net-users as we know...or maybe we are imagining networks -> differently than before and that does not help. Common interests which -> drove the formulation of networks and network 'flows' seem to have been -> replaced by something else. Who is the we of any network now... - -Rachel: - -> Can we still speak about ?tactical media? or ?the exploit?, and if not is -> this because -> -> a) network activism has transformed so that these older descriptions no -> longer accurately describe net art and ?hacktivist? practices, or -> -> b) these art practices have stayed much the same, but they are no longer -> effective in the current political and economic context? - -I would not agree with David Garcia that these meta-discussions is a -sign of the decline of nettime however, rather that the discussion of -networked forms seems to be returning at the moment, maybe especially -also on a list like nettime, because it seems as if it disappeared from -the big "digitalisation" debates that are now anyway everywhere. (except -for the breaking up of THE social network) Meanwhile, users are -returning to smaller networked forms in the form of the fediverse or in -other intimate constellations taking their cue from safe spaces and -intersectional practices online, offline or rather in between. Maybe we -need new ways of modeling networks also beyond the canonical Baran -diagram of centralized, decentralized and distributed, along with -nodocentric visualizations that have been so prevalent from the 1990's -and basically up until today? - -best, - -Kristoffer - - - - -# - - distributed via <nettime>: no commercial use without permission -# - - <nettime> - - is a moderated mailing list for net criticism, -# - - collaborative text filtering and cultural politics of the nets -# - - more info: http://mx.kein.org/mailman/listinfo/nettime-l -# - - archive: http://www.nettime.org contact: nettime@kein.org -# - - @nettime_bot tweets mail w/ sender unless #ANON is in Subject: - -# - - distributed via <nettime>: no commercial use without permission -# - - <nettime> - - is a moderated mailing list for net criticism, -# - - collaborative text filtering and cultural politics of the nets -# - - more info: http://mx.kein.org/mailman/listinfo/nettime-l -# - - archive: http://www.nettime.org contact: nettime@kein.org -# - - @nettime_bot tweets mail w/ sender unless #ANON is in Subject:-- http://www.rachelodwyer.com/+353 (85) 7023779 -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: http://mx.kein.org/mailman/listinfo/nettime-l -# archive: http://www.nettime.org contact: nettime@kein.org -# @nettime_bot tweets mail w/ sender unless #ANON is in Subject: - +Please do! 4.3 @@ -2168,254 +1815,21 @@ Kristoffer Tue, 2 Jul 2019 11:24:16 +0100 On 1 Jul 2019, at 15:24, Kristoffer Gansing <kg@transmediale.de> wrote:discussion ofnetworked forms seems to be returning at the moment, maybe especiallyalso on a list like nettime, because it seems as if it disappeared fromthe big "digitalisation" debates that are now anyway everywhere. (exceptfor the breaking up of THE social network) Meanwhile, users arereturning to smaller networked forms in the form of the fediverse or inother intimate constellations taking their cue from safe spaces andintersectional practices online, offline or rather in between.Exciting that the next Transmedialle will look at the re-emergence of discussions of -“networked forms” which I suppose would include a reassesment of the sociological concept - -of the “network society” at the point when there is a strong movement away from the Castells’ - -depiction of the net as a “universal space”. This was always a vision that flew in the face of many - -highly situated socio/political movements for whom there is no such thing as any universal categories,principles, or experiences. - -Does recuperating "autonomous zones" and "safe spaces” of smaller networks represent effective - -resistence to the new technological formalism of big tech’s computational social scientists? Or does it - -simply highlight the fact that the twin ideals of - -autonomy and participation that were once seen as not - -only related but actually entailing one another have proved themselves to be all to frequently - -incomensurable as to be a participant is always to be enrolled in some kind of infrastructure ?# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: http://mx.kein.org/mailman/listinfo/nettime-l -# archive: http://www.nettime.org contact: nettime@kein.org -# @nettime_bot tweets mail w/ sender unless #ANON is in Subject: - +“networked forms” which I suppose would include a reassesment of the sociological concept of the “network society” at the point when there is a strong movement away from the Castells’ depiction of the net as a “universal space”. This was always a vision that flew in the face of many highly situated socio/political movements for whom there is no such thing as any universal categories,principles, or experiences. Does recuperating "autonomous zones" and "safe spaces” of smaller networks represent effective resistence to the new technological formalism of big tech’s computational social scientists? Or does it simply highlight the fact that the twin ideals of autonomy and participation that were once seen as not only related but actually entailing one another have proved themselves to be all to frequently incomensurable as to be a participant is always to be enrolled in some kind of infrastructure ? 5.0 -Re: <nettime> The Limits of Networking -Florian Cramer -nettime-l@bbs.thing.net -Mon, 15 Mar 2004 17:22:42 +0100 - -Quoting Alex Galloway and Eugene Thacker: - -> Protocol abounds in techno-culture. It is a totalizing control apparatus -> that guides both the technical and political formation of computer -> networks, biological systems and other media. - -[...] - -The problem with the word "protocol" seems to me that computer science has -given it a meaning quite different from common English. Other examples are -the words "transparent" (which is used in software design in practically -opposite sense to common understanding, as a mapping of two or more -different symbolic systems into a simulated one, like the "transparent" -access of FTP servers directly in a desktop PC file manager), "code" (used -not in the common sense of "codifying system", but as "codified symbols"), -"interpretation" (understood in the C.S. as the formal -execution/translation of an instruction at runtime, whereas in philosophy, -literary studies and music interpretation it means non-formal translation -of [instructive or non-instructive] signs), and so on. - -What computer science and network engineering call "protocol" could just -as well, or better perhaps, be named [a simple, formal] "language" because -they simply serve the purpose that two connected entities can talk to each -other. Yet another word, which you use yourself, is "standard". It is a -virtue of the Internet that its standards are open and designed to be as -agnostic to the information transported as possible; it seems to me that -preserving this design (with DRM schemes, patents etc. on the horizon) is -the issue rather than, as you at the end of the paper, pushing the -protocols. - - -Of course it is right to say that "protocols", "standards", "languages" or -whatever we call them are systems of control in the sense of what -theoreticians such as Lacan and Foucault have called "symbolic order" or -"discourse"; if this applies to common human language, it no doubt applies -to formal languages as well. But in praxis, it boils down to the question -how the standard is designed, i.e. how much freedom it allows and who -controls it in which way, see Lawrence Lessig's analysis of the Internet -vs. AOL. - -But as with any play, consisting of a ruleset and its free execution, -control is never total to the extent that it wouldn't permit freedom, a -paradox best seen in Oulipo writing with its self-imposed formal -restraints (like: writing a novel without a single occurence of the letter -"e", as Perec's "La Disparition"). Freedom and control thus are not -mutually exclusive, but mutually dependent on each other. To envision -communication systems without control - i.e. languages without rules, -networks without protocols - and find them desirable, would be utterly an -infantilist vision of a pre-language paradise. (And to read Freud, Lacan -or Foucault in this way, would be no less naive.) - -> Put simply, protocols are all the conventional rules and standards -> that govern relationships within networks. - -Yes, but the reality is more complex because network protocols can be -layered onto each other and thus used in quite unpredictable ways. - -To stick with the example of the Internet, it would be false to assume -that because http is a "hypertext transportation protocol", it would force -everything under its "totalizing control apparatus" (to quote your paper) -into hypertext format. - The counter-examples are abundant and well-known, -but even topped by the fact that any imaginable network language can, with -the right software tools, be steganographically tunnelled through http, -just as you can subvert the "totalizing control system" English by using -it merely as a cryptographical container for a text written, for example, -in the cosmic Zaum language of futurist poet Velemir Chlebnikov - apart -from the fact that you can still use it to write novels like Joyce's -Ulysses, or in the case of http, web sites like www.jodi.org. - - -> We need only remind ourselves of the military -> backdrop of WWII mainframe computing and the Cold War context of ARPAnet, -> to suggest that networks are not ahistorical entities. - -Yet the history is more complex as popular media history reductionism -tells it. The Arpanet/Internet was funded by the military, but designed by -academics - many of them with hippie backgrounds - who used the rhetoric -of the "nuclear-strike resistence" to get the money for it. Today, you -probably have to write something about "e-commerce opportunities in a -globalized world" or "terrorist-proof network design" if you run a C.S. -lab and want a grant for your work. (Or, if you do humanities research on -the subject, don't miss to write the word "interdisciplinary cultural -research" into your application letter, at least here in Germany.) - -> and so forth. What we end up with is a *metaphysics of networks*. The - -Agreed, for which to not a small extent Deleuze/Guattari and their popular -perception must be blamed. An aspect of D/G where most clearly their -indebtedness to vitalist philosophy [and hence right-wing philosophy] -shines through. I wonder if that critique could be applied to the -now-fashionable term "multitudes" (which I plainly [mis?]read as a -Deleuze-Guattarian update on the classical Marxist "masses") as well. - - -> Biological or computational, the network is always configured by its -> protocols. We stress this integrative approach because we cannot afford to -> view "information" naively as solely immaterial. Negri notes that "all -> politics is biopolitics," and to this, we would add that all networks are -> not only biopolitical but biotechnical networks. Protocological control in -> networks is as much about networks as *living networks* as it is about the -> materiality of informatics. - -I may not quite grasp this argument, but it seems to me that here you fall -into the trap of misreading the map for the territory, or the signifier -for the signified, by reading the sloppy engineering terminology of -"protocol" too seriously. - -> Thus we are quite interested in a understanding of political change within -> networks. What follows might be thought of as a series of challenges for -> "counterprotocological practice," designed for anyone wishing progressive -> change inside of biotechnical networks. - -While you later disclaim neo-luddite tendencies, "counterprotocological -practice" is a term which almosts screms for being misread as desire for -pre-linguistic status quo. - -> but to push technology into a hypertrophic state, further than it is meant -> to go. We must scale up, not unplug. Then, during the passage of -> technology into this injured, engorged, and unguarded condition, it will -> be sculpted anew into something better, something in closer agreement with -> the real wants and desires of its users. - -This, in my view, reverberates a "media archeology" you might not have -been aware of, that of language utopias since at least medieval kabbalism. -But, to stay in the previous metaphor, should a French person who read -Lacan and Foucault focus all her/his subversive energy on the Académie -française? - -I also note that your own push for a "counterprotocological practice" -solely happens on the level of the signified, not the signifier - or, in -other words: the transported data, not the transport protocols. Would you -consider the grammar of the English language, the Latin alphabet encoded -into ASCII whose bits then are distributed via the SMTP and POP3/imap -protocols over TCP/IP to Nettime subscribers issues as well? - --F - --- -http://userpage.fu-berlin.de/~cantsin/ - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - - - -5.1 -Re: <nettime> The Limits of Networking -Sawad -nettime-l@bbs.thing.net -Mon, 15 Mar 2004 10:37:20 -0500 - -> "protocol," a word derived from computer science - -Computer science reaches far back indeed, to ancient Greece. - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - - - -5.2 -Re: <nettime> The Limits of Networking -porculus -nettime-l@bbs.thing.net -Tue, 16 Mar 2004 09:18:55 +0100 - - -> Of course it is right to say that "protocols", "standards", "languages" or -> whatever we call them are systems of control in the sense of what -> theoreticians such as Lacan and Foucault - -i would say to so metadigitaly paint in my mind cruising together these 2 -bikers by the road of all human brain as lacan & foucault are is more -beautiful than a duchampian's urinal - -> I also note that your own push for a "counterprotocological practice" - -i collapse, i am so sensible that too much beauty cause double bind in my -current vital protocol, only one beer or two could call me back for sharing -again any ordinary earthling life - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - - - -5.3 <nettime> The Limits of Networking Alexander Galloway nettime-l@bbs.thing.net Wed, 24 Mar 2004 09:26:40 -0500 - - [This was originally posted to nettime-l on March 15, 2004, and is +[This was originally posted to nettime-l on March 15, 2004, and is being resent due to a glitch in the web archive.] THE LIMITS OF NETWORKING A reply to Lovink and Schneider's "Notes on the State of Networking" by Alexander Galloway and Eugene Thacker - - The question we aim to explore here is: what is the principle of political organization or control that stitches a network together? Writers like Michael Hardt and Antonio Negri have helped answer this @@ -2634,15 +2048,178 @@ there is no imaginary zone of non-standardization, no zero-place where there is a ghostly, pure flow of only edges. Protocological control works through inherent tensions, and as such, counterprotocol practices can be understood as tactical implementations and intensifications of -protocological control. +protocological control. + + +5.1 +Re: <nettime> The Limits of Networking +Florian Cramer +nettime-l@bbs.thing.net +Mon, 15 Mar 2004 17:22:42 +0100 +Quoting Alex Galloway and Eugene Thacker: -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net +> Protocol abounds in techno-culture. It is a totalizing control apparatus +> that guides both the technical and political formation of computer +> networks, biological systems and other media. - +[...] + +The problem with the word "protocol" seems to me that computer science has +given it a meaning quite different from common English. Other examples are +the words "transparent" (which is used in software design in practically +opposite sense to common understanding, as a mapping of two or more +different symbolic systems into a simulated one, like the "transparent" +access of FTP servers directly in a desktop PC file manager), "code" (used +not in the common sense of "codifying system", but as "codified symbols"), +"interpretation" (understood in the C.S. as the formal +execution/translation of an instruction at runtime, whereas in philosophy, +literary studies and music interpretation it means non-formal translation +of [instructive or non-instructive] signs), and so on. + +What computer science and network engineering call "protocol" could just +as well, or better perhaps, be named [a simple, formal] "language" because +they simply serve the purpose that two connected entities can talk to each +other. Yet another word, which you use yourself, is "standard". It is a +virtue of the Internet that its standards are open and designed to be as +agnostic to the information transported as possible; it seems to me that +preserving this design (with DRM schemes, patents etc. on the horizon) is +the issue rather than, as you at the end of the paper, pushing the +protocols. +Of course it is right to say that "protocols", "standards", "languages" or +whatever we call them are systems of control in the sense of what +theoreticians such as Lacan and Foucault have called "symbolic order" or +"discourse"; if this applies to common human language, it no doubt applies +to formal languages as well. But in praxis, it boils down to the question +how the standard is designed, i.e. how much freedom it allows and who +controls it in which way, see Lawrence Lessig's analysis of the Internet +vs. AOL. + +But as with any play, consisting of a ruleset and its free execution, +control is never total to the extent that it wouldn't permit freedom, a +paradox best seen in Oulipo writing with its self-imposed formal +restraints (like: writing a novel without a single occurence of the letter +"e", as Perec's "La Disparition"). Freedom and control thus are not +mutually exclusive, but mutually dependent on each other. To envision +communication systems without control - i.e. languages without rules, +networks without protocols - and find them desirable, would be utterly an +infantilist vision of a pre-language paradise. (And to read Freud, Lacan +or Foucault in this way, would be no less naive.) + +> Put simply, protocols are all the conventional rules and standards +> that govern relationships within networks. + +Yes, but the reality is more complex because network protocols can be +layered onto each other and thus used in quite unpredictable ways. + +To stick with the example of the Internet, it would be false to assume +that because http is a "hypertext transportation protocol", it would force +everything under its "totalizing control apparatus" (to quote your paper) +into hypertext format. - The counter-examples are abundant and well-known, +but even topped by the fact that any imaginable network language can, with +the right software tools, be steganographically tunnelled through http, +just as you can subvert the "totalizing control system" English by using +it merely as a cryptographical container for a text written, for example, +in the cosmic Zaum language of futurist poet Velemir Chlebnikov - apart +from the fact that you can still use it to write novels like Joyce's +Ulysses, or in the case of http, web sites like www.jodi.org. + + +> We need only remind ourselves of the military +> backdrop of WWII mainframe computing and the Cold War context of ARPAnet, +> to suggest that networks are not ahistorical entities. + +Yet the history is more complex as popular media history reductionism +tells it. The Arpanet/Internet was funded by the military, but designed by +academics - many of them with hippie backgrounds - who used the rhetoric +of the "nuclear-strike resistence" to get the money for it. Today, you +probably have to write something about "e-commerce opportunities in a +globalized world" or "terrorist-proof network design" if you run a C.S. +lab and want a grant for your work. (Or, if you do humanities research on +the subject, don't miss to write the word "interdisciplinary cultural +research" into your application letter, at least here in Germany.) + +> and so forth. What we end up with is a *metaphysics of networks*. The + +Agreed, for which to not a small extent Deleuze/Guattari and their popular +perception must be blamed. An aspect of D/G where most clearly their +indebtedness to vitalist philosophy [and hence right-wing philosophy] +shines through. I wonder if that critique could be applied to the +now-fashionable term "multitudes" (which I plainly [mis?]read as a +Deleuze-Guattarian update on the classical Marxist "masses") as well. + + +> Biological or computational, the network is always configured by its +> protocols. We stress this integrative approach because we cannot afford to +> view "information" naively as solely immaterial. Negri notes that "all +> politics is biopolitics," and to this, we would add that all networks are +> not only biopolitical but biotechnical networks. Protocological control in +> networks is as much about networks as *living networks* as it is about the +> materiality of informatics. + +I may not quite grasp this argument, but it seems to me that here you fall +into the trap of misreading the map for the territory, or the signifier +for the signified, by reading the sloppy engineering terminology of +"protocol" too seriously. + +> Thus we are quite interested in a understanding of political change within +> networks. What follows might be thought of as a series of challenges for +> "counterprotocological practice," designed for anyone wishing progressive +> change inside of biotechnical networks. + +While you later disclaim neo-luddite tendencies, "counterprotocological +practice" is a term which almosts screms for being misread as desire for +pre-linguistic status quo. + +> but to push technology into a hypertrophic state, further than it is meant +> to go. We must scale up, not unplug. Then, during the passage of +> technology into this injured, engorged, and unguarded condition, it will +> be sculpted anew into something better, something in closer agreement with +> the real wants and desires of its users. + +This, in my view, reverberates a "media archeology" you might not have +been aware of, that of language utopias since at least medieval kabbalism. +But, to stay in the previous metaphor, should a French person who read +Lacan and Foucault focus all her/his subversive energy on the Académie +française? + +I also note that your own push for a "counterprotocological practice" +solely happens on the level of the signified, not the signifier - or, in +other words: the transported data, not the transport protocols. Would you +consider the grammar of the English language, the Latin alphabet encoded +into ASCII whose bits then are distributed via the SMTP and POP3/imap +protocols over TCP/IP to Nettime subscribers issues as well? + +-F + + +5.2 +Re: <nettime> The Limits of Networking +porculus +nettime-l@bbs.thing.net +Tue, 16 Mar 2004 09:18:55 +0100 +> Of course it is right to say that "protocols", "standards", "languages" or +> whatever we call them are systems of control in the sense of what +> theoreticians such as Lacan and Foucault + +i would say to so metadigitaly paint in my mind cruising together these 2 +bikers by the road of all human brain as lacan & foucault are is more +beautiful than a duchampian's urinal + +> I also note that your own push for a "counterprotocological practice" + +i collapse, i am so sensible that too much beauty cause double bind in my +current vital protocol, only one beer or two could call me back for sharing +again any ordinary earthling life + + +5.3 +Re: <nettime> The Limits of Networking +Sawad +nettime-l@bbs.thing.net +Mon, 15 Mar 2004 10:37:20 -0500 +> "protocol," a word derived from computer science + +Computer science reaches far back indeed, to ancient Greece. 5.4 @@ -2650,8 +2227,7 @@ protocological control. auskadi {AT} tvcabo.co.mz nettime-l@bbs.thing.net Thu, 25 Mar 2004 12:06:56 +0100 - -Alexander +Alexander Hi, I am glad this got posted again as it helps me get back to trying to put a line of thought together. @@ -2698,7 +2274,7 @@ of "ease" that Agamben talks about int he Coming Community. In your Protocol article from rethinking Marxism you quoted Deleuze quoting Foucault .... -"[1] … power … takes life as its aim or object, then resistance to power +"[1] … power … takes life as its aim or object, then resistance to power already puts itself on the side of life, and turns life against power . . . [2] Life becomes resistance to power when power takes life as its object . . . [3] When power becomes bio-power resistance becomes the @@ -2715,8 +2291,6 @@ production" within the law of copyright using principles of equity. Here is a snip from the paper I gave back then at UF (http://openflows.org/%7Eauskadi/shapeoflaw.html) which cited that part of Protocol: - - To go back to Deleuze "If exchange is the criterion of generality, theft and gift are those of repetition. There is, therefore, an economic difference between the two".[46] Similarly, the idea of equity acts, in @@ -2735,7 +2309,7 @@ as done, what ought to have been done, thus one who seeks equity must come with clean hands, they must have done equity themselves to be entitled to equity's relief. It will not reward those that it regards as scoundrels, those lacking in conscience or virtue. -Equity builds its body of law, its "artifact … and testament"[47] not +Equity builds its body of law, its "artifact … and testament"[47] not through the creation of rules but through the idea of repeating behaviour over time. The singular repetition of equity is the "singular subject, the interiority and the heart of the other"[48], its "artifact" @@ -2786,7 +2360,7 @@ Christians in the place of others"( Agamben at 23). Frankly what worries me with lots of our talk of new media, intellectual property, information etc etc is that in some ways they seem to reject the idea of the possibility of "separate" commons. That is that there is -a call for “universals of communication" which in some ways are bland +a call for "universals of communication" which in some ways are bland and shallow attempts to claim to be pursuing forms of life or pushing through to the other side. After reading a fairly recent Negri piece on the commons @@ -2813,15 +2387,7 @@ Martin -- http://www.auskadi.tk/ "the riddle which man must solve, he can only solve in being, in -being what he is and not something else...." - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +being what he is and not something else...." 6.0 @@ -2829,8 +2395,7 @@ being what he is and not something else...." Alexander Galloway and Eugene Thacker nettime-l@bbs.thing.net Mon, 16 May 2005 12:56:01 -0400 - -The Ghost in the Network +The Ghost in the Network In discussing the difference between the living and the nonliving, Aristotle points to the phenomena of self-organized animation and @@ -2970,16 +2535,7 @@ Alexander Galloway and Eugene Thacker [4] Ibid., p. 47. [5] Gilles Deleuze and Felix Guattari, A Thousand Plateaus (Minneapolis: -University of Minnesota Press, 1987), p. 29. - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +University of Minnesota Press, 1987), p. 29. 6.1 @@ -2987,8 +2543,7 @@ University of Minnesota Press, 1987), p. 29. Keith Hart nettime-l@bbs.thing.net Tue, 17 May 2005 11:40:06 +0200 - ->In discussing the difference between the living and the nonliving, +>In discussing the difference between the living and the nonliving, >Aristotle points to the phenomena of self-organized animation and >motility as the key aspects of a living thing. For Aristotle the >"form-giving Soul" enables inanimate matter to become a living organism. @@ -3016,16 +2571,7 @@ Incidentally, graph theory has been pronounced out-of-date by the sources they cite -- for its assumptions of stasis, randomness and atomism which can't make sense of network growth with preferences. -Keith Hart - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Keith Hart 6.2 @@ -3033,8 +2579,7 @@ Keith Hart Felix Stalder nettime-l@bbs.thing.net Tue, 17 May 2005 17:05:01 -0400 - -On Monday, 16. May 2005 12:56, Alexander Galloway and Eugene Thacker wrote:> +On Monday, 16. May 2005 12:56, Alexander Galloway and Eugene Thacker wrote:> > We suggest that this opposition between closed and open is flawed. It > unwittingly perpetuates one of today's most insidious political myths, @@ -3059,8 +2604,6 @@ On Monday, 16. May 2005 12:56, Alexander Galloway and Eugene Thacker wrote:> > the issue. Instead we would like to speak in terms of "alternatives of > control" whereby the controlling logic of both "open" and "closed" > systems is brought out into the light of day. - - I think this equation of "protocol = control", which is also the core of Galloway's stimulating book [1], is fundamentally flawed, because it mixes terms in ways that is not helpful to a critical political analysis. @@ -3103,36 +2646,14 @@ we understand freedom as absence of rules and control as presence of rules. This, however, is a very misleading understanding of these concepts, as has been argued often, not the least by in the feminist critique of the anti-authoritarian social movements of the late 1960s. [2] - - PS: I am not arguing that protocols cannot be used as mechanism of social control. Rather, this has to be established on a case-by-case basis, rather than pronouncing protocols as means of control per se. - - [1] Galloway, Alexander R. (2004). Protocol: How Control Exists After Decentralization. Cambridge, MA, MIT Press [2] Freeman, Jo (1972). The Tyranny of Structurelessness. The Second Wave. -Vol. 2 No. 1 http://www.jofreeman.com/joreen/tyranny.htm - - - - - - - -----+-------+---------+--- -http://felix.openflows.org - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Vol. 2 No. 1 http://www.jofreeman.com/joreen/tyranny.htm 6.3 @@ -3140,8 +2661,7 @@ http://felix.openflows.org Dirk Vekemans nettime-l@bbs.thing.net Wed, 18 May 2005 13:57:33 +0200 - -I am new to this list,please forgive my ignorance and my clumsy +I am new to this list,please forgive my ignorance and my clumsy wordings, i read this stimulating text by Galloway & Thacker on Rhizome (thanks to Geert). I wanted to respond, tried first on Rhizome, made a mailing mistake there, but i suppose this is the place to do so... @@ -3274,34 +2794,7 @@ Stevens in the game, although his poetry unfolds far beyond his ontology. greetings, dv - - -www.vilt.net - - - ------Original Message----- -From: nettime-l-request {AT} bbs.thing.net -[mailto:nettime-l-request {AT} bbs.thing.net] On Behalf Of Alexander Galloway and -Eugene Thacker -Sent: maandag 16 mei 2005 18:56 -To: nettime-l {AT} bbs.thing.net -Subject: <nettime> The Ghost in the Network - -The Ghost in the Network - -In discussing the difference between the living and the nonliving, -Aristotle points to the phenomena of self-organized animation and - <...> - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +www.vilt.net 7.0 @@ -3818,17 +3311,7 @@ and on pp. 109-13 of The Guattari reader, under the title ancestral d'humanite qui se trouve ainsi exproprie au coeur de lui-meme," becomes "is appropriated from the inside"! The reverse of the original! No wonder people think Guattari is -so hard to read... - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +so hard to read... 7.1 @@ -3836,8 +3319,7 @@ so hard to read... Felix Stalder nettime-l@bbs.thing.net Wed, 19 Apr 2006 14:53:32 +0200 - -Wow! What an essay. It took me two days just to read it, and I think I'll have +Wow! What an essay. It took me two days just to read it, and I think I'll have to read it a few more times. For the time being, I'll stick to half a paragraph, which is key in my view. @@ -3945,33 +3427,7 @@ which bind their actions. And in terms of making worlds, of creating your own coordinates of time and space, it go any further than this. There is, literally, nothing behind it. -So much for now. Felix - - - - - - - - - - - - - -----http://felix.openflows.org------------------------------ out now: -*|Manuel Castells and the Theory of the Network Society. Polity, 2006 -*|Open Cultures and the Nature of Networks. Ed. Futura/Revolver, 2005 - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +So much for now. Felix 7.2 @@ -4022,17 +3478,7 @@ speak of networks in terms of absolute horizontal relations (or in the case of communes example, spaces of consensus). That's simply incorrect, and your own text demonstrates that. -Ned - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Ned 7.3 @@ -4076,16 +3522,7 @@ If anyone has proposed a theory explaining how a network could control territory through military power and take over the functions of the state, I'd like to hear about it. -Ben - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Ben 7.4 @@ -4189,16 +3626,7 @@ different fields - from politics to economics to technology - and each field that thinks about and works with (and within) networks can and does offer unique insights and perspectives. -Shannon - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Shannon 7.5 @@ -4286,25 +3714,7 @@ works through exclusion. These are different modes, and it helps to acknowlegde such difference when we want to understand the particular character of novel combinations. -Felix - - - - - -----http://felix.openflows.org------------------------------ out now: -*|Manuel Castells and the Theory of the Network Society. Polity, 2006 -*|Open Cultures and the Nature of Networks. Ed. Futura/Revolver, 2005 - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Felix 7.6 @@ -4312,8 +3722,7 @@ Felix Brian Holmes nettime-l@bbs.thing.net Wed, 19 Apr 2006 20:38:03 -0400 - -Some thoughts about power +Some thoughts about power Foucault conceived a mode of sovereign power, related to the functioning of law in the Middle Ages (transcendent power of @@ -4425,65 +3834,25 @@ have proliferated over the past thirty years. great to hear so many ideas on this subject! -best, BH - - - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +best, BH 7.7 Re: <nettime> Network, Swarm, Microstructur -"Ana L. Valdés" +"Ana L. Valdés" nettime-l@bbs.thing.net Thu, 20 Apr 2006 10:40:52 +0200 - -I has been working a lot with power and powerstructures. Lived in an anarchist collective in the 80:s -and we studied our own structures, how we did take decisions, what kind of "social matrix" we -developed, etc. We did a year long workshop with some French psychoanalitics adressing the issue of -the power and how the power is reproduced. I don't know how many on the list are familiar with the -work of Cornelius Castoriadis, one of Europes most important theorics in the 50:, 60:s and 70:s, -pivotal for the 68:s movement in France. He was one of the founders of the magazine "Socialisme et -Barbarie", http://www.agorainternational.org/index.html, where intellectuals as Jean Francois Lyotard -wrote. +I has been working a lot with power and powerstructures. Lived in an anarchist collective in the 80:s and we studied our own structures, how we did take decisions, what kind of "social matrix" we developed, etc. We did a year long workshop with some French psychoanalitics adressing the issue of the power and how the power is reproduced. I don't know how many on the list are familiar with the work of Cornelius Castoriadis, one of Europes most important theorics in the 50:, 60:s and 70:s, pivotal for the 68:s movement in France. He was one of the founders of the magazine "Socialisme et Barbarie", http://www.agorainternational.org/index.html, where intellectuals as Jean Francois Lyotard wrote. -One of Castoriadis main work, "The Imaginary Institution of Society", coined the expression "imaginary -structures of the society", the corpus of myths and "memes" where the knowledge and the shapes of a -society is written, implemented and transmitted with the aim of reproducing itself. The reading of the -Oedipus myth as a fundational myth is very relevant to understand how the state is reproduced in the -nuclear family. Pierre Clastres, an anarchist anthropolog, spent many years living with the Guarani, a -indigenous nation of several thousands individes, living maily in Brazil, Paraguay and Venezuela. The -Guarani developed a very clever form of selfgestion based on rotatory chiefs and avoid any structure -related to stateship or central administration. +One of Castoriadis main work, "The Imaginary Institution of Society", coined the expression "imaginary structures of the society", the corpus of myths and "memes" where the knowledge and the shapes of a society is written, implemented and transmitted with the aim of reproducing itself. The reading of the Oedipus myth as a fundational myth is very relevant to understand how the state is reproduced in the nuclear family. Pierre Clastres, an anarchist anthropolog, spent many years living with the Guarani, a indigenous nation of several thousands individes, living maily in Brazil, Paraguay and Venezuela. The Guarani developed a very clever form of selfgestion based on rotatory chiefs and avoid any structure related to stateship or central administration. -Clastres book "Society Against the State" is a very interesting complement to Castoriadis work and -show the pattern where the power and it's metaphors, state, patriarchy, god, act in the level of our -subsconscient and internalizes in us. +Clastres book "Society Against the State" is a very interesting complement to Castoriadis work and show the pattern where the power and it's metaphors, state, patriarchy, god, act in the level of our subsconscient and internalizes in us. -We reproduce a society based on values such as private property, nuclear family, heterosexual -normativity, stateship, and we became the power's allies and complices. +We reproduce a society based on values such as private property, nuclear family, heterosexual normativity, stateship, and we became the power's allies and complices. Without our cosent and complicity the power can't be exerced or reproduced. -Ana - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Ana 7.8 @@ -4500,8 +3869,6 @@ Ana > capacity to recognize each other as existing within the same > referential universe, even when they are dispersed and > mobile. You can think of this as "making worlds." - - Recently, I have been very interested in this question. Being an architect, my interest has been in how collective decisions are made regarding aesthetic objects - traditional cities, traditional crafts, etc. - all @@ -4563,8 +3930,6 @@ organisations. Since I do not possess any expertise on this, I can only speculate (based on some readings oriented towards the layperson), and I list below some speculations on characteristics that an emergent network needs to possess: - - - close grained high-synchrony neighbour interaction - a major percentage of the interactions are characterised by high levels of information symmetry @@ -4726,16 +4091,7 @@ So if I summarise the propositions that interest me: and the links between epistemic systems and social cohesion. Cheers, -Prem - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Prem 7.9 @@ -4890,18 +4246,7 @@ to the quality of his musical notes. Perhaps this is why Kaikini, a classical musician, feels at home in modernism. He knows how to make it into a moving territory. -best, BH - - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +best, BH 7.10 @@ -4909,8 +4254,7 @@ best, BH brian carroll nettime-l@bbs.thing.net Thu, 20 Apr 2006 10:01:19 -0400 - -regarding hierarchies and networks, with regard to protocols, etc: +regarding hierarchies and networks, with regard to protocols, etc: is it possible that network interactions can be 'weighted' with regard to different variables, as to how they function (in terms of @@ -4939,24 +4283,7 @@ makes me wonder if it is somewhat akin to 'layers' as Pit Schultz once wrote about on nettime, etc. that is, some things happen on one layer and there may be multiple higher/lower level things going on (dimensions) simultaneously, though I am not sure if this is how IP -actually works or not...) brian - - - - brian thomas carroll: research-design-development - architecture, education, electromagnetism - http://www.mnartists.org/brian_carroll - http://www.electronetwork.org/bc/ - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +actually works or not...) brian 7.11 @@ -5011,16 +4338,7 @@ the landscape as inscrutable, natural forms. such is the trick of power. references: Albert-L=E1szl=F3 Barab=E1si, "Linked" (2002) Paul Baran, "On Distributed Communications" (1964) -Gilles Deleuze and F=E9lix Guattari, "A Thousand Plateaus" (1980) - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Gilles Deleuze and F=E9lix Guattari, "A Thousand Plateaus" (1980) 7.12 @@ -5028,8 +4346,7 @@ Gilles Deleuze and F=E9lix Guattari, "A Thousand Plateaus" (1980) porculus nettime-l@bbs.thing.net Tue, 25 Apr 2006 10:24:30 -0400 - -> In hierarchies, power operates through coercion. In networks, it +> In hierarchies, power operates through coercion. In networks, it > works through exclusion. @@ -5053,18 +4370,7 @@ my mother & jeer at my rapeseed oil vw, make so much noise as he wanted to u himself as the third riders of the apocalypse..he is not sexy at all enuf for that. -hey hauffeur step on the gas & run over the frog - - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +hey hauffeur step on the gas & run over the frog 7.12 @@ -5084,16 +4390,7 @@ tiny correction: Socialisme OU Barbarie cheers, -martha rosler - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +martha rosler 8.0 @@ -5101,8 +4398,7 @@ martha rosler Alexander Galloway nettime-l@bbs.thing.net Sun, 12 Jan 2003 11:54:34 -0500 - -Nettimers--I'm preparing a book manuscript on computer protocols and +Nettimers--I'm preparing a book manuscript on computer protocols and how they establish control in the seemingly anarchical Internet. I'm hoping that some of you will be able to read my draft chapter below on the institutionalization of protocols via standards bodies. Please @@ -5118,41 +4414,37 @@ subcommittees, this technocratic elite toils away, mostly voluntarily, in an effort to hammer out solutions to advancements in technology. Many of them are university professors. Most all of them either work in industry, or have some connection to it. - Like the philosophy of protocol itself, membership in this -technocratic ruling class is open. “Anyone with something to contribute -could come to the party,”[1] wrote one early participant. But, to be + +Like the philosophy of protocol itself, membership in this +technocratic ruling class is open. "Anyone with something to contribute +could come to the party,"[1] wrote one early participant. But, to be sure, because of the technical sophistication needed to participate, this loose consortium of decision-makers tends to fall into a relatively homogenous social class: highly educated, altruistic, liberal-minded science professionals from modernized societies around the globe. - And sometimes not so far around the globe. Of the twenty-five or so -original protocol pioneers, three of them—Vint Cerf, Jon Postel and -Steve Crocker—all came from a single high school in Los Angeles’s San + +And sometimes not so far around the globe. Of the twenty-five or so +original protocol pioneers, three of them—Vint Cerf, Jon Postel and +Steve Crocker—all came from a single high school in Los Angeles's San Fernando Valley.[2] Furthermore during his long tenure as RFC Editor, Postel was the single gatekeeper through whom all protocol RFCs passed before they could be published. Internet historians Katie Hafner and Matthew Lyon describe this group -as “an ad-hocracy of intensely creative, sleep-deprived, idiosyncratic, -well-meaning computer geniuses.”[3] - There are few outsiders in this community. Here the specialists run +as "an ad-hocracy of intensely creative, sleep-deprived, idiosyncratic, +well-meaning computer geniuses."[3] + +There are few outsiders in this community. Here the specialists run the show. To put it another way, while the Internet is used daily by vast swaths of diverse communities, the standards-makers at the heart of this technology are a small entrenched group of techno-elite peers. -The reasons for this are largely practical. “Most users are not -interested in the details of Internet protocols,” Vint Cerf observes, -“they just want the system to work.”[4] Or as former IEFT Chair Fred -Baker reminds us: “The average user doesn't write code. [...] If their -needs are met, they don't especially care how they were met.”[5] +The reasons for this are largely practical. "Most users are not +interested in the details of Internet protocols," Vint Cerf observes, +"they just want the system to work."[4] Or as former IEFT Chair Fred +Baker reminds us: "The average user doesn't write code. [...] If their +needs are met, they don't especially care how they were met."[5] - - - - - - - - So who actually writes these technical protocols, where did they +So who actually writes these technical protocols, where did they come from, and how are they used in the real world? They are found in the fertile amalgamation of computers and software that constitutes the majority of servers, routers and other internet-enabled machines. A @@ -5160,70 +4452,75 @@ signifigant portion of these computers were, and still are, Unix-based systems. A signifigant portion of the software was, and still is, largely written in the C or C++ languages. All of these elements have enjoyed unique histories as protocological technologies. - The Unix operating system was developed at Bell Telephone Laboratories + +The Unix operating system was developed at Bell Telephone Laboratories by Ken Thompson, Dennis Ritchie and others beginning in 1969 and -continuing development into the early ‘70s. After the operating -system’s release the lab’s parent company, AT&T, began to license and +continuing development into the early 70s. After the operating +system's release the lab's parent company, AT&T, began to license and sell Unix as a commercial software product. But, for various legal -reasons, the company admitted they “had no intention of pursuing -software as a business.”[6] Unix was indeed sold by AT&T, but simply -“as is” with no advertising, technical support or other fanfare. This +reasons, the company admitted they "had no intention of pursuing +software as a business."[6] Unix was indeed sold by AT&T, but simply +"as is" with no advertising, technical support or other fanfare. This contributed to its widespread adoption by universities who found in Unix a cheap but useful operating system that could be easily experimented with, modified and improved. - In January 1974, Unix was installed at the University of California at + +In January 1974, Unix was installed at the University of California at Berkeley. Bill Joy and others began developing aspin-off of the operating system which became known as BSD (Berkeley Software Distribution). - Unix was particularly successful because of its close connection to -networking and the adoption of basic interchange standards. “Perhaps + +Unix was particularly successful because of its close connection to +networking and the adoption of basic interchange standards. "Perhaps the most important contribution to the proliferation of Unix was the -growth of networking,”[7] writes Unix historian Peter Salus. By the -early ‘80s, the TCP/IP networking suite was included in BSD Unix. - Unix was designed with openness in mind. The source code—written in C, -which was also developed during 1971-1973—is easily accessible, meaning +growth of networking,"[7] writes Unix historian Peter Salus. By the +early 80s, the TCP/IP networking suite was included in BSD Unix. + +Unix was designed with openness in mind. The source code—written in C, +which was also developed during 1971-1973—is easily accessible, meaning a higher degree of technical transparency. The standardization of the C programming language began in 1983 with the establishment of an American National Standards Institute (ANSI) -committee called “X3J11.” The ANSI report was finished in 1989 and +committee called "X3J11." The ANSI report was finished in 1989 and subsequently accepted as a standard by the international consortium ISO in 1990.[8] Starting in 1979, Bjarne Stroustrup developed C++, which added the concept of classes to the original C language. (In fact, -Stroustrup’s first nickname for his new language was “C with Classes.”) +Stroustrup's first nickname for his new language was "C with Classes.") ANSI standardized the C++ language in 1990. - C++ has been tremendously successful as a language. “The spread was -world-wide from the beginning,” recalled Stroustrup. “[I]t fit into -more environments with less trouble than just about anything else.”[9] + +C++ has been tremendously successful as a language. "The spread was +world-wide from the beginning," recalled Stroustrup. "[I]t fit into +more environments with less trouble than just about anything else."[9] Just like a protocol. - It is not only computers that experience standardization and mass + +It is not only computers that experience standardization and mass adoption. Over the years many technologies have followed this same trajectory. The process of standards creation is, in many ways, simply the recognition of technologies that have experienced success in the market place. One example is the VHS video format developed by JVC -(with Matsushita), which beat out Sony’s Betamax format in the consumer +(with Matsushita), which beat out Sony's Betamax format in the consumer video market. Betamax was considered by some to be a superior technology (an urban myth, claim some engineers) because it stored video in a higher-quality format. But the trade off was that Betamax -tapes tended to be shorter in length. In the late ‘70s when VHS +tapes tended to be shorter in length. In the late 70s when VHS launched, the VHS tape allowed for up to two hours of recording time, -while Betamax only one hour. “By mid 1979 VHS was outselling Beta by -more than 2 to 1 in the US.”[10] When Betamax caught up in length (to +while Betamax only one hour. "By mid 1979 VHS was outselling Beta by +more than 2 to 1 in the US."[10] When Betamax caught up in length (to three hours) it had already lost a foothold in the market. VHS would counter Betamax by increasing to four hours and later eight. - Some have suggested that it was the pornography industry, who favored + +Some have suggested that it was the pornography industry, who favored VHS over Betamax, that provided it with legions of early adopters and proved the long term viability of the format.[11] But perhaps the most convincing argument is the one that points out -JVC’s economic strategy which included aggressive licensing of the VHS -format to competitors. JVC’s behavior is pseudo-protocological. They +JVC's economic strategy which included aggressive licensing of the VHS +format to competitors. JVC's behavior is pseudo-protocological. They licensed the technical specifications for VHS to other vendors. They also immediately established manufacturing and distribution supply chains for VHS tape manufacturing and retail sales. In the meantime Sony tried to fortify its market position by keeping Betamax to itself. As one analyst writes: - - Three contingent early differences in strategy were crucial. First, Sony decided to proceed without major co-sponsors for it Betamax system, while JVC shared VHS with several major competitors. Second, @@ -5231,22 +4528,13 @@ the VHS consortium quickly installed a large manufacturing capacity. Third, Sony opted for a more compact cassette, while JVC chose a longer playing time for VHS, which proved more important to most customers.[12] - - JVC deliberately sacrificed larger profit margins by keeping prices low and licensing to competitors. This was in order to grow their market share. The rationale was that establishing a standard was the most important thing, and as they approached that goal, it would create a positive feedback loop that would further beat out the competition. - - - - - - - - The VHS/Betamax story is a good example from the commercial sector +The VHS/Betamax story is a good example from the commercial sector for how one format can beat out another format and become an industry standard. This example is interesting because it shows that protocological behavior (giving out your technology broadly even if it @@ -5257,14 +4545,7 @@ propriety market forces, but due to broad open initiatives of free exchange and debate. This was not exactly the case with VHS, but the analogy is useful nevertheless. - - - - - - - - This type of corporate squabbling over video formats has since +This type of corporate squabbling over video formats has since been essentially erased from the world stage with the advent of DVD. This new format was reached through consensus from industry leaders and hence does not suffer from direct competition by any similar technology @@ -5272,50 +4553,38 @@ in the way that VHS and Betamax did. Such consensus characterizes the large majority of processes in place today around the world for determining technical standards. - - - - - - - - Many of today’s technical standards can be attributed to the +Many of today's technical standards can be attributed to the Institute of Electrical and Electronics Engineers, or IEEE (pronounced -“eye triple e”). In 1963 IEEE was created through the merging of two +"eye triple e"). In 1963 IEEE was created through the merging of two professional societies. They were the American Institute of Electrical Engineers (AIEE) founded in New York on May 13, 1884 (by a group which included Thomas Edison) and the Institute of Radio Engineers (IRE) founded in 1912.[13] Today the IEEE has over 330,000 members in 150 -countries. It is the world’s largest professional society in any field. +countries. It is the world's largest professional society in any field. The IEEE works in conjunction with industry to circulate knowledge of technical advances, to recognize individual merit through the awarding of prizes, and to set technical standards for new technologies. In this -sense the IEEE is the world’s largest and most important protocological +sense the IEEE is the world's largest and most important protocological society. - Composed of many chapters, sub-groups and committees, the IEEE’s + +Composed of many chapters, sub-groups and committees, the IEEE's Communications Society is perhaps the most interestingarea vis-a-vis computer networking. They establish standards in many common areas of digital communication including digital subscriber lines (DSLs) and wireless telephony. IEEE standards often become international standards. Examples include -the “802” series of standards which govern network communications +the "802" series of standards which govern network communications protocols. These include standards for Ethernet[14] (the most common local area networking protocol in use today), Bluetooth, Wi-Fi, and others. - “The IEEE,” Paul Baran observed, “has been a major factor in the -development of communications technology.”[15] Indeed Baran’s own + +"The IEEE," Paul Baran observed, "has been a major factor in the +development of communications technology."[15] Indeed Baran's own theories, which eventually would spawn the Internet, were published within the IEEE community even as they were published by his own employer, the RAND Corporation. - - - - - - - - Active within the United States are the National Institute for +Active within the United States are the National Institute for Standardization and Technology (NIST) and American National Standards Institute (ANSI). The century old NIST, formerly known as the National Bureau of Standards, is a federal agency that develops and promotes @@ -5326,14 +4595,7 @@ mandatory standards which must be adopted. Much of their budget goes into supporting NIST research laboratories as well as various outreach programs. - - - - - - - - ANSI, formerly called the American Standards Association, is +ANSI, formerly called the American Standards Association, is responsible for aggregating and coordinating the standards creation process in the US. They are the private sector counterpart to NIST. While they do not create any standards themselves, they are a conduit @@ -5343,71 +4605,27 @@ certain rules designed to keep the process open and equitable for all interested parties. ANSI then verifies that the rules have been followed by the developing organization before the proposed standard is adopted. - ANSI is also responsible for articulating a national standards + +ANSI is also responsible for articulating a national standards strategy for the US. This strategy helps ANSI advocate in the international arena on behalf of United States interests. ANSI is the only organization that can approve standards as American national standards. - - - - - - - - Many of ANSI’s rules for maintaining integrity and quality in the +Many of ANSI's rules for maintaining integrity and quality in the standards development process revolve around principles of openness and transparency and hence conform with much of what I have already said about protocol. ANSI writes that: -ˇ - - - - - - - - - - Decisions are reached through consensus among those affected. -ˇ - - - - - - - - - - Participation is open to all affected interests. [...] -ˇ - - - - - - - - - - The process is transparent — information on the process and +ˇ Decisions are reached through consensus among those affected. +ˇ Participation is open to all affected interests. [...] +ˇ The process is transparent — information on the process and progress is directly available. [...] -ˇ +ˇ - - - - - - - - - The process is flexible, allowing the use of different +The process is flexible, allowing the use of different methodologies to meet the needs of different technology and product sectors.[16] @@ -5423,20 +4641,14 @@ implement the standard the burden of success lies in the marketplace. And in fact, proven success in the marketplace generally preexists the creation of a standard. The behavior is emergent, not imposed. - - - - - - - - On the international stage several other standards bodies become +On the international stage several other standards bodies become important. The International Telecommunication Union (ITU) focuses on radio and telecommunications, including voice telephony, communications satellites, data networks, television and in the old days, the -telegraph. Established in 1865 they claim to be the world’s oldest +telegraph. Established in 1865 they claim to be the world's oldest international organization. - The International Electrotechnical Commission (IEC) prepares and + +The International Electrotechnical Commission (IEC) prepares and publishes international standards in the area of electrical technologies including magnetics, electronics and energy production. They cover everything from screw threads to quality management systems. @@ -5445,31 +4657,18 @@ representing the US is administered by ANSI.) - - - - - - - - Another important international organization is ISO, also known as +Another important international organization is ISO, also known as the International Organization for Standardization.[17] Like the IEC, ISO grows out of the electro-technical field and was formed after World -War II to “facilitate the international coordination and unification of -industrial standards.”[18] Based in Geneva, but a federation of over +War II to "facilitate the international coordination and unification of +industrial standards."[18] Based in Geneva, but a federation of over 140 national standards bodies including the American ANSI and the British Standards Institution (BSI), their goal is to establish vendor-neutral technical standards. Like the other international bodies, standards adopted by the ISO are recognized worldwide. - - - - - - - Also like other standards bodies, ISO standards are developed +Also like other standards bodies, ISO standards are developed through a process of consensus-building. Their standards are based on voluntary participation and thus the adoption of ISO standards is driven largely by market forces. (As opposed to mandatory standards @@ -5478,14 +4677,7 @@ Once established, ISO standards can have massive market penetration. For example the ISO standard for film speed (100, 200, 400, etc.) is used globally by millions of consumers. - - - - - - - - Another ISO standard of far-reaching importance is the Open +Another ISO standard of far-reaching importance is the Open Systems Interconnection (OSI) Reference Model. Developed in 1978, the OSI Reference Model is a technique for classifying all networking activity into seven abstract layers. Each layer describes a different @@ -5493,116 +4685,36 @@ segment of the technology behind networked communication, as described in various chapters above. - - - - - - - - - - Layer 7 - - - - Application - - - - - - - - - Layer 6 - - - - Presentation - - - - - - - - - Layer 5 - - Session - - - - - - - - - Layer 4 - - - - Transport - - - - - - - - - Layer 3 - - - - Network - - - - - - - - - Layer 2 - - - - Data link - - - - - - - - - Layer 1 - - - - Physical - + Layer 7 Application + Layer 6 Presentation + Layer 5 Session + Layer 4 Transport + Layer 3 Network + Layer 2 Data link + Layer 1 Physical This classification helps organize the process of standardization into distinct areas of activity, and is relied on heavily by those creating standards for the Internet. - In 1987 the ISO and the IEC recognized that some of their efforts were + +In 1987 the ISO and the IEC recognized that some of their efforts were beginning to overlap. They decided to establish an institutional framework to help coordinate their efforts and formed a joint committee to deal with information technology called the Joint Technical Committee 1 (JTC 1). ISO and IEC both participate in the JTC 1, as well as liaisons from Internet-oriented consortia such as the IEFT. ITU members, IEEE members and others from other standards bodies also -participate here. Individuals may sit on several committees in several +participate here. + +Individuals may sit on several committees in several different standards bodies, or simply attend as ex officio members, to increase inter-organizational communication and reduce redundant initiatives between the various standards bodies. JTC 1 committees focus on everything from office equipment to computer graphics. One of the newest committees is devoted to biometrics. - ISO, ANSI, IEEE, and all the other standards bodies are well + +ISO, ANSI, IEEE, and all the other standards bodies are well established organizations with long histories and formidable bureaucracies. The Internet on the other hand has long been skeptical of such formalities and spawned a more ragtag, shoot from the hip @@ -5610,28 +4722,12 @@ attitude about standard creation.[19] I will focus the rest of this chapter on those communities and the protocol documents that they produce. - - - - - - - - There are four groups that make up the organizational hierarchy in +There are four groups that make up the organizational hierarchy in charge of Internet standardization. They are the Internet Society, the Internet Architecture Board, the Internet Engineering Steering Group, and the Internet Engineering Task Force.[20] - - - - - - - - - - The Internet Society (ISOC), founded in January 1992, is a +The Internet Society (ISOC), founded in January 1992, is a professional membership society. It is the umbrella organization for the other three groups. Its mission is "[t]o assure the open development, evolution and use of the Internet for the benefit of all @@ -5640,14 +4736,7 @@ Internet protocols and standards. ISOC also provides fiscal and legal independence for the standards-making process, separating this activity from its former US government patronage. - - - - - - - - The Internet Architecture Board (IAB), originally called the +The Internet Architecture Board (IAB), originally called the Internet Activities Board, is a core committee of thirteen nominated by and consisting of members of the IETF.[22] The IAB reviews IESG appointments, provides oversight of the architecture of network @@ -5657,101 +4746,47 @@ as the Internet Research Task Force which focuses on longer term research topics) falls under the auspices of the IAB. The IAB is primarily an oversight board, since actually accepted protocols generally originate within the IETF (or in smaller design teams). - Underneath the IAB is the Internet Engineering Steering Group (IESG), + +Underneath the IAB is the Internet Engineering Steering Group (IESG), a committee of the Internet Society that assists and manages the technical activities of the IETF. All of the directors of the various research areas in the IETF are part of this Steering Group. - The bedrock of this entire community is The Internet Engineering Task + +The bedrock of this entire community is The Internet Engineering Task Force (IETF). The IETF is the core area where most protocol initiatives begin. Several thousand people are involved in the IETF, mostly through -email lists, but also in face to face meetings. “The Internet -Engineering Task Force is,” in their own words, “a loosely +email lists, but also in face to face meetings. "The Internet +Engineering Task Force is," in their own words, "a loosely self-organized group of people who make technical and other contributions to the engineering and evolution of the Internet and its -technologies.”[23] Or elsewhere: “the Internet Engineering Task Force +technologies."[23] Or elsewhere: "the Internet Engineering Task Force (IETF) is an open global community of network designers, operators, vendors, and researchers producing technical specifications for the evolution of the Internet architecture and the smooth operation of the -Internet.”[24] +Internet."[24] + The IETF is best defined in the following RFCs: +ˇ "The Tao of IETF: A Guide for New Attendees of the Internet +Engineering Task Force" (RFC 1718, FYI 17) +ˇ "Defining the IETF" (RFC 3233, BCP 58) -ˇ +ˇ "IETF Guidelines for Conduct"[25] (RFC 3184, BCP 54) +ˇ "The Internet Standards Process -- Revision 3" (RFC 2026, BCP 9) - - - - - - - - “The Tao of IETF: A Guide for New Attendees of the Internet -Engineering Task Force” (RFC 1718, FYI 17) -ˇ - - - - - - - - - - “Defining the IETF” (RFC 3233, BCP 58) -ˇ - - - - - - - - - - “IETF Guidelines for Conduct”[25] (RFC 3184, BCP 54) -ˇ - - - - - - - - - - "The Internet Standards Process -- Revision 3" (RFC 2026, BCP 9) -ˇ - - - - - - - - - - "IAB and IESG Selection, Confirmation, and Recall Process: +ˇ"IAB and IESG Selection, Confirmation, and Recall Process: Operation of the Nominating and Recall Committees" (RFC 2727, BCP 10) -ˇ - - - - - - - - - "The Organizations Involved in the IETF Standards Process" (RFC +ˇ "The Organizations Involved in the IETF Standards Process" (RFC 2028, BCP 11) - These documents describe both how the IEFT creates standards, but also how the entire community itself is set up and how it behaves. - The IETF is the least bureaucratic of all the organizations mentioned + +The IETF is the least bureaucratic of all the organizations mentioned in this chapter. In fact it is not an organization at all, but rather an informal community. It does not have strict bylaws or formal officers. @@ -5759,43 +4794,40 @@ officers. It is not a corporation (nonprofit or otherwise) and thus has no Board of Directors. It has no binding power as a standards creation body and is not ratified by any treaty or charter. It has no -membership, and its meetings are open to anyone. “Membership” in the -IETF is simply evaluated through an individual’s participation. If you +membership, and its meetings are open to anyone. "Membership" in the +IETF is simply evaluated through an individual's participation. If you participate via email, or attend meetings, you are a member of the IETF. All participants operate as unaffiliated individuals, not as representatives of other organizations or vendors. - The IETF is divided up by topic into various Working Groups. Each + + +The IETF is divided up by topic into various Working Groups. Each Working Group[26] focuses on a particular issue or issues and drafts documents that are meant to capture the consensus of the group. Like the other standards bodies, IETF protocols are voluntary standards. There is no technical or legal requirement[27] that anyone actually adopt IETF protocols. - - - - - - - - The process of establishing an Internet Standard is gradual, +The process of establishing an Internet Standard is gradual, deliberate, and negotiated. Any protocol produced by the IETF goes -through a series of stages, called the “standards track.” The standards +through a series of stages, called the "standards track." The standards track exposes the document to extensive peer review, allowing it to -mature into an RFC memo and eventually an Internet Standard. “The -process of creating an Internet Standard is straightforward,” they -write. “A specification undergoes a period of development and several +mature into an RFC memo and eventually an Internet Standard. "The +process of creating an Internet Standard is straightforward," they +write. "A specification undergoes a period of development and several iterations of review by the Internet community and revision based upon experience, is adopted as a Standard by the appropriate body [...], and -is published.”[28] - Preliminary versions of specifications are solicited by the IETF as +is published."[28] + +Preliminary versions of specifications are solicited by the IETF as Internet-Draft documents. Anyone may submit an Internet-Draft. They are not standards in any way and should not be cited as such nor implemented by any vendors. They are works in progress and are subject to review and revision. If they are deemed uninteresting or unnecessary, they simply disappear after their expiration date of six months. They are not RFCs and receive no number. - If an Internet-Draft survives the necessary revisions and is deemed + +If an Internet-Draft survives the necessary revisions and is deemed important, it is shown to the IESG and nominated for the standards track. If the IESG agrees (and the IAB approves), then the specification is handed off to the RFC Editor and put in the queue for @@ -5803,76 +4835,65 @@ future publication. The actual stages in the standards track are: -1) - - Proposed Standard—The formal entry point for all specifications is +1) Proposed Standard—The formal entry point for all specifications is here as a Proposed Standard. This is the beginning of the RFC process. The IESG has authority via the RFC Editor to elevate an Internet-Draft to this level. While no prior real world implementation is required of a Proposed Standard, these specifications are generally expected to be fully-formulated and implementable. -2) - Draft Standard—After specifications have been implemented in at -least two “independent and interoperable” real world applications they +2) Draft Standard—After specifications have been implemented in at +least two "independent and interoperable" real world applications they can be elevated to the level of a Draft Standard. A specification at the Draft Standard level must be relatively stable and easy to understand. While subtle revisions are normal for Draft Standards, no substantive changes are expected after this level. -3) - Standard—Robust specifications with wide implementation and a +3) Standard—Robust specifications with wide implementation and a proven track record are elevated to the level of Standard. They are considered to be official Internet Standards and are given a new number -in the “STD” sub-series of the RFCs (but also retain their RFC number). +in the "STD" sub-series of the RFCs (but also retain their RFC number). The total number of Standards is relatively small. - Not all RFCs are standards. Many RFCs are informational, experimental, historic, or even humorous[29] in nature. Furthermore not all RFCs are -full-fledged Standards—they may not be that far along yet. - In addition to the STD subseries for Internet Standards, there are two +full-fledged Standards—they may not be that far along yet. + +In addition to the STD subseries for Internet Standards, there are two other RFC subseries that warrant special attention: the Best Current Practice Documents (BCP) and informational documents known as FYI. - Each new protocol specification is drafted in accordance with RFC -1111, “Request for Comments on Request for Comments: Instructions to -RFC Authors,” which specifies guidelines, text formatting and + +Each new protocol specification is drafted in accordance with RFC +1111, "Request for Comments on Request for Comments: Instructions to +RFC Authors," which specifies guidelines, text formatting and otherwise, for drafting all RFCs. Likewise, FYI 1 (RFC 1150) titled -“F.Y.I. on F.Y.I.: Introduction to the F.Y.I. Notes” outlines general +"F.Y.I. on F.Y.I.: Introduction to the F.Y.I. Notes" outlines general formatting issues for the FYI series. Other such memos guide the composition of Internet-Drafts, as well as STDs and other documents. Useful information on drafting Internet standards is also found in RFCs 2223 and 2360.[30] - The standards track allows for a high level of due process. Openness, + +The standards track allows for a high level of due process. Openness, transparency and fairness are all virtues of the standards track. Extensive public discussion is par for the course. - - Some of the RFCs are extremely important. RFCs 1122 and 1123 outline all the standards that must be followed by any computer that wishes to -be connected to the Internet. Representing “the consensus of a large -body of technical experience and wisdom,”[31] these two documents +be connected to the Internet. Representing "the consensus of a large +body of technical experience and wisdom,"[31] these two documents outline everything from email and transferring files to the basic protocols like IP that actually move data from one place to another. - - - - - - - - Other RFCs go into greater technical detail on a single +Other RFCs go into greater technical detail on a single technology. Released in September 1981, RFC 791 and RFC 793 are the two crucial documents in the creation of the Internet protocol suite TCP/IP -as we know it today. In the early ‘70s Robert Kahn of DARPA and Vinton +as we know it today. In the early 70s Robert Kahn of DARPA and Vinton Cerf of Stanford University teamed up to create a new protocol for the intercommunication of different computer networks. In September 1973 they presented their ideas at the University of Sussex in Brighton and -soon afterwards completed writing the paper “A Protocol for Packet -Network Intercommunication” which would be published in 1974 by the +soon afterwards completed writing the paper "A Protocol for Packet +Network Intercommunication" which would be published in 1974 by the IEEE. The RFC Editor Jon Postel and others assisted in the final protocol design.[32] Eventually this new protocol was split in 1978 into a two-part system consisting of TCP and IP. (As mentioned in @@ -5881,14 +4902,7 @@ establishing connections and making sure packets are delivered, while IP is a connectionless protocol that is only interested in moving packets from one place to another.) - - - - - - - - One final technology worth mentioning in the context of protocol +One final technology worth mentioning in the context of protocol creation is the World Wide Web. The Web emerged largely from the efforts of one man, the British computer scientist Tim Berners-Lee. During the process of developing the Web, Berners-Lee wrote both the @@ -5896,82 +4910,77 @@ Hypertext Transfer Protocol (HTTP) and the Hypertext Markup Language (HTML), which form the core suite of protocols used broadly today by servers and browsers to transmit and display web pages. He also created the web address, called a Universal Resource Identifier (URI), of which -today’s “URL” is a variant, which is a simple, direct way for locating +today's "URL" is a variant, which is a simple, direct way for locating any resource on the Web. - - - - - - Tim Berners-Lee: + The art was to define the few basic, common rules of "protocol" that + would allow one computer to talk to another, in such a way that when + all computer everywhere did it, the system would thrive, not break + down. For the Web, those elements were, in decreasing order of + importance, universal resource identifiers (URIs), the Hypertext + Transfer Protocol (HTTP), and the Hypertext Markup Language (HTML). -The art was to define the few basic, common rules of “protocol” that -would allow one computer to talk to another, in such a way that when -all computer everywhere did it, the system would thrive, not break -down. For the Web, those elements were, in decreasing order of -importance, universal resource identifiers (URIs), the Hypertext -Transfer Protocol (HTTP), and the Hypertext Markup Language (HTML). - - - -So, like other protocol designers, Berners-Lee’s philosophy was to +So, like other protocol designers, Berners-Lee's philosophy was to create a standard language for interoperation. By adopting his language, the computers would be able to exchange files. He continues: - What was often difficult for people to understand about the design was that there was nothing else beyond URIs, HTTP, and HTML. There was no -central computer “controlling” the Web, no single network on which -these protocols worked, not even an organization anywhere that “ran” -the Web. The Web was not a physical “thing” that existed in a certain -“place.” It was a “space” in which information could exist.[33] +central computer "controlling" the Web, no single network on which +these protocols worked, not even an organization anywhere that "ran" +the Web. The Web was not a physical "thing" that existed in a certain +"place." It was a "space" in which information could exist.[33] - -This is also in line with other protocol scientists’s intentions—that +This is also in line with other protocol scientists's intentions—that an info-scape exists on the net with no centralized administration or control. (But as I have pointed out, it should not be inferred that a lack of centralized control means a lack of control as such.) - Berners-Lee eventually took his ideas to the IETF and published -“Universal Resource Identifiers in WWW” (RFC 1630) in 1994. This memo + +Berners-Lee eventually took his ideas to the IETF and published +"Universal Resource Identifiers in WWW" (RFC 1630) in 1994. This memo describes the correct technique for creating and decoding URIs for use -on the Web. But, Berners-Lee admitted, “the IETF route didn’t seem to -be working.”[34] - Instead he established a separate standards group in October 1994 -called the World Wide Web Consortium (W3C). “I wanted the consortium to -run on an open process like the IETF’s,” Berners-Lee remembers, “but +on the Web. But, Berners-Lee admitted, "the IETF route didn't seem to +be working."[34] + + +Instead he established a separate standards group in October 1994 +called the World Wide Web Consortium (W3C). "I wanted the consortium to +run on an open process like the IETF's," Berners-Lee remembers, "but one that was quicker and more efficient. [...] Like the IETF, W3C would develop open technical specifications. Unlike the IETF, W3C would have a small full-time staff to help design and develop the code where necessary. Like industry consortia, W3C would represent the power and authority of millions of developers, researchers and users. And like its member research institutions, it would leverage the most recent -advances in information technology.”[35] - The W3C creates the specifications for Web technologies, and releases -“recommendations” and other technical reports. The design philosophies +advances in information technology."[35] + +The W3C creates the specifications for Web technologies, and releases +"recommendations" and other technical reports. The design philosophies driving the W3C are similar to those at the IETF and other standards -bodies. They promote a distributed (their word is “decentralized”) +bodies. They promote a distributed (their word is "decentralized") architecture, they promote interoperability in and among different protocols and different end systems, and so on. In many ways the core protocols of the Internet had their development -heyday in the ‘80s. But Web protocols are experiencing explosive growth +heyday in the 80s. But Web protocols are experiencing explosive growth today. - The growth is due to an evolution of the concept of the Web into what + +The growth is due to an evolution of the concept of the Web into what Berners-Lee calls the Semantic Web. In the Semantic Web, information is not simply interconnected on the Internet using links and graphical -markup—what he calls “a space in which information could permanently -exist and be referred to”[36]--but it is enriched using descriptive +markup—what he calls "a space in which information could permanently +exist and be referred to"[36]--but it is enriched using descriptive protocols that say what the information actually is. - For example, the word “Galloway” is meaningless to a machine. It is + +For example, the word "Galloway" is meaningless to a machine. It is just a piece of information that says nothing about what it is or what it means. But wrapped inside a descriptive protocol it can be -effectively parsed: “<surname>Galloway</surname>.” Now the machine +effectively parsed: "<surname>Galloway</surname>." Now the machine knows that Galloway is a surname. The word has been enriched with semantic value. If one makes the descriptive protocols more complex, then one is able to say more complex things about information, i.e. @@ -5980,29 +4989,15 @@ The Semantic Web is simply the process of adding extra meta-layers on top of information so that it can be parsed according to its semantic value. - - - - - - - - Why is this significant? Before this, protocol had very little to +Why is this significant? Before this, protocol had very little to do with meaningful information. Protocol does not interface with content, with semantic value. It is, as I say above, against interpretation. But with Berners-Lee comes a new strain of protocol: protocol that cares about meaning. This is what he means by a Semantic -Web. It is, as he says, “machine-understandable information.” +Web. It is, as he says, "machine-understandable information." - - - - - - - - Does the Semantic Web, then, contradict my principle above that -protocol is against interpretation? I’m not so sure. Protocols can +Does the Semantic Web, then, contradict my principle above that +protocol is against interpretation? I'm not so sure. Protocols can certainly say things about their contents. A checksum does this. A file-size variable does this. But do they actually know the meaning of their contents? So it is a matter of debate as to whether descriptive @@ -6010,127 +5005,132 @@ protocols actually add intelligence to information, or if they are simply subjective descriptions (originally written by a human) that computers mimic but understand little about. Berners-Lee himself stresses that the Semantic Web is not an artificial intelligence -machine.[37] He calls it “well-defined” data, not interpreted data—and +machine.[37] He calls it "well-defined" data, not interpreted data—and in reality those are two very different things. I promised in the Introduction to skip all epistemological questions, and will leave this one to be debated by my betters. - As this survey of protocological institutionalization shows, the + +As this survey of protocological institutionalization shows, the primary source materials for any protocological analysis of Internet standards are the Request for Comments (RFC) memos. They began -circulation in 1969 with Steve Crocker’s RFC “Host Software” and have -documented all developments in protocol since.[38] “It was a modest and -entirely forgettable memo,” Crocker remembers, “but it has significance +circulation in 1969 with Steve Crocker's RFC "Host Software" and have +documented all developments in protocol since.[38] "It was a modest and +entirely forgettable memo," Crocker remembers, "but it has significance because it was part of a broad initiative whose impact is still with us -today.”[39] - While generally opposed to the center-periphery model of -communication—what some call the “downstream paradigm”[40]—Internet +today."[39] + + +While generally opposed to the center-periphery model of +communication—what some call the "downstream paradigm"[40]—Internet protocols describe all manner of computer-mediated communication over networks. There are RFCs for transporting messages from one place to another, and others for making sure it gets there in one piece. There are RFCs for email, for webpages, for news wires, and for graphic design. - Some advertise distributed architectures (like IP routing), some + +Some advertise distributed architectures (like IP routing), some hierarchical (like the DNS). Yet they all create the conditions for technological innovation based on a goal of standardization and organization. It is a peculiar type of anti-federalism through -universalism—strange as it sounds—whereby universal techniques are +universalism—strange as it sounds—whereby universal techniques are levied in such a way as ultimately to revert much decision-making back to the local level. - But during this process many local differences are elided in favor of + +But during this process many local differences are elided in favor of universal consistencies. For example, protocols like HTML were specifically designed to allow for radical deviation in screen resolution, browser type and so on. And HTML (along with protocol as a whole) acts as a strict standardizing mechanism that homogenizes these deviations under the umbrella of a unilateral standard. - Ironically, then, the Internet protocols which help engender a + +Ironically, then, the Internet protocols which help engender a distributed system of organization are themselves underpinned by -adistributed, bureaucratic institutions—be they entities like ICANN or +adistributed, bureaucratic institutions—be they entities like ICANN or technologies like DNS. - Thus it is an oversight for theorists like Lawrence Lessig, despite + +Thus it is an oversight for theorists like Lawrence Lessig, despite his strengths, to suggest that the origin of Internet communication was one of total freedom and lack of control.[41] Instead, it is clear to me that the exact opposite of freedom, that is control, has been the outcome of the last forty years of developments in networked communications. The founding principle of the net is control, not freedom. Control has existed from the beginning. - Perhaps it is a different type of control then we are used to seeing. + +Perhaps it is a different type of control then we are used to seeing. It is a type of control based in openness, inclusion, universalism, and flexibility. It is control borne from high degrees of technical organization (protocol), not this or that limitation on individual freedom or decision making (fascism). - Thus it is with complete sincerity that Web inventor Tim Berners-Lee + +Thus it is with complete sincerity that Web inventor Tim Berners-Lee writes: - - -I had (and still have) a dream that the web could be less of a -television channel and more of an interactive sea of shared knowledge. -I imagine it immersing us as a warm, friendly environment made of the -things we and our friends have seen, heard, believe or have figured -out.[42] + I had (and still have) a dream that the web could be less of a + television channel and more of an interactive sea of shared knowledge. + I imagine it immersing us as a warm, friendly environment made of the + things we and our friends have seen, heard, believe or have figured + out.[42] The irony is, of course, that in order to achieve this social utopia computer scientists like Berners-Lee had to develop the most highly controlled and extensive mass media yet known. Protocol gives us the -ability to build a “warm, friendly” technological space. But it becomes +ability to build a "warm, friendly" technological space. But it becomes warm and friendly through technical standardization, agreement, organized implementation, broad (sometimes universal) adoption, and directed participation. - - - - - - - I stated in the introduction that protocol is based on a +I stated in the introduction that protocol is based on a contradiction between two opposing machines, one machine that radically distributes control into autonomous locales, and another that focuses control into rigidly defined hierarchies. This chapter illustrates this reality in full detail. The generative contradiction that lies at the very heart of protocol is that in order to be politically progressive, protocol must be partially reactionary. - To put it another way, in order for protocol to enable radically + +To put it another way, in order for protocol to enable radically distributed communications between autonomous entities, it must employ a strategy of universalization, and of homogeneity. It must be anti-diversity. It must promote standardization in order to enable openness. It must organize peer groups into bureaucracies like the IEFT in order to create free technologies. - To be sure, the two partners in this delicate two-step often exist in -separate arenas. As protocol pioneer Bob Braden puts it, “There are -several vital kinds of heterogeneity.”[43] That is to say, one sector + +To be sure, the two partners in this delicate two-step often exist in +separate arenas. As protocol pioneer Bob Braden puts it, "There are +several vital kinds of heterogeneity."[43] That is to say, one sector can be standardized while another is heterogeneous. The core Internet protocols can be highly controlled while the actual administration of the net can be highly uncontrolled. Or, DNS can be arranged in a strict -hierarchy while users’s actual experience of the net can be highly +hierarchy while users's actual experience of the net can be highly distributed. - In short, control in distributed networks is not monolithic. It + +In short, control in distributed networks is not monolithic. It proceeds in multiple, parallel, contradictory and oftenunpredictable ways. It is a complex of interrelated currents and counter-currents. - Perhaps I can term the institutional frameworks mentioned in this + +Perhaps I can term the institutional frameworks mentioned in this chapter a type of tactical standardization, in which certain short term -goals are necessary in order to realize one’s longer term goals. +goals are necessary in order to realize one's longer term goals. Standardization is the politically reactionary tactic that enables radical openness. Or to give an example of this analogy in technical -terms: the Domain Name System, with it’s hierarchical architecture and +terms: the Domain Name System, with it's hierarchical architecture and bureaucratic governance, is the politically reactionary tactic that enables the truly distributed and open architecture of the Internet -Protocol. It is, as Barthes put it, our “Operation Margarine.” And this +Protocol. It is, as Barthes put it, our "Operation Margarine." And this is the generative contradiction that fuels the net. ------------------------------------------------------------------------ -[1] Jake Feinler, “30 Years of RFCs,” RFC 2555, April 7, 1999. +[1] Jake Feinler, "30 Years of RFCs," RFC 2555, April 7, 1999. -[2] See Vint Cerf’s memorial to Jon Postel’s life and work in “I -Remember IANA,” RFC 2468, October 1988. +[2] See Vint Cerf's memorial to Jon Postel's life and work in "I +Remember IANA," RFC 2468, October 1988. [3] Katie Hafner and Matthew Lyon, Where Wizards Stay up Late: The Origins of the Internet (New York: Touchstone, 1996), p. 145. For -biographies of two dozen protocol pioneers see Gary Malkin’s “Who’s Who -in the Internet: Biographies of IAB, IESG and IRSG Members,” RFC 1336, +biographies of two dozen protocol pioneers see Gary Malkin's "Who's Who +in the Internet: Biographies of IAB, IESG and IRSG Members," RFC 1336, FYI 9, May 1992. [4] Vinton Cerf, personal correspondence, September 23, 2002. @@ -6139,115 +5139,115 @@ FYI 9, May 1992. December 12, 2002. -[6] AT&T’s Otis Wilson who is cited in Peter Salus, A Quarter Century +[6] AT&T's Otis Wilson who is cited in Peter Salus, A Quarter Century of Unix (New York: Addison-Wesley, 1994), p. 59. [7] Salus, A Quarter Century of Unix, p. 2. -[8] See Dennis Ritchie, “The Development of the C Programming Language” +[8] See Dennis Ritchie, "The Development of the C Programming Language" in Thomas Bergin and Richard Gibson, eds., History of Programming Languages II (New York: ACM, 1996), p. 681. -[9] Bjarne Stroustrup, “Transcript of Presentation” in Bergin & Gibson, +[9] Bjarne Stroustrup, "Transcript of Presentation" in Bergin & Gibson, p. 761. -[10] S. J. Liebowitz and Stephen E. Margolis, “Path Dependence, Lock-In -and History,” Journal of Law, Economics and Organization, April 1995. +[10] S. J. Liebowitz and Stephen E. Margolis, "Path Dependence, Lock-In +and History," Journal of Law, Economics and Organization, April 1995. [11] If not VHS then the VCR in general was aided greatly by the porn -industry. David Morton writes that “many industry analysts credited the -sales of erotic video tapes as one of the chief factors in the VCR’s +industry. David Morton writes that "many industry analysts credited the +sales of erotic video tapes as one of the chief factors in the VCR's early success. They took the place of adult movie theaters, but also -could be purchased in areas where they were legal and viewed at home.” -See Morton’s A History of Electronic Entertainment since 1945, +could be purchased in areas where they were legal and viewed at home." +See Morton's A History of Electronic Entertainment since 1945, http://www.ieee.org/organizations/history_center/research_guides/ entertainment, p. 56. -[12] Douglas Puffert, “Path Dependence in Economic Theory,” +[12] Douglas Puffert, "Path Dependence in Economic Theory," http://www.vwl.uni-muenchen.de/ls_komlos/pathe.pdf, p. 5. [13] IEEE 2000 Annual Report (IEEE, 2000), p. 2. [14] IEEE prefers to avoid associating their standards with trademarked, commercial, or otherwise proprietary technologies. Hence -the IEEE definition eschews the word “Ethernet” which is associated +the IEEE definition eschews the word "Ethernet" which is associated with Xerox PARC where it was named. The 1985 IEEE standard for Ethernet -is instead titled “IEEE 802.3 Carrier Sense Multiple Access with +is instead titled "IEEE 802.3 Carrier Sense Multiple Access with Collision Detection (CSMA/CD) Access Method and Physical Layer -Specifications.” +Specifications." [15] Paul Baran, Electrical Engineer, an oral history conducted in 1999 by David Hochfelder, IEEE History Center, Rutgers University, New Brunswick, NJ, USA. -[16] ANSI, “National Standards Strategy for the United States,” +[16] ANSI, "National Standards Strategy for the United States," http://www.ansi.org, emphasis in original. [17] The name ISO is in fact not an acronym, but derives from a Greek -word for “equal.” This way it avoids the problem of translating the -organization’s name into different languages, which would produce +word for "equal." This way it avoids the problem of translating the +organization's name into different languages, which would produce different acronyms. The name ISO, then, is a type of semantic standard in itself. [18] See http://www.iso.ch for more history of the ISO. [19] The IEFT takes pride in having such an ethos. Jeanette Hofmann -writes: “The IETF has traditionally understood itself as an elite in +writes: "The IETF has traditionally understood itself as an elite in the technical development of communication networks. Gestures of superiority and a dim view of other standardisation committees are matched by unmistakable impatience with incompetence in their own -ranks.” See “Government Technologies and Techniques of Government: -Politics on the Net,” http://duplox.wz-berlin.de/final/jeanette.htm +ranks." See "Government Technologies and Techniques of Government: +Politics on the Net," http://duplox.wz-berlin.de/final/jeanette.htm [20] Another important organization to mention is the Internet Corporation for Assigned Names and Numbers (ICANN). ICANN is a -nonprofit organization which has control over the Internet’s domain +nonprofit organization which has control over the Internet's domain name system. Its Board of Directors has included Vinton Cerf, co-inventor of the Internet Protocol and founder of the Internet -Society, and author Esther Dyson. “It is ICANN’s objective to operate +Society, and author Esther Dyson. "It is ICANN's objective to operate as an open, transparent, and consensus-based body that is broadly representative of the diverse stakeholder communities of the global -Internet” (see “ICANN Fact Sheet,” http://www.icann.org). Despite this +Internet" (see "ICANN Fact Sheet," http://www.icann.org). Despite this rosy mission statement, ICANN has been the target of intense criticism in recent years. It is for many the central lightning rod for problems around issues of Internet governance. A close look at ICANN is unfortunately outside the scope of this book, but for an excellent -examination of the organization see Milton Mueller’s Ruling the Root +examination of the organization see Milton Mueller's Ruling the Root (Cambride: MIT, 2002). [21] http://www.isoc.org. [22] For a detailed description of the IAB see Brian Carpenter, -“Charter of the Internet Architecture Board (IAB),” RFC 2850, BCP 39, +"Charter of the Internet Architecture Board (IAB)," RFC 2850, BCP 39, May 2000. -[23] Gary Malkin, “The Tao of IETF: A Guide for New Attendees of the -Internet Engineering Task Force,” RFC 1718, FYI 17, October 1993. +[23] Gary Malkin, "The Tao of IETF: A Guide for New Attendees of the +Internet Engineering Task Force," RFC 1718, FYI 17, October 1993. -[24] Paul Hoffman and Scott Bradner, “Defining the IETF,” RFC 3233, BCP +[24] Paul Hoffman and Scott Bradner, "Defining the IETF," RFC 3233, BCP 58, February 2002. [25] This RFC is an interesting one because of the social relations it endorses within the IETF. Liberal, democratic values are the norm. -“Intimidation or ad hominem attack” is to be avoided in IETF debates. +"Intimidation or ad hominem attack" is to be avoided in IETF debates. -Instead IETFers are encouraged to “think globally” and treat their -fellow colleagues “with respect as persons.” Somewhat ironically this -document also specifies that “English is the de facto language of the -IETF.” See Susan Harris, “IETF Guidelines for Conduct,” RFC 3184, BCP +Instead IETFers are encouraged to "think globally" and treat their +fellow colleagues "with respect as persons." Somewhat ironically this +document also specifies that "English is the de facto language of the +IETF." See Susan Harris, "IETF Guidelines for Conduct," RFC 3184, BCP 54, October 2001. [26] For more information on IETF Working Groups see Scott Bradner, -“IETF Working Group Guidelines and Procedures,” RFC 2418, BCP 25, +"IETF Working Group Guidelines and Procedures," RFC 2418, BCP 25, September 1998. [27] That said, there are protocols that are given the status level of -“required” for certain contexts. For example the Internet Protocol is a +"required" for certain contexts. For example the Internet Protocol is a required protocol for anyone wishing to connect to the Internet. Other -protocols may be give status levels of “recommended” or “elective” +protocols may be give status levels of "recommended" or "elective" depending on how necessary they are for implementing a specific -technology. The “required” status level should not be confused however +technology. The "required" status level should not be confused however with mandatory standards. These have legal implications and are enforced by regulatory agencies. @@ -6256,40 +5256,40 @@ enforced by regulatory agencies. [29] Most RFCs published on April 1st are suspect. Take for example RFC 1149, "A Standard for the Transmission of IP Datagrams on Avian -Carriers” (David Waitzman, April 1990), which describes how to send IP -datagrams via carrier pigeon, lauding their “intrinsic collision -avoidance system.” Thanks to Jonah Brucker-Cohen for first bringing +Carriers" (David Waitzman, April 1990), which describes how to send IP +datagrams via carrier pigeon, lauding their "intrinsic collision +avoidance system." Thanks to Jonah Brucker-Cohen for first bringing this RFC to my attention. Brucker-Cohen himself has devised a new -protocol called “H2O/IP” for the transmission of IP datagrams using -modulated streams of water. Consider also “The Infinite Monkey Protocol -Suite (IMPS)” described in RFC 2795 (SteQven [sic] Christey, April -2000) that describes “a protocol suite which supports an infinite +protocol called "H2O/IP" for the transmission of IP datagrams using +modulated streams of water. Consider also "The Infinite Monkey Protocol +Suite (IMPS)" described in RFC 2795 (SteQven [sic] Christey, April +2000) that describes "a protocol suite which supports an infinite number of monkeys that sit at an infinite number of typewriters in order to determine when they have either produced the entire works of -William Shakespeare or a good television show.” Shakespeare would -probably appreciate “SONET to Sonnet Translation” (April 1994, RFC +William Shakespeare or a good television show." Shakespeare would +probably appreciate "SONET to Sonnet Translation" (April 1994, RFC 1605) which uses fourteen line decasyllabic verse to optimize data transmission over Synchronous Optical Network (SONET). There is also -the self-explanatory “Hyper Text Coffee Pot Control Protocol -(HTCPCP/1.0)” (Larry Masinter, RFC 2324, April 1998), clearly required +the self-explanatory "Hyper Text Coffee Pot Control Protocol +(HTCPCP/1.0)" (Larry Masinter, RFC 2324, April 1998), clearly required reading for any under-slept webmaster. Other examples of ridiculous -technical standards include Eryk Salvaggio’s “Slowest Modem” which uses +technical standards include Eryk Salvaggio's "Slowest Modem" which uses the US Postal Service to send data via diskette at a data transfer rate -of only 0.002438095238095238095238 kb/s. He specifies that “[a]ll html -links on the diskette must be set up as a href=’mailing address’ (where -‘mailing address’ is, in fact, a mailing address)” (“Free Art Games #5, -6 and 7,” Rhizome, September 26, 2000), and Cory Arcangel’s “Total -Asshole” file compression system that, in fact, enlarges a file +of only 0.002438095238095238095238 kb/s. He specifies that "[a]ll html +links on the diskette must be set up as a href='mailing address' (where +'mailing address' is, in fact, a mailing address)" ("Free Art Games #5, +6 and 7," Rhizome, September 26, 2000), and Cory Arcangel's "Total +Asshole" file compression system that, in fact, enlarges a file exponentially in size when it is compressed. [30] See Jon Postel and Joyce Reynolds, "Instructions to RFC Authors," -RFC 2223, October 1997, and Gregor Scott, “Guide for Internet Standards -Writers,” RFC 2360, BCP 22, June 1998. +RFC 2223, October 1997, and Gregor Scott, "Guide for Internet Standards +Writers," RFC 2360, BCP 22, June 1998. -[31] Robert Braden, “Requirements for Internet Hosts -- Communication -Layers,” RFC 1122, STD 3, October 1989. +[31] Robert Braden, "Requirements for Internet Hosts -- Communication +Layers," RFC 1122, STD 3, October 1989. [32] Milton Mueller, Ruling the Root (Cambridge: MIT, 2002), p. 76. @@ -6302,27 +5302,20 @@ p. 36. [36] Ibid., p. 18. -[37] Tim Berners-Lee, “What the Semantic Web can represent,” +[37] Tim Berners-Lee, "What the Semantic Web can represent," http://www.w3.org/DesignIssues/RDFnot.html. -[38] One should not tie Crocker’s memo to the beginning of protocol per -se. That honor should probably go to Paul Baran’s 1964 RAND publication -“On Distributed Communications.” In many ways it serves as the origin +[38] One should not tie Crocker's memo to the beginning of protocol per +se. That honor should probably go to Paul Baran's 1964 RAND publication +"On Distributed Communications." In many ways it serves as the origin text for the RFCs that would follow. Although it came before the RFCs -and was not connected to it in any way, Baran’s memo essentially -fulfilled the same function, that is, to outline for Baran’s peers a +and was not connected to it in any way, Baran's memo essentially +fulfilled the same function, that is, to outline for Baran's peers a broad technological standard for digital communication over networks. - - - - - - - - Other RFC-like documents have also been important in the +Other RFC-like documents have also been important in the technical development of networking. The Internet Experiment Notes (IENs), published from 1977 to 1982 and edited by RFC editor Jon Postel, addressed issues connected to the then-fledgling Internet @@ -6332,36 +5325,36 @@ Satellite System Notes and the PRNET Notes on packet radio (see RFC Department of Defense. Some of the MIL-STDs overlap with Internet Standards covered in the RFC series. -[39] Steve Crocker, “30 Years of RFCs,” RFC 2555, April 7, 1999. +[39] Steve Crocker, "30 Years of RFCs," RFC 2555, April 7, 1999. -[40] See Nelson Minar and Marc Hedlund, “A Network of Peers: -Peer-to-Peer Models Through the History of the Internet,” in Andy Oram, +[40] See Nelson Minar and Marc Hedlund, "A Network of Peers: +Peer-to-Peer Models Through the History of the Internet," in Andy Oram, Ed., Peer-to-Peer: Harnessing the Power of Disruptive Technologies -(Sebastopol, CA: O’Reilly, 2001), p. 10. +(Sebastopol, CA: O'Reilly, 2001), p. 10. [41] In his first book, Code and other Laws of Cyberspace (New York: Basic Books, 1999), Lessig sets up a before/after scenario for -cyberspace. The “before” refers to what he calls the “promise of -freedom” (6). The “after” is more ominous. Although as yet unfixed, -this future is threatened by “an architecture that perfects control” +cyberspace. The "before" refers to what he calls the "promise of +freedom" (6). The "after" is more ominous. Although as yet unfixed, +this future is threatened by "an architecture that perfects control" (6). He continues this before/after narrative in The Future of Ideas: The Fate of the Commons in a Connected World (New York: Random House, 2001) where he assumes that the network, in its nascent form, was what -he calls free, that is, characterized by “an inability to control” -(147). Yet “[t]his architecture is now changing” (239), Lessig claims. -We are about to “embrace an architecture of control” (268) put in place +he calls free, that is, characterized by "an inability to control" +(147). Yet "[t]his architecture is now changing" (239), Lessig claims. +We are about to "embrace an architecture of control" (268) put in place by new commercial and legal concerns. - Lessig’s discourse is always about a process of becoming, not of + Lessig's discourse is always about a process of becoming, not of always having been. It is certainly correct for him to note that new capitalistic and juridical mandates are sculpting network -communications in ugly new ways. But what is lacking from Lessig’s +communications in ugly new ways. But what is lacking from Lessig's work, then, is the recognition that control is endemic to all distributed networks that are governed by protocol. Control was there from day one. It was not imported later by the corporations and courts. In fact distributed networks must establish a system of control, which I call protocol, in order to function properly. In this sense, computer -networks are and always have been the exact opposite of Lessig’s -“inability to control.” +networks are and always have been the exact opposite of Lessig's +"inability to control." While Lessig and I clearly come to very different conclusions, I @@ -6371,18 +5364,10 @@ technical and formal issues. My criticism of Lessig is less to deride his contribution, which is inspiring, than to point out our different approaches. -[42] Cited in Jeremie Miller, “Jabber,” in Oram, Ed., Peer-to-Peer, p. +[42] Cited in Jeremie Miller, "Jabber," in Oram, Ed., Peer-to-Peer, p. 81. -[43] Bob Braden, personal correspondence, December 25, 2002. - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +[43] Bob Braden, personal correspondence, December 25, 2002. 9.0 @@ -6392,76 +5377,43 @@ approaches. Tue May 6 06:15:03 EST 2014 In flux: New Media and Mediation in 2014 -Recently while surfing the net I ran across Geert Lovink’s intriguing +Recently while surfing the net I ran across Geert Lovink’s intriguing article, "Hermes on the Hudson: Notes on Media Theory after Snowden" on the e-flux journal site. (For links to these publications see below. ) -Lovink asserts that Edward Snowden’s exposures represent the finality -of new media as we know it. “The NSA scandal has taken away the last -remains of cyber-naivety and lifted the ‘internet issue’ to the level -of world politics.” The egalitarian and utopian hopes and -possibilities of the networked internet is lost.” Citing a recently +Lovink asserts that Edward Snowden’s exposures represent the finality +of new media as we know it. “The NSA scandal has taken away the last +remains of cyber-naivety and lifted the ‘internet issue’ to the level +of world politics.” The egalitarian and utopian hopes and +possibilities of the networked internet is lost.” Citing a recently collaboratively published book, Excommunication: Three inquiries in Media and Mediation by Alexander Galloway, Eugene Thacker, and -McKenzie Wark, Lovink appropriates Galloway’s first mode or model of -mediation “Hermes” for his title. Hermes is the communication god of -messaging, “circulation”, and “exchange” as Galloway begins his +McKenzie Wark, Lovink appropriates Galloway’s first mode or model of +mediation “Hermes” for his title. Hermes is the communication god of +messaging, “circulation”, and “exchange” as Galloway begins his proposal for media and its mediations, one that looks back to history first. Geographically pinning Galloway, Thacker, and Wark as the New -York’s triumvirate of media theory conspirators, Lovink spins a +York’s triumvirate of media theory conspirators, Lovink spins a relatively geographically distinctively different global view on new -media’s demise or otherwise. +media’s demise or otherwise. -Galloway, Thacker and Wark’s collective claim in their Introduction -expresses, “One of the things the trio of us share is a desire to -cease adding ‘new media’ to existing things...” Lovink responds, “The -‘three inquiries in media and mediation’ open with the widely shared -discontent that ‘new media’ has become an empty signifier. This leaves -us with the question of the mandate and scope of today’s media -theory—if there is anything left.” +Galloway, Thacker and Wark’s collective claim in their Introduction +expresses, “One of the things the trio of us share is a desire to +cease adding ‘new media’ to existing things...” Lovink responds, “The +‘three inquiries in media and mediation’ open with the widely shared +discontent that ‘new media’ has become an empty signifier. This leaves +us with the question of the mandate and scope of today’s media +theory—if there is anything left.” -Lovink continues with a question, “Are you ready to hand over the “new -media” remains to the sociologists, museum curators, art historians, +Lovink continues with a question, “Are you ready to hand over the “new +media” remains to the sociologists, museum curators, art historians, and other humanities officials? Can we perhaps stage a more -imaginative “act of disappearance”? Are we ready to disguise ourselves -amidst the new normality?” +imaginative “act of disappearance”? Are we ready to disguise ourselves +amidst the new normality?” What do you think? -Renate - -Links to Galloway, Thacker and Wark’s as well as Lovink’s writing: -Excommunication by Alexander Galloway, Eugene Thacker and McKenzie Wark -For information about the full text see the University of Chicago: -http://press.uchicago.edu/ucp/books/book/chicago/E/bo14413838.html - -Geert Lovink’s -"Hermes on the Hudson: Notes on Media Theory after Snowden" in e-flux -http://worker01.e-flux.com/pdf/article_8979320.pdf - -McKenzie Warke’s response to Lovink in Public Seminar Commons -"Where next for media theory?" -http://www.publicseminar.org/2014/04/where-next-for-media-theory/#.U2U_z-vWp30 - - - - --- - -Renate Ferro -Visiting Assistant Professor of Art, -(contracted since 2004) -Cornell University -Department of Art, Tjaden Hall Office: 306 -Ithaca, NY 14853 -Email: <rferro at cornell.edu> -URL: http://www.renateferro.net - http://www.privatesecretspubliclies.net -Lab: http://www.tinkerfactory.net - -Managing Co-moderator of -empyre- soft skinned space -http://empyre.library.cornell.edu - +Renate 9.1 @@ -6481,103 +5433,7 @@ The Hermes metaphor aside, the internet has never been an egalitarian or utopian best -Simon - - -On 6 May 2014, at 05:45, Renate Ferro <rtf9 at cornell.edu> wrote: - -> ----------empyre- soft-skinned space---------------------- -> In flux: New Media and Mediation in 2014 -> -> Recently while surfing the net I ran across Geert Lovink’s intriguing -> article, "Hermes on the Hudson: Notes on Media Theory after Snowden" -> on the e-flux journal site. (For links to these publications see -> below. ) -> -> Lovink asserts that Edward Snowden’s exposures represent the finality -> of new media as we know it. “The NSA scandal has taken away the last -> remains of cyber-naivety and lifted the ‘internet issue’ to the level -> of world politics.” The egalitarian and utopian hopes and -> possibilities of the networked internet is lost.” Citing a recently -> collaboratively published book, Excommunication: Three inquiries in -> Media and Mediation by Alexander Galloway, Eugene Thacker, and -> McKenzie Wark, Lovink appropriates Galloway’s first mode or model of -> mediation “Hermes” for his title. Hermes is the communication god of -> messaging, “circulation”, and “exchange” as Galloway begins his -> proposal for media and its mediations, one that looks back to history -> first. Geographically pinning Galloway, Thacker, and Wark as the New -> York’s triumvirate of media theory conspirators, Lovink spins a -> relatively geographically distinctively different global view on new -> media’s demise or otherwise. -> -> Galloway, Thacker and Wark’s collective claim in their Introduction -> expresses, “One of the things the trio of us share is a desire to -> cease adding ‘new media’ to existing things...” Lovink responds, “The -> ‘three inquiries in media and mediation’ open with the widely shared -> discontent that ‘new media’ has become an empty signifier. This leaves -> us with the question of the mandate and scope of today’s media -> theory—if there is anything left.” -> -> Lovink continues with a question, “Are you ready to hand over the “new -> media” remains to the sociologists, museum curators, art historians, -> and other humanities officials? Can we perhaps stage a more -> imaginative “act of disappearance”? Are we ready to disguise ourselves -> amidst the new normality?” -> -> What do you think? -> Renate -> -> Links to Galloway, Thacker and Wark’s as well as Lovink’s writing: -> Excommunication by Alexander Galloway, Eugene Thacker and McKenzie Wark -> For information about the full text see the University of Chicago: -> http://press.uchicago.edu/ucp/books/book/chicago/E/bo14413838.html -> -> Geert Lovink’s -> "Hermes on the Hudson: Notes on Media Theory after Snowden" in e-flux -> http://worker01.e-flux.com/pdf/article_8979320.pdf -> -> McKenzie Warke’s response to Lovink in Public Seminar Commons -> "Where next for media theory?" -> http://www.publicseminar.org/2014/04/where-next-for-media-theory/#.U2U_z-vWp30 -> -> -> -> -> -- -> -> Renate Ferro -> Visiting Assistant Professor of Art, -> (contracted since 2004) -> Cornell University -> Department of Art, Tjaden Hall Office: 306 -> Ithaca, NY 14853 -> Email: <rferro at cornell.edu> -> URL: http://www.renateferro.net -> http://www.privatesecretspubliclies.net -> Lab: http://www.tinkerfactory.net -> -> Managing Co-moderator of -empyre- soft skinned space -> http://empyre.library.cornell.edu -> _______________________________________________ -> empyre forum -> empyre at lists.cofa.unsw.edu.au -> http://www.subtle.net/empyre - - -Simon Biggs -simon at littlepig.org.uk | @_simonbiggs_ -http://www.littlepig.org.uk | http://amazon.com/author/simonbiggs - -simon.biggs at unisa.edu.au | Professor of Art, University of South Australia -http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs - -s.biggs at ed.ac.uk | Honorary Professor, Edinburgh College of Art, University of Edinburgh -http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140506/860d582d/attachment.htm> - +Simon 10.0 @@ -6585,45 +5441,7 @@ URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140506/860 Richard Wright <empyre@lists.cofa.unsw.edu.au> Thu May 8 21:38:49 EST 2014 -"The Future of the Internet: Duct Tape or Blu-Tack?" - - - -> -> Vacuum cleaners were also developed from military origins. However, blu-tack wasn't. It was invented by a guy in Yorkshire. -> -> best -> -> Simon -> -> -> On 6 May 2014, at 17:02, Richard Wright <futurenatural at blueyonder.co.uk> wrote: -> ->> ->> And duct tape was invented by the US military for sealing ammunition cases (etc, etc). ->> ->> But what would you like the internet to be? ->> ->> ->> Richard ->> ->>> ->>> I'd just like to make a short observation at the start of this discussion - noting that I've not yet read any of the texts mentioned by Renate. ->>> ->>> Vladimir Putin recently stated that the internet is a CIA plot. The comment attracted headlines around the world as people speculated whether this was the case and what Putin was trying to suggest (eg: that different countries might initiate their own internets). ->>> ->>> Whilst Putin's comment, and much of the analysis that followed, was premised on an erroneous understanding of what the internet is Putin was correct about the CIA plot part. The internet was, as is popularly known, initiated at Pentagon request by one of the USA's key military research quangos, ARPA (later renamed DARPA). ARPA and DARPA were part of the core infrastructure of US defence and intelligence, along with the NSA and CIA. The history on this is not surprisingly a little foggy, given the murky character of the defence and intelligence sector, but ARPANET was probably commissioned during the presidency of Lyndon Baines Johnson and realised during that of Richard Nixon. This was high-Cold War time and the function of the network was to be a defence communications network that would work in a nuclear war during severe infrastructure attrition. It's ironic that the president who 'gave the internet away' to the public was Ronald Reagan, the most bellicose of cold-warriors ->>> . ->>> ->>> The point here is that the internet was not founded as a utopian vehicle. It was conceived as an instrument of war. It's true that during the late 1980's and into the 1990's political progressives exploited the infrastructure and protocols the internet offered to develop new ideas about social responsibility and liberty (so did pornographers, gun-runners and drug dealers). Swords into ploughshares (or other implements), I suppose. The same sort of things happened when the printing press became widely available and it is probably appropriate to consider the internet as something like the printing press (with its ancillary techno-social systems). ->>> ->>> The Hermes metaphor aside, the internet has never been an egalitarian or utopian system. It's a military communications system that has morphed into a key part of the public domain (in all its complexity). Perhaps for some it seemed to be something else for a little while - but it wasn't. ->>> ->>> best ->>> ->>> Simon - - +"The Future of the Internet: Duct Tape or Blu-Tack?" 10.1 @@ -6633,17 +5451,32 @@ URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140506/860 Fri May 9 00:54:57 EST 2014 Dear all, -thanks for the opportunity to discuss my essay here. The 'spirit' of the text is in particular directed by the great public response in Europe, and in particular Germany, to the Snowdon affair. Many actively involved activists, geeks, designers and artists see the revelations as a watershed. For me this goes in two directions: on the first hand back to the days before 1984, which Simon has further elaborated upon, the military origin of the Net (and as many of you might agree, roots are also destiny…). The other direction in which this development is going is that of the 'Vergesellschaftlichung' of the Net, the becoming-society, the generalization of net standards and protocols, the peneration (if you wish) of internet (of things) into every aspect of life, every object and (social) relation, to control and monitor any movement of any person or object. +thanks for the opportunity to discuss my essay here. The 'spirit' of the text is in particular directed by the great public response in Europe, and in particular Germany, to the Snowdon affair. Many actively involved activists, geeks, designers and artists see the revelations as a watershed. For me this goes in two directions: on the first hand back to the days before 1984, which Simon has further elaborated upon, the military origin of the Net (and as many of you might agree, roots are also destiny…). The other direction in which this development is going is that of the 'Vergesellschaftlichung' of the Net, the becoming-society, the generalization of net standards and protocols, the peneration (if you wish) of internet (of things) into every aspect of life, every object and (social) relation, to control and monitor any movement of any person or object. It could be that not every society, not every corner of the globe is sensing these two parallel and paradox developments in a same way. In his response Ken Wark wrote that inside the USA 'Snowdon' is not felt as a big deal. I respect that point of view. However, this is not the same in Central Europe. Maybe there the first movement (back to the origin) is felt more stronger than the second one. Certainly here in the Netherlands it is true that the generalization theses is more obvious here than the military aspect. However, in my view it remains important to discuss the two tendencies as one: effusion and essence. -Yours, Geert - - - +Yours, Geert 11.0 +[-empyre-] Excommunication +Alexander R. Galloway +<empyre@lists.cofa.unsw.edu.au> +Fri May 9 01:49:30 EST 2014 +Greetings all.. particularly to all the email list veterans. This book is definitely a product of the net criticism scene from the old rhizome and nettime days, so it's nice to be back on empyre and see some familiar faces. (And incidentally I agree entirely with the spirit of Simon's post--regardless of who made it and for what reason, the internet is the most highly controlled mass media hitherto created. And here i disagree a bit with Geert: i don't see Snowden as a turning point; we've known this about the 'net for years.) + +As for the book, where did "Excommunication" come from? The idea grew out of a conversation Eugene had been having with his editor, and it quickly gelled after that. We wanted to explore the more theological wing of philosophical thought -- hence our crude chronology with me focusing on a series of archaic divinities, Eugene inspired by the heretical monotheism of medieval mysticism, and Ken working on a more modern and post-secular form of heresy. + +And so the concept of “excommunication,” with both its theological and media-theoretical connotations, seemed like a fitting framework. We wanted to push the term excommunication a bit further: not just exile or exclusion, but a more radical sense of what lies beyond the human entirely, toward what Quentin Meillassoux has called “the great outdoors.” + +And all three of us quickly gravitated to excommunication as a theme, particularly this counter-intuitive promise of mediation with the radically non-human. In essence, we're hoping to skirt the classic metaphysical questions about worlds opening up to solicitous subjects. This book is not about the world “for us,” and not the world “in itself,” but what Eugene calls “the world without us.” + +-ag + +PS i'll note too that Jussi Parikka has also written an interesting review of the book for those of you who might be interested. download here http://www.radicalphilosophy.com/reviews/185-reviews + + +12.0 [-empyre-] Digital Delirium revisited Renate Terese Ferro <empyre@lists.cofa.unsw.edu.au> @@ -6658,14 +5491,10 @@ Media theory appears to evolve, to be IN FLUX according to who is writing it, wh "All things must be subordinated to neutrality-to uselessness. One major difference between the age of the virtual and the more primitive times is that the contemporary idols have no metaphysical referent. The ones that have been constructed are not the mediating points between person and spirit, or life and afterlife; rather, they are end-points, empty signs...As this mythic narrative continues to play itself out, the suggestions of Authur and Marylouise Kroker begins to make more and more sense. We are not witnessing the decline of late capital, but instead, its recline into its own delirious death trance. " -Good Night. Renate --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140509/d6f22185/attachment.htm> - +Good Night. Renate -11.1 +12.1 [-empyre-] Digital Delirium revisited Soraya Murray <empyre@lists.cofa.unsw.edu.au> @@ -6674,73 +5503,42 @@ URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140509/d6f I keep circling back to the notion of strategic withdrawal, alluded to several times in the last few posts, as well as somewhat enigmatically toward the end of Alex's recent lecture here at UC Santa Cruz. For example, from his post: -"This book is not about the world “for us,” and not the world “in itself,” but what Eugene calls “the world without us.”" +"This book is not about the world “for us,” and not the world “in itself,” but what Eugene calls “the world without us.”" This, in relation to Geert's recent essay in e-Flux ("Hermes on the Hudson"): -""This leaves us with the question of the mandate and scope of today’s media theory—if there is anything left. Are you ready to hand over the “new media” remains to the sociologists, museum curators, art historians, and other humanities officials? Can we perhaps stage a more imaginative “act of disappearance”? Are we ready to disguise ourselves amidst the new normality?" +""This leaves us with the question of the mandate and scope of today’s media theory—if there is anything left. Are you ready to hand over the “new media” remains to the sociologists, museum curators, art historians, and other humanities officials? Can we perhaps stage a more imaginative “act of disappearance”? Are we ready to disguise ourselves amidst the new normality?" ...and which seemed to betray a similar anxiety around obsolescence of theory -- or a strategy of withdrawal? With respect, is this to be seen as an act of battening down the hatches? Is this disappearance/disguise a radical strategy to shift perspective as a means to generate new possibility? Something conceded, or something new gained? --Soraya - -.......................................................................... -Soraya Murray, Ph.D. -Assistant Professor -Film and Digital Media Department -1156 High Street -University of California -Santa Cruz, CA 95064 - -> - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140509/0521fddb/attachment.htm> - +-Soraya -11.2 +12.2 [-empyre-] Digital Delirium revisited Alexander R. Galloway <empyre@lists.cofa.unsw.edu.au> Mon May 12 00:25:52 EST 2014 Dear Soraya & Co.. -I guess part of the impetus is that I'm surprised--if not unnerved--by the way in which networks have captured and eclipsed other ways of thinking. A new pantheon of dot-com philosophers reigns supreme today, ready to proclaim at every turn that “everything is a network.” Mark Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is a network. David Joselit: Art is a network. Guy Debord: the post-capitalist city is a network. John Von Neumann: computation is a network. Konrad Wachsmann: architecture is a network. +I guess part of the impetus is that I'm surprised--if not unnerved--by the way in which networks have captured and eclipsed other ways of thinking. A new pantheon of dot-com philosophers reigns supreme today, ready to proclaim at every turn that “everything is a network.” Mark Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is a network. David Joselit: Art is a network. Guy Debord: the post-capitalist city is a network. John Von Neumann: computation is a network. Konrad Wachsmann: architecture is a network. Ladies and gentlemen, postmodernism is definitively over! We have a new meta-narrative to guide us. -We might label this a kind of “reticular pessimism.” And here I'm taking a cue from the notion of “Afro-pessimism” in critical race theory. Just as Afro-pessimism refers to the trap in which African-American identity is only ever defined via the fetters of its own historical evolution, reticular pessimism claims, in essence, that there is no escape from the fetters of the network. There is no way to think in, through, or beyond networks except in terms of networks themselves. According to reticular pessimism, responses to networked power are only able to be conceived in terms of other network forms. (And thus to fight Google and the NSA we need ecologies, assemblages, or multiplicities.) +We might label this a kind of “reticular pessimism.” And here I'm taking a cue from the notion of “Afro-pessimism” in critical race theory. Just as Afro-pessimism refers to the trap in which African-American identity is only ever defined via the fetters of its own historical evolution, reticular pessimism claims, in essence, that there is no escape from the fetters of the network. There is no way to think in, through, or beyond networks except in terms of networks themselves. According to reticular pessimism, responses to networked power are only able to be conceived in terms of other network forms. (And thus to fight Google and the NSA we need ecologies, assemblages, or multiplicities.) By offering no alternative to the network form, reticular pessimism is deeply cynical because it forecloses any kind of utopian thinking that might entail an alternative to our many pervasive and invasive networks. -This is part of the mandate of this book, as I see it: to articulate a logic of being that is not reducible to a metaphysics of exchange, to a metaphysics of the network. This to me is the promise of excommunication: the message that says “there will be no more messages”; a logic of relation, without the tired, old model of exchange. +This is part of the mandate of this book, as I see it: to articulate a logic of being that is not reducible to a metaphysics of exchange, to a metaphysics of the network. This to me is the promise of excommunication: the message that says “there will be no more messages”; a logic of relation, without the tired, old model of exchange. So, yes, strategic withdrawal is at the heart of what interests me most. Some are a bit skeptical about this notion of withdrawal -- often because they see in a negative light as alternatively a surrender monkey position (i give up! i'm outta here!), or a position of privilege (the political equivalent of opening a bank account in the Cayman Islands). But I see it very differently. I see it more as a withdrawal from representation. A structural withdrawal. I see it as a way to conceive of a kind of practical utopia in the here and now. "You don't represent us." "No one is illegal." "I would prefer not to." "We have no demands." Yes I realize utopian thinking is very unfashionable today; that's precisely why we need so much more of it. So perhaps less a bunker mentality and more about the reclaiming of a new experience of life and activity. Re: obsolescence of theory -- perhaps it hinges on *which* kind of theory? I don't agree with Latour and the notion that "theory has run out of steam." Marxism, feminism, psycho-analysis -- they all still work great if you ask me. But I do think that a kind of "vulgar 1968" style of theory has run its course. Nancy Fraser has it exactly right: capitalism co-opted many of the demands of '68-style theory. So now we have to reassess and recompile a new kind of theoretical method. Because of this I'm much more interested in a slightly different spin on the theoretical tradition. --ag - - -On May 9, 2014, at 1:16 PM, Soraya Murray <semurray at ucsc.edu> wrote: - -> ----------empyre- soft-skinned space---------------------- -> I am intrigued by this discussion, and would like to acknowledge the posts by Alex Galloway, Geert Lovink and Renate Ferro. Greetings to all of you. -> -> I keep circling back to the notion of strategic withdrawal, alluded to several times in the last few posts, as well as somewhat enigmatically toward the end of Alex's recent lecture here at UC Santa Cruz. For example, from his post: -> -> "This book is not about the world “for us,” and not the world “in itself,” but what Eugene calls “the world without us.”" -> -> This, in relation to Geert's recent essay in e-Flux ("Hermes on the Hudson"): -> ""This leaves us with the question of the mandate and scope of today’s media theory—if there is anything left. Are you ready to hand over the “new media” remains to the sociologists, museum curators, art historians, and other humanities officials? Can we perhaps stage a more imaginative “act of disappearance”? Are we ready to disguise ourselves amidst the new normality?" -> -> ...and which seemed to betray a similar anxiety around obsolescence of theory -- or a strategy of withdrawal? With respect, is this to be seen as an act of battening down the hatches? Is this disappearance/disguise a radical strategy to shift perspective as a means to generate new possibility? Something conceded, or something new gained? - +-ag -11.3 +12.3 [-empyre-] Digital Delirium revisited simon <empyre@lists.cofa.unsw.edu.au> @@ -6756,7 +5554,7 @@ prison studied in preparatory lucubration - seem to belong to the mentality of the captors - from the viewpoint of the cell, in clear sight of the tower, or power. -Albert-László Barabási attributes the invention of network theory to +Albert-László Barabási attributes the invention of network theory to Leonhard Euler in the 1780s. I don't think either would agree with Mark Zuckerberg, Donald Rumsfield, Bruno Latour, Franco Moretti, David Joselit, Guy Debord, John Von Neumann or Konrad Wachsmann that the @@ -6785,14 +5583,10 @@ withdrawal' were better called 'statistical withdrawal' - a term less pregnant with cognitive content. Best, -Simon Taylor --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140512/49989c9d/attachment.htm> - +Simon Taylor -11.4 +12.4 [-empyre-] Digital Delirium revisited Renate Terese Ferro <empyre@lists.cofa.unsw.edu.au> @@ -6807,111 +5601,10 @@ any longer. I realize that in the book you conduct a pretty lengthy discussion about the use of the word "excommunication" a strategically theologically implicit word but what do you think about Excommunication as resistance? -Renate - -On 5/11/14 10:25 AM, "Alexander R. Galloway" <galloway at nyu.edu> wrote: - ->----------empyre- soft-skinned space---------------------- ->Dear Soraya & Co.. -> ->I guess part of the impetus is that I'm surprised--if not unnerved--by ->the way in which networks have captured and eclipsed other ways of ->thinking. A new pantheon of dot-com philosophers reigns supreme today, ->ready to proclaim at every turn that ³everything is a network.² Mark ->Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a ->network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is a ->network. David Joselit: Art is a network. Guy Debord: the post-capitalist ->city is a network. John Von Neumann: computation is a network. Konrad ->Wachsmann: architecture is a network. -> ->Ladies and gentlemen, postmodernism is definitively over! We have a new ->meta-narrative to guide us. -> ->We might label this a kind of ³reticular pessimism.² And here I'm taking ->a cue from the notion of ³Afro-pessimism² in critical race theory. Just ->as Afro-pessimism refers to the trap in which African-American identity ->is only ever defined via the fetters of its own historical evolution, ->reticular pessimism claims, in essence, that there is no escape from the ->fetters of the network. There is no way to think in, through, or beyond ->networks except in terms of networks themselves. According to reticular ->pessimism, responses to networked power are only able to be conceived in ->terms of other network forms. (And thus to fight Google and the NSA we ->need ecologies, assemblages, or multiplicities.) -> ->By offering no alternative to the network form, reticular pessimism is ->deeply cynical because it forecloses any kind of utopian thinking that ->might entail an alternative to our many pervasive and invasive networks. -> ->This is part of the mandate of this book, as I see it: to articulate a ->logic of being that is not reducible to a metaphysics of exchange, to a ->metaphysics of the network. This to me is the promise of excommunication: ->the message that says ³there will be no more messages²; a logic of ->relation, without the tired, old model of exchange. -> ->So, yes, strategic withdrawal is at the heart of what interests me most. ->Some are a bit skeptical about this notion of withdrawal -- often because ->they see in a negative light as alternatively a surrender monkey position ->(i give up! i'm outta here!), or a position of privilege (the political ->equivalent of opening a bank account in the Cayman Islands). But I see it ->very differently. I see it more as a withdrawal from representation. A ->structural withdrawal. I see it as a way to conceive of a kind of ->practical utopia in the here and now. "You don't represent us." "No one ->is illegal." "I would prefer not to." "We have no demands." Yes I realize ->utopian thinking is very unfashionable today; that's precisely why we ->need so much more of it. So perhaps less a bunker mentality and more ->about the reclaiming of a new experience of life and activity. -> ->Re: obsolescence of theory -- perhaps it hinges on *which* kind of ->theory? I don't agree with Latour and the notion that "theory has run out ->of steam." Marxism, feminism, psycho-analysis -- they all still work ->great if you ask me. But I do think that a kind of "vulgar 1968" style of ->theory has run its course. Nancy Fraser has it exactly right: capitalism ->co-opted many of the demands of '68-style theory. So now we have to ->reassess and recompile a new kind of theoretical method. Because of this ->I'm much more interested in a slightly different spin on the theoretical ->tradition. -> ->-ag -> -> ->On May 9, 2014, at 1:16 PM, Soraya Murray <semurray at ucsc.edu> wrote: -> ->> ----------empyre- soft-skinned space---------------------- ->> I am intrigued by this discussion, and would like to acknowledge the ->>posts by Alex Galloway, Geert Lovink and Renate Ferro. Greetings to all ->>of you. ->> ->> I keep circling back to the notion of strategic withdrawal, alluded to ->>several times in the last few posts, as well as somewhat enigmatically ->>toward the end of Alex's recent lecture here at UC Santa Cruz. For ->>example, from his post: ->> ->> "This book is not about the world ³for us,² and not the world ³in ->>itself,² but what Eugene calls ³the world without us.²" ->> ->> This, in relation to Geert's recent essay in e-Flux ("Hermes on the ->>Hudson"): ->> ""This leaves us with the question of the mandate and scope of today¹s ->>media theory‹if there is anything left. Are you ready to hand over the ->>³new media² remains to the sociologists, museum curators, art ->>historians, and other humanities officials? Can we perhaps stage a more ->>imaginative ³act of disappearance²? Are we ready to disguise ourselves ->>amidst the new normality?" ->> ->> ...and which seemed to betray a similar anxiety around obsolescence of ->>theory -- or a strategy of withdrawal? With respect, is this to be seen ->>as an act of battening down the hatches? Is this disappearance/disguise ->>a radical strategy to shift perspective as a means to generate new ->>possibility? Something conceded, or something new gained? ->_______________________________________________ ->empyre forum ->empyre at lists.cofa.unsw.edu.au ->http://www.subtle.net/empyre - - +Renate -11.5 +12.5 [-empyre-] Digital Delirium revisited Melinda Rackham <empyre@lists.cofa.unsw.edu.au> @@ -6980,383 +5673,15 @@ rather than the constancy of familial relationship. x-communictedly - Melinda - - - -On 13/05/2014, at 12:06 PM, Renate Terese Ferro wrote: - -> ----------empyre- soft-skinned space---------------------- -> Thanks Alex for talking a bit more about your usage of the word -> excommunication. Also thanks to Christina for posting the interesting -> theological intersections. My thoughts were running more in parallel with -> political theory in listening to your last post, most particularly Martin -> Luther King's notion of non-violent resistance or perhaps Gandi's? . Put -> simply resistance by not participating, exiting the system, not "playing" -> any longer. I realize that in the book you conduct a pretty lengthy -> discussion about the use of the word "excommunication" a strategically -> theologically implicit word but what do you think about Excommunication as -> resistance? -> Renate -> -> On 5/11/14 10:25 AM, "Alexander R. Galloway" <galloway at nyu.edu> wrote: -> ->> ----------empyre- soft-skinned space---------------------- ->> Dear Soraya & Co.. ->> ->> I guess part of the impetus is that I'm surprised--if not unnerved--by ->> the way in which networks have captured and eclipsed other ways of ->> thinking. A new pantheon of dot-com philosophers reigns supreme today, ->> ready to proclaim at every turn that ³everything is a network.² Mark ->> Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a ->> network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is a ->> network. David Joselit: Art is a network. Guy Debord: the post-capitalist ->> city is a network. John Von Neumann: computation is a network. Konrad ->> Wachsmann: architecture is a network. ->> ->> Ladies and gentlemen, postmodernism is definitively over! We have a new ->> meta-narrative to guide us. ->> ->> We might label this a kind of ³reticular pessimism.² And here I'm taking ->> a cue from the notion of ³Afro-pessimism² in critical race theory. Just ->> as Afro-pessimism refers to the trap in which African-American identity ->> is only ever defined via the fetters of its own historical evolution, ->> reticular pessimism claims, in essence, that there is no escape from the ->> fetters of the network. There is no way to think in, through, or beyond ->> networks except in terms of networks themselves. According to reticular ->> pessimism, responses to networked power are only able to be conceived in ->> terms of other network forms. (And thus to fight Google and the NSA we ->> need ecologies, assemblages, or multiplicities.) ->> ->> By offering no alternative to the network form, reticular pessimism is ->> deeply cynical because it forecloses any kind of utopian thinking that ->> might entail an alternative to our many pervasive and invasive networks. ->> ->> This is part of the mandate of this book, as I see it: to articulate a ->> logic of being that is not reducible to a metaphysics of exchange, to a ->> metaphysics of the network. This to me is the promise of excommunication: ->> the message that says ³there will be no more messages²; a logic of ->> relation, without the tired, old model of exchange. ->> ->> So, yes, strategic withdrawal is at the heart of what interests me most. ->> Some are a bit skeptical about this notion of withdrawal -- often because ->> they see in a negative light as alternatively a surrender monkey position ->> (i give up! i'm outta here!), or a position of privilege (the political ->> equivalent of opening a bank account in the Cayman Islands). But I see it ->> very differently. I see it more as a withdrawal from representation. A ->> structural withdrawal. I see it as a way to conceive of a kind of ->> practical utopia in the here and now. "You don't represent us." "No one ->> is illegal." "I would prefer not to." "We have no demands." Yes I realize ->> utopian thinking is very unfashionable today; that's precisely why we ->> need so much more of it. So perhaps less a bunker mentality and more ->> about the reclaiming of a new experience of life and activity. ->> ->> Re: obsolescence of theory -- perhaps it hinges on *which* kind of ->> theory? I don't agree with Latour and the notion that "theory has run out ->> of steam." Marxism, feminism, psycho-analysis -- they all still work ->> great if you ask me. But I do think that a kind of "vulgar 1968" style of ->> theory has run its course. Nancy Fraser has it exactly right: capitalism ->> co-opted many of the demands of '68-style theory. So now we have to ->> reassess and recompile a new kind of theoretical method. Because of this ->> I'm much more interested in a slightly different spin on the theoretical ->> tradition. ->> ->> -ag ->> ->> ->> On May 9, 2014, at 1:16 PM, Soraya Murray <semurray at ucsc.edu> wrote: ->> ->>> ----------empyre- soft-skinned space---------------------- ->>> I am intrigued by this discussion, and would like to acknowledge the ->>> posts by Alex Galloway, Geert Lovink and Renate Ferro. Greetings to all ->>> of you. ->>> ->>> I keep circling back to the notion of strategic withdrawal, alluded to ->>> several times in the last few posts, as well as somewhat enigmatically ->>> toward the end of Alex's recent lecture here at UC Santa Cruz. For ->>> example, from his post: ->>> ->>> "This book is not about the world ³for us,² and not the world ³in ->>> itself,² but what Eugene calls ³the world without us.²" ->>> ->>> This, in relation to Geert's recent essay in e-Flux ("Hermes on the ->>> Hudson"): ->>> ""This leaves us with the question of the mandate and scope of today¹s ->>> media theory‹if there is anything left. Are you ready to hand over the ->>> ³new media² remains to the sociologists, museum curators, art ->>> historians, and other humanities officials? Can we perhaps stage a more ->>> imaginative ³act of disappearance²? Are we ready to disguise ourselves ->>> amidst the new normality?" ->>> ->>> ...and which seemed to betray a similar anxiety around obsolescence of ->>> theory -- or a strategy of withdrawal? With respect, is this to be seen ->>> as an act of battening down the hatches? Is this disappearance/disguise ->>> a radical strategy to shift perspective as a means to generate new ->>> possibility? Something conceded, or something new gained? ->> _______________________________________________ ->> empyre forum ->> empyre at lists.cofa.unsw.edu.au ->> http://www.subtle.net/empyre -> -> _______________________________________________ -> empyre forum -> empyre at lists.cofa.unsw.edu.au -> http://www.subtle.net/empyre - - + Melinda -11.6 +12.6 [-empyre-] Digital Delirium revisited ole a. birch <empyre@lists.cofa.unsw.edu.au> Sun May 25 19:11:07 EST 2014 -Thanks to Milinda. - - -2014-05-25 6:03 GMT+02:00 Melinda Rackham <melinda at subtle.net>: - -> ----------empyre- soft-skinned space---------------------- -> Hi all, -> as a story teller not a theorist, -> I've been loving the lateral directions these conversations have taken. -> yet they feel like new growth on a tree, reaching towards different -> strong lights -> strong potential, but sparse as foliage and flowers are still in their -> formative stages. -> -> I think it would be telling to revisit in a year or so. -> but for now -> my branch is of truncation -> - physical and geographic excommunication. -> -> Is this a "natural" evolution - a generational love affair with the -> network that has matured and dwindled, -> a set of circumstance, a natural hiatus, a time to move on? -> For me it writing stories about people for print books made from trees, -> of interest to only a tiny fragment of society. -> the narrowest of narrowcast. -> -> It could be seen as a privileged withdrawal... the Duchampian retreat, -> or it could be seen as a form of situated resistance... living local. -> -> Renate writes: -> -> > Lovink insists that it is not necessary or important to parse new media -> theories through comparative geographic distributions. -> > -> Yet it is particularly European perspective to Snowden. 1st rule of fight -> club is that you dont talk about fight club. -> If one doesn't live in the gated network of USA, we already live in a -> states of excommunication, or perhaps ecstatic ex-stasis. -> -> Of course im saying all of this without having read excommunication -> a position I take perhaps because I cant buy it in e-edition due to my -> geographical location in Australia. -> Of course I do have a copy ive dipped into because the internet if for -> routing around.. -> but u know.. who we are, -> and who we are routing around has changed. -> -> We knew the end was coming when -> the moddr_lab at WORM in Rotterdam developed -> the fabulous web2.0 Suicide machine.. -> http://suicidemachine.org -> -> "sign out forever" -> what a promise. -> 5 years ago when I saw my 1500 best Facebook friends disappear before me -> I knew everything had changed. -> some non-artist/academic contacts, contacted me to see if I was -> emotionally ok? -> was I really suicidal? -> why would I deliberately unjoin the network? -> -> 6 months ago I moved to a mostly abandoned industrial area quiet close to -> the city centre, -> toxins buried deep, being gentrified with creatives as the shock troops. -> Interestingly I have no fixed network connection. -> I have been extra excommunicated by lack of infrastructure in a first(?) -> world city of 1 million. -> The fat optical rollout goes right past my suburb -> and its previously sparse low income politically unimportant demographics. -> -> After the shock of being denied what I felt like was my god given right to -> fast connection, -> I started to like my very physical excommunication. -> I choose to tether to get on, -> to jack in, as they used to say. -> a delicious nostalgia for the 14.4k baud modem -> the sound of which will forever generate excitement -> and the deliberate act of communing -> rather than the constancy of familial relationship. -> -> -> x-communictedly -> Melinda -> -> -> -> On 13/05/2014, at 12:06 PM, Renate Terese Ferro wrote: -> -> > ----------empyre- soft-skinned space---------------------- -> > Thanks Alex for talking a bit more about your usage of the word -> > excommunication. Also thanks to Christina for posting the interesting -> > theological intersections. My thoughts were running more in parallel -> with -> > political theory in listening to your last post, most particularly Martin -> > Luther King's notion of non-violent resistance or perhaps Gandi's? . Put -> > simply resistance by not participating, exiting the system, not "playing" -> > any longer. I realize that in the book you conduct a pretty lengthy -> > discussion about the use of the word "excommunication" a strategically -> > theologically implicit word but what do you think about Excommunication -> as -> > resistance? -> > Renate -> > -> > On 5/11/14 10:25 AM, "Alexander R. Galloway" <galloway at nyu.edu> wrote: -> > -> >> ----------empyre- soft-skinned space---------------------- -> >> Dear Soraya & Co.. -> >> -> >> I guess part of the impetus is that I'm surprised--if not unnerved--by -> >> the way in which networks have captured and eclipsed other ways of -> >> thinking. A new pantheon of dot-com philosophers reigns supreme today, -> >> ready to proclaim at every turn that ³everything is a network.² Mark -> >> Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a -> >> network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is -> a -> >> network. David Joselit: Art is a network. Guy Debord: the -> post-capitalist -> >> city is a network. John Von Neumann: computation is a network. Konrad -> >> Wachsmann: architecture is a network. -> >> -> >> Ladies and gentlemen, postmodernism is definitively over! We have a new -> >> meta-narrative to guide us. -> >> -> >> We might label this a kind of ³reticular pessimism.² And here I'm taking -> >> a cue from the notion of ³Afro-pessimism² in critical race theory. Just -> >> as Afro-pessimism refers to the trap in which African-American identity -> >> is only ever defined via the fetters of its own historical evolution, -> >> reticular pessimism claims, in essence, that there is no escape from the -> >> fetters of the network. There is no way to think in, through, or beyond -> >> networks except in terms of networks themselves. According to reticular -> >> pessimism, responses to networked power are only able to be conceived in -> >> terms of other network forms. (And thus to fight Google and the NSA we -> >> need ecologies, assemblages, or multiplicities.) -> >> -> >> By offering no alternative to the network form, reticular pessimism is -> >> deeply cynical because it forecloses any kind of utopian thinking that -> >> might entail an alternative to our many pervasive and invasive networks. -> >> -> >> This is part of the mandate of this book, as I see it: to articulate a -> >> logic of being that is not reducible to a metaphysics of exchange, to a -> >> metaphysics of the network. This to me is the promise of -> excommunication: -> >> the message that says ³there will be no more messages²; a logic of -> >> relation, without the tired, old model of exchange. -> >> -> >> So, yes, strategic withdrawal is at the heart of what interests me most. -> >> Some are a bit skeptical about this notion of withdrawal -- often -> because -> >> they see in a negative light as alternatively a surrender monkey -> position -> >> (i give up! i'm outta here!), or a position of privilege (the political -> >> equivalent of opening a bank account in the Cayman Islands). But I see -> it -> >> very differently. I see it more as a withdrawal from representation. A -> >> structural withdrawal. I see it as a way to conceive of a kind of -> >> practical utopia in the here and now. "You don't represent us." "No one -> >> is illegal." "I would prefer not to." "We have no demands." Yes I -> realize -> >> utopian thinking is very unfashionable today; that's precisely why we -> >> need so much more of it. So perhaps less a bunker mentality and more -> >> about the reclaiming of a new experience of life and activity. -> >> -> >> Re: obsolescence of theory -- perhaps it hinges on *which* kind of -> >> theory? I don't agree with Latour and the notion that "theory has run -> out -> >> of steam." Marxism, feminism, psycho-analysis -- they all still work -> >> great if you ask me. But I do think that a kind of "vulgar 1968" style -> of -> >> theory has run its course. Nancy Fraser has it exactly right: capitalism -> >> co-opted many of the demands of '68-style theory. So now we have to -> >> reassess and recompile a new kind of theoretical method. Because of this -> >> I'm much more interested in a slightly different spin on the theoretical -> >> tradition. -> >> -> >> -ag -> >> -> >> -> >> On May 9, 2014, at 1:16 PM, Soraya Murray <semurray at ucsc.edu> wrote: -> >> -> >>> ----------empyre- soft-skinned space---------------------- -> >>> I am intrigued by this discussion, and would like to acknowledge the -> >>> posts by Alex Galloway, Geert Lovink and Renate Ferro. Greetings to all -> >>> of you. -> >>> -> >>> I keep circling back to the notion of strategic withdrawal, alluded to -> >>> several times in the last few posts, as well as somewhat enigmatically -> >>> toward the end of Alex's recent lecture here at UC Santa Cruz. For -> >>> example, from his post: -> >>> -> >>> "This book is not about the world ³for us,² and not the world ³in -> >>> itself,² but what Eugene calls ³the world without us.²" -> >>> -> >>> This, in relation to Geert's recent essay in e-Flux ("Hermes on the -> >>> Hudson"): -> >>> ""This leaves us with the question of the mandate and scope of today¹s -> >>> media theory‹if there is anything left. Are you ready to hand over the -> >>> ³new media² remains to the sociologists, museum curators, art -> >>> historians, and other humanities officials? Can we perhaps stage a more -> >>> imaginative ³act of disappearance²? Are we ready to disguise ourselves -> >>> amidst the new normality?" -> >>> -> >>> ...and which seemed to betray a similar anxiety around obsolescence of -> >>> theory -- or a strategy of withdrawal? With respect, is this to be seen -> >>> as an act of battening down the hatches? Is this disappearance/disguise -> >>> a radical strategy to shift perspective as a means to generate new -> >>> possibility? Something conceded, or something new gained? -> >> _______________________________________________ -> >> empyre forum -> >> empyre at lists.cofa.unsw.edu.au -> >> http://www.subtle.net/empyre -> > -> > _______________________________________________ -> > empyre forum -> > empyre at lists.cofa.unsw.edu.au -> > http://www.subtle.net/empyre -> -> _______________________________________________ -> empyre forum -> empyre at lists.cofa.unsw.edu.au -> http://www.subtle.net/empyre -> --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140525/c23de9dd/attachment.htm> - - - -12.0 -[-empyre-] Excommunication -Alexander R. Galloway -<empyre@lists.cofa.unsw.edu.au> -Fri May 9 01:49:30 EST 2014 -Greetings all.. particularly to all the email list veterans. This book is definitely a product of the net criticism scene from the old rhizome and nettime days, so it's nice to be back on empyre and see some familiar faces. (And incidentally I agree entirely with the spirit of Simon's post--regardless of who made it and for what reason, the internet is the most highly controlled mass media hitherto created. And here i disagree a bit with Geert: i don't see Snowden as a turning point; we've known this about the 'net for years.) - -As for the book, where did "Excommunication" come from? The idea grew out of a conversation Eugene had been having with his editor, and it quickly gelled after that. We wanted to explore the more theological wing of philosophical thought -- hence our crude chronology with me focusing on a series of archaic divinities, Eugene inspired by the heretical monotheism of medieval mysticism, and Ken working on a more modern and post-secular form of heresy. - -And so the concept of “excommunication,” with both its theological and media-theoretical connotations, seemed like a fitting framework. We wanted to push the term excommunication a bit further: not just exile or exclusion, but a more radical sense of what lies beyond the human entirely, toward what Quentin Meillassoux has called “the great outdoors.” - -And all three of us quickly gravitated to excommunication as a theme, particularly this counter-intuitive promise of mediation with the radically non-human. In essence, we're hoping to skirt the classic metaphysical questions about worlds opening up to solicitous subjects. This book is not about the world “for us,” and not the world “in itself,” but what Eugene calls “the world without us.” - --ag - -PS i'll note too that Jussi Parikka has also written an interesting review of the book for those of you who might be interested. download here http://www.radicalphilosophy.com/reviews/185-reviews - - - +Thanks to Milinda. 13.0 @@ -7369,13 +5694,13 @@ PS i'll note too that Jussi Parikka has also written an interesting review of th the public response in germany and several other european countries was the expected mix of outrage, analysis, critique, puzzlement, astonishment, anger at the US (and Britain)?, laughter at Angela Merkel's cell phone being monitored, etc, etc (just observe the equally predictable mixed and vigorous reaction to the Russia-Ukraine crisis), and I am sure you noted all the facets (after what should not have come as a surprise); nor did the reactions in the media and public sectors in the US follow an unusual pattern; watershed moments and revelations aside - and I doubt that the effusion is ever as total as you assume Geert (your total penetration theory, into every aspect of life and every corner of the planet), what exactly are we meant to do with the (catholic? mystic?) notion of excommunication...? ->“…we pursue not so much a post-media condition but rather a non-media +>“…we pursue not so much a post-media condition but rather a non-media condition, not so much the extensions of man but the exodus of man from this world. Our task is not so much a reinvigorated humanism no matter how complicated or qualified it might need to be, but rather glimpse into the realm of the non-human. We seek not so much a blasphemy but a heresy, not so much a miscommunication but an -excommunication.” +excommunication.” what realm of the "non-human" do you propose for our social and political and personal activities? and how do you intend to get rid of media or convince others to join your sect? @@ -7384,28 +5709,7 @@ Just wondering. respectfully Johannes Birringer -Dap-Lab, London - - - - - -[Geert schreibt] -Subject: [-empyre-] effusion and essence - -Dear all, - -thanks for the opportunity to discuss my essay here. The 'spirit' of the text is in particular directed by the great public response in Europe, and in particular Germany, to the Snowdon affair. Many actively involved activists, geeks, designers and artists see the revelations as a watershed. For me this goes in two directions: on the first hand back to the days before 1984, which Simon has further elaborated upon, the military origin of the Net (and as many of you might agree, roots are also destiny…). The other direction in which this development is going is that of the 'Vergesellschaftlichung' of the Net, the becoming-society, the generalization of net standards and protocols, the peneration (if you wish) of internet (of things) into every aspect of life, every object and (social) relation, to control and monitor any movement of any person or object. - -It could be that not every society, not every corner of the globe is sensing these two parallel and paradox developments in a same way. In his response Ken Wark wrote that inside the USA 'Snowdon' is not felt as a big deal. I respect that point of view. However, this is not the same in Central Europe. Maybe there the first movement (back to the origin) is felt more stronger than the second one. Certainly here in the Netherlands it is true that the generalization theses is more obvious here than the military aspect. However, in my view it remains important to discuss the two tendencies as one: effusion and essence. - - --- -This message has been scanned for viruses and -dangerous content by MailScanner, and is -believed to be clean. - - +Dap-Lab, London 13.1 @@ -7415,29 +5719,25 @@ believed to be clean. Mon May 12 00:26:54 EST 2014 On 9 May 2014, at 7:42 PM, Johannes Birringer <Johannes.Birringer at brunel.ac.uk> wrote: -> What exactly are we meant to do with the (catholic? mystic?) notion of excommunication…? (..) What realm of the "non-human" do you propose for our social and political and personal activities? and how do you intend to get rid of media or convince others to join your sect? +> What exactly are we meant to do with the (catholic? mystic?) notion of excommunication…? (..) What realm of the "non-human" do you propose for our social and political and personal activities? and how do you intend to get rid of media or convince others to join your sect? Thanks, Johannes. These questions are geared towards the authors, I guess. I can only say what I make of it, and what I can see what we can do with these notions, in my case, the context of net criticism, media theory, tactical media, new aesthetics activism of artists, geeks, designers etc. -There is an urgency to study and understand the non-human. I can see that. I really started to 'dig it' and apply it to my own context when I got familiar with the work of Stuart Geiger (http://stuartgeiger.com/wordpress/) who studies the role of bots in Wikipedia. These days there are the social bots that people like you and me employ… resulting in a recent figure that 61.5% of internet traffic is 'non-human' (source: incapsula). +There is an urgency to study and understand the non-human. I can see that. I really started to 'dig it' and apply it to my own context when I got familiar with the work of Stuart Geiger (http://stuartgeiger.com/wordpress/) who studies the role of bots in Wikipedia. These days there are the social bots that people like you and me employ… resulting in a recent figure that 61.5% of internet traffic is 'non-human' (source: incapsula). -There are people making millions of this by tooling and ticking companies like Google. And this brings me to the humans behind the non-human. In the end I am more interested in them. Robots can be cute, or cruel, they are here to stay and will gain influence etc., all that is true, but I would like to know who profits from them, who built them, what their inner architecture is, which values and ethics they inhabit and spread… It is not so hard to delegate power and trust to machines. We can get used to that, and in some cases even benefit from it, but in the end I prefer full-employment for humans first. No sympathy for the machines. +There are people making millions of this by tooling and ticking companies like Google. And this brings me to the humans behind the non-human. In the end I am more interested in them. Robots can be cute, or cruel, they are here to stay and will gain influence etc., all that is true, but I would like to know who profits from them, who built them, what their inner architecture is, which values and ethics they inhabit and spread… It is not so hard to delegate power and trust to machines. We can get used to that, and in some cases even benefit from it, but in the end I prefer full-employment for humans first. No sympathy for the machines. On Hacker News this weekend a related article was popular: http://www.bainbrdg.demon.co.uk/Papers/Ironies.html -It is from 1983, so before 1984… ;) +It is from 1983, so before 1984… ;) The article "suggests that the increased interest in human factors among engineers reflects the irony that the more advanced a control system is, so the more crucial may be the contribution of the human operator." -Greetings, Geert - - - - +Greetings, Geert 13.2 @@ -7449,9 +5749,9 @@ Greetings, Geert Thanks Johannes for asking this important and critical question about the non-human. -Geert wrote in relationships to robotsŠ. +Geert wrote in relationships to robotsŠ. but I would like to know who profits from them, who built them, what their -inner architecture is, which values and ethics they inhabit and spreadŠ It +inner architecture is, which values and ethics they inhabit and spreadŠ It is not so hard to delegate power and trust to machines. We can get used to that, and in some cases even benefit from it, but in the end I prefer full-employment for humans first. No sympathy for the machines. @@ -7467,69 +5767,11 @@ the nature of robotics then a cross-disciplinary approach seems to be what you are implying. Any thoughts on this especially in relationship to your comment on e-flux -...Are you ready to hand over the ³new media² remains to the sociologists, +...Are you ready to hand over the ³new media² remains to the sociologists, museum curators, art historians, and other humanities officials? Can we -perhaps stage a more imaginative ³act of disappearance².... +perhaps stage a more imaginative ³act of disappearance².... -Thanks. Renate - - -On 5/11/14 10:26 AM, "Geert Lovink" <geert at desk.nl> wrote: - ->----------empyre- soft-skinned space---------------------- ->On 9 May 2014, at 7:42 PM, Johannes Birringer -><Johannes.Birringer at brunel.ac.uk> wrote: -> ->> What exactly are we meant to do with the (catholic? mystic?) notion of ->>excommunicationŠ? (..) What realm of the "non-human" do you propose for ->>our social and political and personal activities? and how do you intend ->>to get rid of media or convince others to join your sect? -> ->Thanks, Johannes. These questions are geared towards the authors, I ->guess. -> ->I can only say what I make of it, and what I can see what we can do with ->these notions, in my case, the context of net criticism, media theory, ->tactical media, new aesthetics activism of artists, geeks, designers etc. -> ->There is an urgency to study and understand the non-human. I can see ->that. I really started to 'dig it' and apply it to my own context when I ->got familiar with the work of Stuart Geiger ->(http://stuartgeiger.com/wordpress/) who studies the role of bots in ->Wikipedia. These days there are the social bots that people like you and ->me employŠ resulting in a recent figure that 61.5% of internet traffic is ->'non-human' (source: incapsula). -> ->There are people making millions of this by tooling and ticking companies ->like Google. And this brings me to the humans behind the non-human. In ->the end I am more interested in them. Robots can be cute, or cruel, they ->are here to stay and will gain influence etc., all that is true, but I ->would like to know who profits from them, who built them, what their ->inner architecture is, which values and ethics they inhabit and spreadŠ ->It is not so hard to delegate power and trust to machines. We can get ->used to that, and in some cases even benefit from it, but in the end I ->prefer full-employment for humans first. No sympathy for the machines. -> ->On Hacker News this weekend a related article was popular: -> ->http://www.bainbrdg.demon.co.uk/Papers/Ironies.html -> ->It is from 1983, so before 1984Š ;) -> ->The article "suggests that the increased interest in human factors among ->engineers reflects the irony that the more advanced a control system is, ->so the more crucial may be the contribution of the human operator." -> ->Greetings, Geert -> -> -> ->_______________________________________________ ->empyre forum ->empyre at lists.cofa.unsw.edu.au ->http://www.subtle.net/empyre - - +Thanks. Renate 14.0 @@ -7572,247 +5814,7 @@ each way of appropriation= mathematics and topology are continually developing new ideas and tools and complex networks science is not the end of the story -roger malina - - - - - ------ -> -> Message: 1 -> Date: Sun, 11 May 2014 10:25:52 -0400 -> From: "Alexander R. Galloway" <galloway at nyu.edu> -> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> -> Subject: Re: [-empyre-] Digital Delirium revisited -> Message-ID: <890434DD-190C-4F85-A048-347D58477F15 at nyu.edu> -> Content-Type: text/plain; charset=windows-1252 -> -> Dear Soraya & Co.. -> -> I guess part of the impetus is that I'm surprised--if not unnerved--by the way in which networks have captured and eclipsed other ways of thinking. A new pantheon of dot-com philosophers reigns supreme today, ready to proclaim at every turn that ?everything is a network.? Mark Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is a network. David Joselit: Art is a network. Guy Debord: the post-capitalist city is a network. John Von Neumann: computation is a network. Konrad Wachsmann: architecture is a network. -> -> Ladies and gentlemen, postmodernism is definitively over! We have a new meta-narrative to guide us. -> -> We might label this a kind of ?reticular pessimism.? And here I'm taking a cue from the notion of ?Afro-pessimism? in critical race theory. Just as Afro-pessimism refers to the trap in which African-American identity is only ever defined via the fetters of its own historical evolution, reticular pessimism claims, in essence, that there is no escape from the fetters of the network. There is no way to think in, through, or beyond networks except in terms of networks themselves. According to reticular pessimism, responses to networked power are only able to be conceived in terms of other network forms. (And thus to fight Google and the NSA we need ecologies, assemblages, or multiplicities.) -> -> By offering no alternative to the network form, reticular pessimism is deeply cynical because it forecloses any kind of utopian thinking that might entail an alternative to our many pervasive and invasive networks. -> -> This is part of the mandate of this book, as I see it: to articulate a logic of being that is not reducible to a metaphysics of exchange, to a metaphysics of the network. This to me is the promise of excommunication: the message that says ?there will be no more messages?; a logic of relation, without the tired, old model of exchange. -> -> So, yes, strategic withdrawal is at the heart of what interests me most. Some are a bit skeptical about this notion of withdrawal -- often because they see in a negative light as alternatively a surrender monkey position (i give up! i'm outta here!), or a position of privilege (the political equivalent of opening a bank account in the Cayman Islands). But I see it very differently. I see it more as a withdrawal from representation. A structural withdrawal. I see it as a way to conceive of a kind of practical utopia in the here and now. "You don't represent us." "No one is illegal." "I would prefer not to." "We have no demands." Yes I realize utopian thinking is very unfashionable today; that's precisely why we need so much more of it. So perhaps less a bunker mentality and more about the reclaiming of a new experience of life and activity. -> -> Re: obsolescence of theory -- perhaps it hinges on *which* kind of theory? I don't agree with Latour and the notion that "theory has run out of steam." Marxism, feminism, psycho-analysis -- they all still work great if you ask me. But I do think that a kind of "vulgar 1968" style of theory has run its course. Nancy Fraser has it exactly right: capitalism co-opted many of the demands of '68-style theory. So now we have to reassess and recompile a new kind of theoretical method. Because of this I'm much more interested in a slightly different spin on the theoretical tradition. -> -> -ag -> -> -> On May 9, 2014, at 1:16 PM, Soraya Murray <semurray at ucsc.edu> wrote: -> ->> ----------empyre- soft-skinned space---------------------- ->> I am intrigued by this discussion, and would like to acknowledge the posts by Alex Galloway, Geert Lovink and Renate Ferro. Greetings to all of you. ->> ->> I keep circling back to the notion of strategic withdrawal, alluded to several times in the last few posts, as well as somewhat enigmatically toward the end of Alex's recent lecture here at UC Santa Cruz. For example, from his post: ->> ->> "This book is not about the world ?for us,? and not the world ?in itself,? but what Eugene calls ?the world without us.?" ->> ->> This, in relation to Geert's recent essay in e-Flux ("Hermes on the Hudson"): ->> ""This leaves us with the question of the mandate and scope of today?s media theory?if there is anything left. Are you ready to hand over the ?new media? remains to the sociologists, museum curators, art historians, and other humanities officials? Can we perhaps stage a more imaginative ?act of disappearance?? Are we ready to disguise ourselves amidst the new normality?" ->> ->> ...and which seemed to betray a similar anxiety around obsolescence of theory -- or a strategy of withdrawal? With respect, is this to be seen as an act of battening down the hatches? Is this disappearance/disguise a radical strategy to shift perspective as a means to generate new possibility? Something conceded, or something new gained? -> -> -> ------------------------------ -> -> Message: 2 -> Date: Sun, 11 May 2014 16:26:54 +0200 -> From: Geert Lovink <geert at desk.nl> -> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> -> Subject: Re: [-empyre-] effusion and miscommunication -> Message-ID: <659F4472-BB45-464C-BD82-A20EFE24D2F6 at desk.nl> -> Content-Type: text/plain; charset=windows-1252 -> -> On 9 May 2014, at 7:42 PM, Johannes Birringer <Johannes.Birringer at brunel.ac.uk> wrote: -> ->> What exactly are we meant to do with the (catholic? mystic?) notion of excommunication?? (..) What realm of the "non-human" do you propose for our social and political and personal activities? and how do you intend to get rid of media or convince others to join your sect? -> -> Thanks, Johannes. These questions are geared towards the authors, I guess. -> -> I can only say what I make of it, and what I can see what we can do with these notions, in my case, the context of net criticism, media theory, tactical media, new aesthetics activism of artists, geeks, designers etc. -> -> There is an urgency to study and understand the non-human. I can see that. I really started to 'dig it' and apply it to my own context when I got familiar with the work of Stuart Geiger (http://stuartgeiger.com/wordpress/) who studies the role of bots in Wikipedia. These days there are the social bots that people like you and me employ? resulting in a recent figure that 61.5% of internet traffic is 'non-human' (source: incapsula). -> -> There are people making millions of this by tooling and ticking companies like Google. And this brings me to the humans behind the non-human. In the end I am more interested in them. Robots can be cute, or cruel, they are here to stay and will gain influence etc., all that is true, but I would like to know who profits from them, who built them, what their inner architecture is, which values and ethics they inhabit and spread? It is not so hard to delegate power and trust to machines. We can get used to that, and in some cases even benefit from it, but in the end I prefer full-employment for humans first. No sympathy for the machines. -> -> On Hacker News this weekend a related article was popular: -> -> http://www.bainbrdg.demon.co.uk/Papers/Ironies.html -> -> It is from 1983, so before 1984? ;) -> -> The article "suggests that the increased interest in human factors among engineers reflects the irony that the more advanced a control system is, so the more crucial may be the contribution of the human operator." -> -> Greetings, Geert -> -> -> -> -> -> ------------------------------ -> -> Message: 3 -> Date: Mon, 12 May 2014 09:16:30 +1200 -> From: simon <swht at clear.net.nz> -> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> -> Subject: Re: [-empyre-] Digital Delirium revisited -> Message-ID: <536FE8AE.5060703 at clear.net.nz> -> Content-Type: text/plain; charset="windows-1252"; Format="flowed" -> -> Dear Alexander Galway and empyreans, -> -> I enjoyed your your letter, particularly for the notion of 'reticular -> pessimism' as the /en abyme/ of a socio-cultural dispensation -> mirror-struck by its own mental processes. I even like the idea of the -> network as meta-narrative and proof that pomo's over. However, the -> strategies in play here rather than those of escape - blueprints of the -> prison studied in preparatory lucubration - seem to belong to the -> mentality of the captors - from the viewpoint of the cell, in clear -> sight of the tower, or power. -> -> Albert-L?szl? Barab?si attributes the invention of network theory to -> Leonhard Euler in the 1780s. I don't think either would agree with Mark -> Zuckerberg, Donald Rumsfield, Bruno Latour, Franco Moretti, David -> Joselit, Guy Debord, John Von Neumann or Konrad Wachsmann that the -> complex fields of the respective engagements of this strangely -> fascinating (uncanny - reticularly depressing) roll-call ought to be or -> can be reduced to what may be considered /network effects/. And, in some -> cases, /affects/ - where network is the nomination of a brand -> endorsement: Facebook is neither truly a network nor social. -> -> In the same way, corpocratic concerns rhapsodise on the now highly -> recognisable formula /Big Data/ - an object that has as much affinity -> with a meta-narrative network as any of the individual cases adduced. -> Then there is the authorial tick of periodisation: after post-modernism -> (nostalgia for the post- or non-human?); and the obsolescence of the -> '68ers - the vulgarity of theoretical products reaching their use-by -> dates. Neither brand theory nor brand network provide any clue as to how -> to make a map that lets us get the hell out Dodge, or dodge the oncoming -> traffic of the imminent - and in the name of brand immanence each holds -> a pasteboard halo. -> -> In the light of the network effects that theoretical dissipation - its -> current /dispositif/ - elevates by the mechanism of reduction to -> /networks/ (pure, simple, unreal thing) or networkism - as that -> theoretical cul-de-sac that ought at least be avoided - 'strategic -> withdrawal' were better called 'statistical withdrawal' - a term less -> pregnant with cognitive content. -> -> Best, -> Simon Taylor -> -------------- next part -------------- -> An HTML attachment was scrubbed... -> URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140512/49989c9d/attachment.html> -> -> ------------------------------ -> -> Message: 4 -> Date: Sun, 11 May 2014 16:00:02 -0700 -> From: "christina at christinamcphee.net" <christina at christinamcphee.net> -> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> -> Subject: [-empyre-] a new meta-narrative to guide us -> Message-ID: <3C7B6308-7E22-4479-9229-2103F841CD91 at christinamcphee.net> -> Content-Type: text/plain; charset="windows-1252" -> -> Alexander et al, -> -> To insist on focussing our ethics on a strategy of infinite (as in, non-relational) withdrawal has antecedents in the Orthodox spiritual tradition of the via negativa. -> -> Your (AG?s) discussion of James Turrell?s light installations in ?light of? Laruelle?s theory of non-photography resonates with me to that tradition, and even to the figure that LaRuelle throws up, the Son of Man. St. Matthew calls Jesus the ?Son of Man? rather than ?Son of God? more often than not. Matthew is writing in an attempt to link the story of Jesus to an historical geneology of culture-heroes in the Hebraic written tradition and oral history and community consciousness during a time of tremendous catastrophic and ongoing loss of those community values. Perhaps also, if you can indulge a psycho-history, to a loss of a sense of God?s presence among His chosen. -> -> At the same time, Matthew?s invocation of ?Son of Man? also radically points to the transcendent arrival of an agent whose parentage is of ?Man? , i. e. not just the Jewish people or any tribe, but an ultimate Man. It?s not for nothing that Pasolini chooses Matthew as his text for his film ?The Gospel according to St Matthew? : Pasolini rightly builds on the radical implications of the figure of Christ as arising directly from a transcendence that gathers force not alongside, or against, but ?in, with, and under? the people? transubstantiation. On the level of poetics if not politics, Pasolini?s agnosticisms consider the possibility of accord with an ?too-innocent philosophy? ? but, by means of making of the film itself, with Palestinians, in ?Palestine? , reject a radicalism of extraction of the Logos; no, for PPP, the Logos is in and among us qua film qua life qua body and blood. In contrast? an opposite politics--- in your discourse on Turrell via LaRuelle, AG? I?d lik -> e to explore this further, starting here: -> -> As one blogger recently notes -> -> ?. the beginning of the determination of a too innocent philosophy, a non-philosophy, a supra-rational innocence, which could only expressly mean the immortalization of the Logos through the extraction of all its radical conceivability in history, already practiced or imagined, the only reason, ne plus ultra.http://veraqivas.wordpress.com/category/immanent-philosophy/francois-laruelle/page/2/ -> -> -> Imagine this binary, just for a moment (it may or may not be provisional). Let?s say : where Pasolini and Matthew remain on one side of a chasm, on the other stands LaRuelle, the non-philosopher who may not presume to partake (through history, through ethics, through the spoken word, through the moving image..) community or communitarian values. If Matthew the historian, and Pasolini, artist of proto-Christian atheism, stand for and with community--with or without ?God? (AKA the noumenous) --through the figuration of relation and partaking (taking part) (=transubstantiation) of the Son of Man; then on the other side, LaRuelle proposes to stands in for, contra or at least in figure/ground opposition, to community--with or without ?Man? (AKA the human community) . Alexander, are you also there with LaRuelle, or is this binary too stark? -> -> Listening to your talk, Alexander, on Incredible Machines, considering James Turrell?s installations as evidence of LaRuelle?s theory of non-photography, I immediately turned back to Laruelle?s desire for the Son of Man. (I must confess I am relying on impressions I had when I listened to your live talk) Alexander, your manifesto is ? to articulate a logic being that is not reducible to a metaphysics of exchange? ?there will be no more messages.? And you go on to point to a ?logic of relation..without the?.model of exchange. ? It?s possible Laruelle espouses a (non)-figuration of the transcendent angel en arrivant. -> -> So: to propose a chasm here. No exchange, means no more messages, means in its equal and opposite expression (since if there is no more x->y or y->x there can only be x= not-x). Turrell?s light objects, in order to be understood as new information, new knowledge?. need not require a St Matthew-esque historicity with antecedents like Moholy-Nagy, Naum Gabo, El Lissitsky? They can arrive, like angels? ? -> -> I take it that 'the new meta-narrative to guide us? ? (AG, below) partakes of this only-reason, this new plus ultra of an arrival of an angel in the subject-site of theorist. Could Turrell?s space-time-image manifest the arrival of something new, like this? A Logos, of a sort? The canard of art as knowledge-production goes to something else, something very interesting. Since always otherwise words partake of the play of the trace, the way from above is to make the person-space-time of the Logos an embodied speech act? A via-negativa speaks, from a space of non-relation, non-photography? from the somewhat disingenuously described ?too-innocent? site that is outside of perceivable substance? No transubstantiation, because the Son of Man, for Laruelle, arrives without a body, without the body of the human, without the body of community, and is self-born, self-generating, ?like? (oops) God?. ? -> -> Does Laruelle?s extravagance around angels as theorists and theorists as angels deserve special notice as an auto-epipanic event- LaRuelle recreates himself ? Can we do the same? At the ?event-horizon? of the human? -> -> What do you think, Alex, does your argument of withdrawal exclude all ?poetics of relation? (Glissante) with a sublimity (angel-theorist-Son of Man) in its place? So seems to be the logic of commentators around LaRuelle. like Grelet (trans. Brassier) here http://www.onphi.net/texte-son-of-man--brother-of-the-people--behold-the-theorist-29.html -> -> But perhaps you imply something more nuanced. I began my comment with a mention of the ?via negativa?. Would you instead be proposing, via Turrell a negative theology? -> -> "n negative theology, it is accepted that experience of the Divine is ineffable, an experience of the holy that can only be recognized or remembered abstractly. That is, human beings cannot describe in words the essence of the perfect good that is unique to the individual, nor can they define the Divine, in its immense complexity, related to the entire field of reality. As a result, all descriptions if attempted will be ultimately false and conceptualization should be avoided. In effect, divine experience eludes definition by definition:? http://en.wikipedia.org/wiki/Apophatic_theology -> -> So, to put it in tragicomic mode, and yet I am serious, is this new meta-narrative about a revelation from ?God?? -> -> -> Christina -> -> http://christinamcphee.net -> -> Incredible Machines/ Alexander Galloway March 6 2014 http://incrediblemachines.info/keynote-speakers/galloway/ -> -> -> On May 11, 2014, at 7:25 AM, Alexander R. Galloway <galloway at nyu.edu> wrote: -> ->> ----------empyre- soft-skinned space---------------------- ->> Dear Soraya & Co.. ->> ->> I guess part of the impetus is that I'm surprised--if not unnerved--by the way in which networks have captured and eclipsed other ways of thinking. A new pantheon of dot-com philosophers reigns supreme today, ready to proclaim at every turn that ?everything is a network.? Mark Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is a network. David Joselit: Art is a network. Guy Debord: the post-capitalist city is a network. John Von Neumann: computation is a network. Konrad Wachsmann: architecture is a network. ->> ->> Ladies and gentlemen, postmodernism is definitively over! We have a new meta-narrative to guide us. ->> ->> We might label this a kind of ?reticular pessimism.? And here I'm taking a cue from the notion of ?Afro-pessimism? in critical race theory. Just as Afro-pessimism refers to the trap in which African-American identity is only ever defined via the fetters of its own historical evolution, reticular pessimism claims, in essence, that there is no escape from the fetters of the network. There is no way to think in, through, or beyond networks except in terms of networks themselves. According to reticular pessimism, responses to networked power are only able to be conceived in terms of other network forms. (And thus to fight Google and the NSA we need ecologies, assemblages, or multiplicities.) ->> ->> By offering no alternative to the network form, reticular pessimism is deeply cynical because it forecloses any kind of utopian thinking that might entail an alternative to our many pervasive and invasive networks. ->> ->> This is part of the mandate of this book, as I see it: to articulate a logic of being that is not reducible to a metaphysics of exchange, to a metaphysics of the network. This to me is the promise of excommunication: the message that says ?there will be no more messages?; a logic of relation, without the tired, old model of exchange. ->> ->> So, yes, strategic withdrawal is at the heart of what interests me most. Some are a bit skeptical about this notion of withdrawal -- often because they see in a negative light as alternatively a surrender monkey position (i give up! i'm outta here!), or a position of privilege (the political equivalent of opening a bank account in the Cayman Islands). But I see it very differently. I see it more as a withdrawal from representation. A structural withdrawal. I see it as a way to conceive of a kind of practical utopia in the here and now. "You don't represent us." "No one is illegal." "I would prefer not to." "We have no demands." Yes I realize utopian thinking is very unfashionable today; that's precisely why we need so much more of it. So perhaps less a bunker mentality and more about the reclaiming of a new experience of life and activity. ->> ->> Re: obsolescence of theory -- perhaps it hinges on *which* kind of theory? I don't agree with Latour and the notion that "theory has run out of steam." Marxism, feminism, psycho-analysis -- they all still work great if you ask me. But I do think that a kind of "vulgar 1968" style of theory has run its course. Nancy Fraser has it exactly right: capitalism co-opted many of the demands of '68-style theory. So now we have to reassess and recompile a new kind of theoretical method. Because of this I'm much more interested in a slightly different spin on the theoretical tradition. ->> ->> -ag ->> -> http://christinamcphee.net -> -> -> -> -------------- next part -------------- -> An HTML attachment was scrubbed... -> URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140511/9ece0c88/attachment-0001.htm> -> -> ------------------------------ -> -> _______________________________________________ -> empyre mailing list -> empyre at lists.cofa.unsw.edu.au -> http://empyre.library.cornell.edu/ -> -> -> End of empyre Digest, Vol 114, Issue 8 -> ************************************** - - - --- -Roger F Malina -Is in France right now -please contact me by email but -for very very urgent things phone/text me me -+33-6-80-45-94-47 -blog: malina.diatrope.com - +roger malina 14.1 @@ -7824,309 +5826,7 @@ blog: malina.diatrope.com best -Simon - - -On 18 May 2014, at 19:21, roger malina <rmalina at ALUM.MIT.EDU> wrote: - -> ----------empyre- soft-skinned space---------------------- -> Alex -> -> I guess i would like to bring a mathematical topology point of view to -> the discussion on networks- I also have been intrigued -> by how the science of networks has been transversing discipline after -> discipline and we have even been helping thourgh -> the leonardo arts humanities and complex networks projects ( -> http://ahcncompanion.info/ ) -> -> over the past centuries there have been a number of waves of new ideas -> on how to understand the structure of things- -> and of topological tools - statistical mechanics and say the work of -> understanding the mathematics of the random walk -> had cultural influence in the early 20c - in the 50s and 50s -> cybernetics and then general systems theory- then -> complexity science and emergence of structures from low level rules -> and now the science of networks -> -> what is new of course is that we are now accumulating data on human -> behaviour in the same way that physicists -> accumulate data on what collections of atoms do -> -> my colleague at UT dallas max schich has names his lab the 'cultural -> science' lab because people are now -> bringing to cultural analysis trans disciplinary tools like network -> analysis- but many others also -> -> over the coming decades we can expect other new insights that help -> analyse and understand how things -> are structured and organised- and indeed one has to be careful not to -> over theorise a la post modernism -> each way of appropriation= mathematics and topology are continually -> developing new ideas and tools -> and complex networks science is not the end of the story -> -> roger malina -> -> -> -> -> -> ----- ->> ->> Message: 1 ->> Date: Sun, 11 May 2014 10:25:52 -0400 ->> From: "Alexander R. Galloway" <galloway at nyu.edu> ->> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> ->> Subject: Re: [-empyre-] Digital Delirium revisited ->> Message-ID: <890434DD-190C-4F85-A048-347D58477F15 at nyu.edu> ->> Content-Type: text/plain; charset=windows-1252 ->> ->> Dear Soraya & Co.. ->> ->> I guess part of the impetus is that I'm surprised--if not unnerved--by the way in which networks have captured and eclipsed other ways of thinking. A new pantheon of dot-com philosophers reigns supreme today, ready to proclaim at every turn that ?everything is a network.? Mark Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is a network. David Joselit: Art is a network. Guy Debord: the post-capitalist city is a network. John Von Neumann: computation is a network. Konrad Wachsmann: architecture is a network. ->> ->> Ladies and gentlemen, postmodernism is definitively over! We have a new meta-narrative to guide us. ->> ->> We might label this a kind of ?reticular pessimism.? And here I'm taking a cue from the notion of ?Afro-pessimism? in critical race theory. Just as Afro-pessimism refers to the trap in which African-American identity is only ever defined via the fetters of its own historical evolution, reticular pessimism claims, in essence, that there is no escape from the fetters of the network. There is no way to think in, through, or beyond networks except in terms of networks themselves. According to reticular pessimism, responses to networked power are only able to be conceived in terms of other network forms. (And thus to fight Google and the NSA we need ecologies, assemblages, or multiplicities.) ->> ->> By offering no alternative to the network form, reticular pessimism is deeply cynical because it forecloses any kind of utopian thinking that might entail an alternative to our many pervasive and invasive networks. ->> ->> This is part of the mandate of this book, as I see it: to articulate a logic of being that is not reducible to a metaphysics of exchange, to a metaphysics of the network. This to me is the promise of excommunication: the message that says ?there will be no more messages?; a logic of relation, without the tired, old model of exchange. ->> ->> So, yes, strategic withdrawal is at the heart of what interests me most. Some are a bit skeptical about this notion of withdrawal -- often because they see in a negative light as alternatively a surrender monkey position (i give up! i'm outta here!), or a position of privilege (the political equivalent of opening a bank account in the Cayman Islands). But I see it very differently. I see it more as a withdrawal from representation. A structural withdrawal. I see it as a way to conceive of a kind of practical utopia in the here and now. "You don't represent us." "No one is illegal." "I would prefer not to." "We have no demands." Yes I realize utopian thinking is very unfashionable today; that's precisely why we need so much more of it. So perhaps less a bunker mentality and more about the reclaiming of a new experience of life and activity. ->> ->> Re: obsolescence of theory -- perhaps it hinges on *which* kind of theory? I don't agree with Latour and the notion that "theory has run out of steam." Marxism, feminism, psycho-analysis -- they all still work great if you ask me. But I do think that a kind of "vulgar 1968" style of theory has run its course. Nancy Fraser has it exactly right: capitalism co-opted many of the demands of '68-style theory. So now we have to reassess and recompile a new kind of theoretical method. Because of this I'm much more interested in a slightly different spin on the theoretical tradition. ->> ->> -ag ->> ->> ->> On May 9, 2014, at 1:16 PM, Soraya Murray <semurray at ucsc.edu> wrote: ->> ->>> ----------empyre- soft-skinned space---------------------- ->>> I am intrigued by this discussion, and would like to acknowledge the posts by Alex Galloway, Geert Lovink and Renate Ferro. Greetings to all of you. ->>> ->>> I keep circling back to the notion of strategic withdrawal, alluded to several times in the last few posts, as well as somewhat enigmatically toward the end of Alex's recent lecture here at UC Santa Cruz. For example, from his post: ->>> ->>> "This book is not about the world ?for us,? and not the world ?in itself,? but what Eugene calls ?the world without us.?" ->>> ->>> This, in relation to Geert's recent essay in e-Flux ("Hermes on the Hudson"): ->>> ""This leaves us with the question of the mandate and scope of today?s media theory?if there is anything left. Are you ready to hand over the ?new media? remains to the sociologists, museum curators, art historians, and other humanities officials? Can we perhaps stage a more imaginative ?act of disappearance?? Are we ready to disguise ourselves amidst the new normality?" ->>> ->>> ...and which seemed to betray a similar anxiety around obsolescence of theory -- or a strategy of withdrawal? With respect, is this to be seen as an act of battening down the hatches? Is this disappearance/disguise a radical strategy to shift perspective as a means to generate new possibility? Something conceded, or something new gained? ->> ->> ->> ------------------------------ ->> ->> Message: 2 ->> Date: Sun, 11 May 2014 16:26:54 +0200 ->> From: Geert Lovink <geert at desk.nl> ->> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> ->> Subject: Re: [-empyre-] effusion and miscommunication ->> Message-ID: <659F4472-BB45-464C-BD82-A20EFE24D2F6 at desk.nl> ->> Content-Type: text/plain; charset=windows-1252 ->> ->> On 9 May 2014, at 7:42 PM, Johannes Birringer <Johannes.Birringer at brunel.ac.uk> wrote: ->> ->>> What exactly are we meant to do with the (catholic? mystic?) notion of excommunication?? (..) What realm of the "non-human" do you propose for our social and political and personal activities? and how do you intend to get rid of media or convince others to join your sect? ->> ->> Thanks, Johannes. These questions are geared towards the authors, I guess. ->> ->> I can only say what I make of it, and what I can see what we can do with these notions, in my case, the context of net criticism, media theory, tactical media, new aesthetics activism of artists, geeks, designers etc. ->> ->> There is an urgency to study and understand the non-human. I can see that. I really started to 'dig it' and apply it to my own context when I got familiar with the work of Stuart Geiger (http://stuartgeiger.com/wordpress/) who studies the role of bots in Wikipedia. These days there are the social bots that people like you and me employ? resulting in a recent figure that 61.5% of internet traffic is 'non-human' (source: incapsula). ->> ->> There are people making millions of this by tooling and ticking companies like Google. And this brings me to the humans behind the non-human. In the end I am more interested in them. Robots can be cute, or cruel, they are here to stay and will gain influence etc., all that is true, but I would like to know who profits from them, who built them, what their inner architecture is, which values and ethics they inhabit and spread? It is not so hard to delegate power and trust to machines. We can get used to that, and in some cases even benefit from it, but in the end I prefer full-employment for humans first. No sympathy for the machines. ->> ->> On Hacker News this weekend a related article was popular: ->> ->> http://www.bainbrdg.demon.co.uk/Papers/Ironies.html ->> ->> It is from 1983, so before 1984? ;) ->> ->> The article "suggests that the increased interest in human factors among engineers reflects the irony that the more advanced a control system is, so the more crucial may be the contribution of the human operator." ->> ->> Greetings, Geert ->> ->> ->> ->> ->> ->> ------------------------------ ->> ->> Message: 3 ->> Date: Mon, 12 May 2014 09:16:30 +1200 ->> From: simon <swht at clear.net.nz> ->> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> ->> Subject: Re: [-empyre-] Digital Delirium revisited ->> Message-ID: <536FE8AE.5060703 at clear.net.nz> ->> Content-Type: text/plain; charset="windows-1252"; Format="flowed" ->> ->> Dear Alexander Galway and empyreans, ->> ->> I enjoyed your your letter, particularly for the notion of 'reticular ->> pessimism' as the /en abyme/ of a socio-cultural dispensation ->> mirror-struck by its own mental processes. I even like the idea of the ->> network as meta-narrative and proof that pomo's over. However, the ->> strategies in play here rather than those of escape - blueprints of the ->> prison studied in preparatory lucubration - seem to belong to the ->> mentality of the captors - from the viewpoint of the cell, in clear ->> sight of the tower, or power. ->> ->> Albert-L?szl? Barab?si attributes the invention of network theory to ->> Leonhard Euler in the 1780s. I don't think either would agree with Mark ->> Zuckerberg, Donald Rumsfield, Bruno Latour, Franco Moretti, David ->> Joselit, Guy Debord, John Von Neumann or Konrad Wachsmann that the ->> complex fields of the respective engagements of this strangely ->> fascinating (uncanny - reticularly depressing) roll-call ought to be or ->> can be reduced to what may be considered /network effects/. And, in some ->> cases, /affects/ - where network is the nomination of a brand ->> endorsement: Facebook is neither truly a network nor social. ->> ->> In the same way, corpocratic concerns rhapsodise on the now highly ->> recognisable formula /Big Data/ - an object that has as much affinity ->> with a meta-narrative network as any of the individual cases adduced. ->> Then there is the authorial tick of periodisation: after post-modernism ->> (nostalgia for the post- or non-human?); and the obsolescence of the ->> '68ers - the vulgarity of theoretical products reaching their use-by ->> dates. Neither brand theory nor brand network provide any clue as to how ->> to make a map that lets us get the hell out Dodge, or dodge the oncoming ->> traffic of the imminent - and in the name of brand immanence each holds ->> a pasteboard halo. ->> ->> In the light of the network effects that theoretical dissipation - its ->> current /dispositif/ - elevates by the mechanism of reduction to ->> /networks/ (pure, simple, unreal thing) or networkism - as that ->> theoretical cul-de-sac that ought at least be avoided - 'strategic ->> withdrawal' were better called 'statistical withdrawal' - a term less ->> pregnant with cognitive content. ->> ->> Best, ->> Simon Taylor ->> -------------- next part -------------- ->> An HTML attachment was scrubbed... ->> URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140512/49989c9d/attachment.html> ->> ->> ------------------------------ ->> ->> Message: 4 ->> Date: Sun, 11 May 2014 16:00:02 -0700 ->> From: "christina at christinamcphee.net" <christina at christinamcphee.net> ->> To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> ->> Subject: [-empyre-] a new meta-narrative to guide us ->> Message-ID: <3C7B6308-7E22-4479-9229-2103F841CD91 at christinamcphee.net> ->> Content-Type: text/plain; charset="windows-1252" ->> ->> Alexander et al, ->> ->> To insist on focussing our ethics on a strategy of infinite (as in, non-relational) withdrawal has antecedents in the Orthodox spiritual tradition of the via negativa. ->> ->> Your (AG?s) discussion of James Turrell?s light installations in ?light of? Laruelle?s theory of non-photography resonates with me to that tradition, and even to the figure that LaRuelle throws up, the Son of Man. St. Matthew calls Jesus the ?Son of Man? rather than ?Son of God? more often than not. Matthew is writing in an attempt to link the story of Jesus to an historical geneology of culture-heroes in the Hebraic written tradition and oral history and community consciousness during a time of tremendous catastrophic and ongoing loss of those community values. Perhaps also, if you can indulge a psycho-history, to a loss of a sense of God?s presence among His chosen. ->> ->> At the same time, Matthew?s invocation of ?Son of Man? also radically points to the transcendent arrival of an agent whose parentage is of ?Man? , i. e. not just the Jewish people or any tribe, but an ultimate Man. It?s not for nothing that Pasolini chooses Matthew as his text for his film ?The Gospel according to St Matthew? : Pasolini rightly builds on the radical implications of the figure of Christ as arising directly from a transcendence that gathers force not alongside, or against, but ?in, with, and under? the people? transubstantiation. On the level of poetics if not politics, Pasolini?s agnosticisms consider the possibility of accord with an ?too-innocent philosophy? ? but, by means of making of the film itself, with Palestinians, in ?Palestine? , reject a radicalism of extraction of the Logos; no, for PPP, the Logos is in and among us qua film qua life qua body and blood. In contrast? an opposite politics--- in your discourse on Turrell via LaRuelle, AG? I?d l -> ik ->> e to explore this further, starting here: ->> ->> As one blogger recently notes ->> ->> ?. the beginning of the determination of a too innocent philosophy, a non-philosophy, a supra-rational innocence, which could only expressly mean the immortalization of the Logos through the extraction of all its radical conceivability in history, already practiced or imagined, the only reason, ne plus ultra.http://veraqivas.wordpress.com/category/immanent-philosophy/francois-laruelle/page/2/ ->> ->> ->> Imagine this binary, just for a moment (it may or may not be provisional). Let?s say : where Pasolini and Matthew remain on one side of a chasm, on the other stands LaRuelle, the non-philosopher who may not presume to partake (through history, through ethics, through the spoken word, through the moving image..) community or communitarian values. If Matthew the historian, and Pasolini, artist of proto-Christian atheism, stand for and with community--with or without ?God? (AKA the noumenous) --through the figuration of relation and partaking (taking part) (=transubstantiation) of the Son of Man; then on the other side, LaRuelle proposes to stands in for, contra or at least in figure/ground opposition, to community--with or without ?Man? (AKA the human community) . Alexander, are you also there with LaRuelle, or is this binary too stark? ->> ->> Listening to your talk, Alexander, on Incredible Machines, considering James Turrell?s installations as evidence of LaRuelle?s theory of non-photography, I immediately turned back to Laruelle?s desire for the Son of Man. (I must confess I am relying on impressions I had when I listened to your live talk) Alexander, your manifesto is ? to articulate a logic being that is not reducible to a metaphysics of exchange? ?there will be no more messages.? And you go on to point to a ?logic of relation..without the?.model of exchange. ? It?s possible Laruelle espouses a (non)-figuration of the transcendent angel en arrivant. ->> ->> So: to propose a chasm here. No exchange, means no more messages, means in its equal and opposite expression (since if there is no more x->y or y->x there can only be x= not-x). Turrell?s light objects, in order to be understood as new information, new knowledge?. need not require a St Matthew-esque historicity with antecedents like Moholy-Nagy, Naum Gabo, El Lissitsky? They can arrive, like angels? ? ->> ->> I take it that 'the new meta-narrative to guide us? ? (AG, below) partakes of this only-reason, this new plus ultra of an arrival of an angel in the subject-site of theorist. Could Turrell?s space-time-image manifest the arrival of something new, like this? A Logos, of a sort? The canard of art as knowledge-production goes to something else, something very interesting. Since always otherwise words partake of the play of the trace, the way from above is to make the person-space-time of the Logos an embodied speech act? A via-negativa speaks, from a space of non-relation, non-photography? from the somewhat disingenuously described ?too-innocent? site that is outside of perceivable substance? No transubstantiation, because the Son of Man, for Laruelle, arrives without a body, without the body of the human, without the body of community, and is self-born, self-generating, ?like? (oops) God?. ? ->> ->> Does Laruelle?s extravagance around angels as theorists and theorists as angels deserve special notice as an auto-epipanic event- LaRuelle recreates himself ? Can we do the same? At the ?event-horizon? of the human? ->> ->> What do you think, Alex, does your argument of withdrawal exclude all ?poetics of relation? (Glissante) with a sublimity (angel-theorist-Son of Man) in its place? So seems to be the logic of commentators around LaRuelle. like Grelet (trans. Brassier) here http://www.onphi.net/texte-son-of-man--brother-of-the-people--behold-the-theorist-29.html ->> ->> But perhaps you imply something more nuanced. I began my comment with a mention of the ?via negativa?. Would you instead be proposing, via Turrell a negative theology? ->> ->> "n negative theology, it is accepted that experience of the Divine is ineffable, an experience of the holy that can only be recognized or remembered abstractly. That is, human beings cannot describe in words the essence of the perfect good that is unique to the individual, nor can they define the Divine, in its immense complexity, related to the entire field of reality. As a result, all descriptions if attempted will be ultimately false and conceptualization should be avoided. In effect, divine experience eludes definition by definition:? http://en.wikipedia.org/wiki/Apophatic_theology ->> ->> So, to put it in tragicomic mode, and yet I am serious, is this new meta-narrative about a revelation from ?God?? ->> ->> ->> Christina ->> ->> http://christinamcphee.net ->> ->> Incredible Machines/ Alexander Galloway March 6 2014 http://incrediblemachines.info/keynote-speakers/galloway/ ->> ->> ->> On May 11, 2014, at 7:25 AM, Alexander R. Galloway <galloway at nyu.edu> wrote: ->> ->>> ----------empyre- soft-skinned space---------------------- ->>> Dear Soraya & Co.. ->>> ->>> I guess part of the impetus is that I'm surprised--if not unnerved--by the way in which networks have captured and eclipsed other ways of thinking. A new pantheon of dot-com philosophers reigns supreme today, ready to proclaim at every turn that ?everything is a network.? Mark Zuckerberg: people are networks. Donald Rumsfeld: the battlefield is a network. Bruno Latour: ontology is a network. Franco Moretti: Hamlet is a network. David Joselit: Art is a network. Guy Debord: the post-capitalist city is a network. John Von Neumann: computation is a network. Konrad Wachsmann: architecture is a network. ->>> ->>> Ladies and gentlemen, postmodernism is definitively over! We have a new meta-narrative to guide us. ->>> ->>> We might label this a kind of ?reticular pessimism.? And here I'm taking a cue from the notion of ?Afro-pessimism? in critical race theory. Just as Afro-pessimism refers to the trap in which African-American identity is only ever defined via the fetters of its own historical evolution, reticular pessimism claims, in essence, that there is no escape from the fetters of the network. There is no way to think in, through, or beyond networks except in terms of networks themselves. According to reticular pessimism, responses to networked power are only able to be conceived in terms of other network forms. (And thus to fight Google and the NSA we need ecologies, assemblages, or multiplicities.) ->>> ->>> By offering no alternative to the network form, reticular pessimism is deeply cynical because it forecloses any kind of utopian thinking that might entail an alternative to our many pervasive and invasive networks. ->>> ->>> This is part of the mandate of this book, as I see it: to articulate a logic of being that is not reducible to a metaphysics of exchange, to a metaphysics of the network. This to me is the promise of excommunication: the message that says ?there will be no more messages?; a logic of relation, without the tired, old model of exchange. ->>> ->>> So, yes, strategic withdrawal is at the heart of what interests me most. Some are a bit skeptical about this notion of withdrawal -- often because they see in a negative light as alternatively a surrender monkey position (i give up! i'm outta here!), or a position of privilege (the political equivalent of opening a bank account in the Cayman Islands). But I see it very differently. I see it more as a withdrawal from representation. A structural withdrawal. I see it as a way to conceive of a kind of practical utopia in the here and now. "You don't represent us." "No one is illegal." "I would prefer not to." "We have no demands." Yes I realize utopian thinking is very unfashionable today; that's precisely why we need so much more of it. So perhaps less a bunker mentality and more about the reclaiming of a new experience of life and activity. ->>> ->>> Re: obsolescence of theory -- perhaps it hinges on *which* kind of theory? I don't agree with Latour and the notion that "theory has run out of steam." Marxism, feminism, psycho-analysis -- they all still work great if you ask me. But I do think that a kind of "vulgar 1968" style of theory has run its course. Nancy Fraser has it exactly right: capitalism co-opted many of the demands of '68-style theory. So now we have to reassess and recompile a new kind of theoretical method. Because of this I'm much more interested in a slightly different spin on the theoretical tradition. ->>> ->>> -ag ->>> ->> http://christinamcphee.net ->> ->> ->> ->> -------------- next part -------------- ->> An HTML attachment was scrubbed... ->> URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140511/9ece0c88/attachment-0001.htm> ->> ->> ------------------------------ ->> ->> _______________________________________________ ->> empyre mailing list ->> empyre at lists.cofa.unsw.edu.au ->> http://empyre.library.cornell.edu/ ->> ->> ->> End of empyre Digest, Vol 114, Issue 8 ->> ************************************** -> -> -> -> -- -> Roger F Malina -> Is in France right now -> please contact me by email but -> for very very urgent things phone/text me me -> +33-6-80-45-94-47 -> blog: malina.diatrope.com -> _______________________________________________ -> empyre forum -> empyre at lists.cofa.unsw.edu.au -> http://www.subtle.net/empyre -> - - -Simon Biggs -simon at littlepig.org.uk | @_simonbiggs_ -http://www.littlepig.org.uk | http://amazon.com/author/simonbiggs - -simon.biggs at unisa.edu.au | Professor of Art, University of South Australia -http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs - -s.biggs at ed.ac.uk | Honorary Professor, Edinburgh College of Art, University of Edinburgh -http://www.ed.ac.uk/schools-departments/edinburgh-college-art/school-of-art/staff/staff?person_id=182&cw_xml=profile.php - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140519/810e7e44/attachment.htm> - +Simon 15.0 @@ -8213,10 +5913,155 @@ real of the Anthropocene is not visible -- even though, ironically enough, our collective labor is what produced it. Strange how climate change knowledge is produced by inhuman technical media that are duct tape in origin but put to a blu-tack purpose. tech is always a strange space in -that way. --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140527/a698e4da/attachment.htm> +that way. + + +15.0-p.179 +[Nettime-bold] txt from C-front: Unsubscri +ana peraica +nettime-bold@nettime.org +Tue, 19 Jun 2001 18:44:18 +0200 +*UNSUBSCRIBE! [On Net citizens and the new geography, a sanitation view] +dedicated to Brian, Dalai Lama and Nokia telephones... and my Delete folder + +txt from C-front 2001 (Plovdiv, Bulgaria) + +Ana Peraica + +A friend's three-year-old child was screaming into the toilet bowl, +'graaaandmother, graandmother', while the parents sitting with guests in the +living room were quite shocked, and slightly embarassed. It took them time +to understand that, if a child still in nappies saw that every apartment has +almost the same toilet, and they all have holes, it logically concluded - +they are all connected. And what is connected are not only toilet bowls +[but, sorry for vocabulary but asses, shits, and sewers...]. + +A year ago, during the informal lecture of Andreas Broeckman on Oreste and +Syndicate, a visitor, artist Rod Summers handed me an unpublished +transcribed Robert Fillou speech, 'Eternal Network', dated precisely thirty +years before, and speaking on the same topic. The text [1] spoke +romantically about pre-existing networks, such as solar, biological, and +others in pan-psychic terms of Nature as the One; divine, sublime, +glorious... Then it shifted to the even more primitive religion related +terms, of 'meditation', 'feeling'... a kind of a hippy 'being well with it', +at the same time covering the other part of the phenomenon: its horror +element 'of being included unwillingly', 'being absorbed', 'being small', +'being only a particle imprisoned'. It was not precisely, but nearly a +version of the Shreber's anus-centric version of the solar network [2]. +The speech was actually about the art of mailing, finding reasons for it not +in art history, but within the theory of the Sublime. Established as a +chain, after the death of the author, the network itself unfortunately ended +up in the closed and therefore anti-networked circle of inner mailings, +still active among forty-year-old artists, who were raised on marijuana on +the shores of Maastrircht, or around. + +Humans can only be consumed in networks, as flies can in those of spiders' +webs. And usually they are absorbed without knowing, without giving their +real name. As, for the network the name is less important than the name of the +network itself. The name simply is only a dot that holds the tension of the +link, rope, of the road. + +But after the time of fascination with the Network, with the own program +network, a period of disappointment arrives... As in the net held by many of +them after some time nothing is caught, only the garbage left behind by the +activity of the network itself, its own digestion. Fragile due to holes, +they all intersect, intervene each other, still holding own names. Good and +bad networks; networks in the sky, sewer networks, street networks, spider +networks, networks of the spreading of the pediculum pubis and other veneral +diseases, spamming networks... They morph and become one another. If you are +in the communal network of the city, necessarily you are also in the state +system of communal activities, but also of all countries that direct the +sewers to the sea. + +But, the myth of the Network suddenly ended up in a variety of networks, +rising and falling down. But then, as information flows, each of them at +some period turns into an appendix, a footnote, a chapter of the other, in a +different constellation. + +Why don't you post it on the Syndicate? Did you read that on Nettime? +Meeting with Faces? Well, wasn't it on the Rhizome Raw? X-change, 7-11... +Report! Report! as in the army, the network asks for constant attention, +constant care... It seems that the relation is inevitable. All networks sort +people; into heroes, receptors and locally politically-correct subscribers. +Emancipated e-mail heroes [as a parallel to the toilet network ones Zizek +was writing on] form their own territories, their own enclaves, and then +send their own programs, party posters all around... Other kind of existing +people are passive, not posting, only reading and trying to catch up, use, +find some sense... That is why networks die becoming parties, as +Internacionala did, becoming a sort of 'being politically-correct', being +pre-programmed, and establishing routes that one not only cannot escape, but +must not. Party marriages, party suicides... + +Is there a place for Icarus in Shreber's case? It is obvious on mailing - +event lists: Oreste, Balkania... Once an interesting project, the Balkania +list became one of those devastated territories of paradoxical actions of +commercial advertisement, spamming, petitions etc... Brian, Nokia +telephones,the Dalai Lama on life [2] visit it regularly. The +once-interesting curatorial project Oreste became a closed daily report of +individuals still having time for such a narrative, and posting html +e-mails, and attachments. Digestion... + +The scenario is the same - after exchanging some decent e-mails a list +starts to slowly die and serves as a sub-list of the personal announcement +list, there is no communication, no addressing. Everyone escapes, and +finally - an abandoned list, a heaven from spamming. Collapsed networks, +abandoned mailing lists, territories of the vampire spam artists as Integer, +enjoying the political incorrectness, et.al. But even without being +abandoned... mailing lists are open. Just subscribe and send a 'who' command +to Majordomo that lacks protection, as happened to the McLuhan-list in 1997. +Evacuation from the mailing list seems to be a general move of the networked +society. Who gave you my e-mail address? [Unsubscribe... Please, please +remove me from this list. Stop spamming!!!] + +But a spammed individual net citizen should not be shocked. Wasted contacts, +redundant greetings, are normal in any kind of network, although the +frequency and dimensional problems of the electronic ones only underline the +principle already existing: Networks raise and collapse. They are only +events. Cohesion and dispersion are its phenomena. The absence of the +networked individual from their own 'forced working place' is similar to +Kafka's stories. After only seven days of absence either a computer crashes +or the server... 'Receiving 25 out of 765 e-mail messages'. Subscribe before +the summer holidays, that is the rule, - the server will not survive. In +other days, fortunately Inbox assistants encountered this impossibility: +just adding an e-mail address or the heading of the e-mail if it is a +mailing list can release us from pressing Delete. And those individuals, +always deleted are not noticed ... [or someone says 'You are on my Inbox +assistant Delete from the server list, you are in my address book under the +letter S, I reserved only for the 'Shit people'? 'She told me that if you +call she is not at home.']. + +How to organize the universe of information and not to be killed by it. Some +of the communication and total control freaks fear that something will +happen when they are away and subscribe to the free SMS message solution, +noting the arrival of e-mail. With every e-mail a mobile shakes, beeps, +screams... Nettime, Nettime... Syndicate... Syndicate... +Once, a long, long time ago, people were still saving newspapers even those +bad ones, to wrap the fish, to use when cleaning potatoes, to put in the +summer shoes cleaned up for winter storage. Still then, back on the streets +of peaceful towns where colporters are selling the daily city newspaper... +shouting. [BRIAN. BRIAN. SOLIDARIDAE COOOON BRIAAAAAAAAN! Stop SHOUTING AT +ME. Stop SCREAMING!]. With junk e-mail one can do nothing. But finally, they +do not make such a waste as the plastic bags one gets in every shop as +shopping is about getting rid of the plastic. + +Flash, Delete... Use the Big Network, Nature, a Big toilet. Unsubscribe... + +FOOTNOTES: +[1] latter published in the publication Hype_text ed. by Jean Paul Jacquet +(Academy Jan Van Eyck, Maastricht, 2000) +[2] Freud's Schreber case symptomising, among others, in his attitude that +his ass is inhabited by the sun ['solar anus'] is a classical example of +schizophrenic dellusion. +[3] Brian [Solidaridae con Brian] is a net spam classic, along with: Nokia +telephones, Dalai Lama on life + +LINKS: +Big spam http://www.irational.org/cern +Archives of spams +http://www.eff.org/pub/Net_culture/Folklore/Spam/ +http://pemtropics.mit.edu/~jcho/spam/archive.html +http://www.annexia.org/spam/ +Anti-spam and net.cop tools http://kryten.eng.monash.edu.au/gspam.html @@ -8229,153 +6074,151 @@ URL: <http://lists.cofa.unsw.edu.au/pipermail/empyre/attachments/20140527/a69 In the field, where a group of us is trying to give a political dimension to neighborhood projects, "x" is the point where a person fails to take into account or convey information or act upon a lead (i.e. a gift). The "x" is what turns projects into simple "events". Everyone of my colleagues is tempted by "x". -The locus of "x" shifts from person to person and project to project. Yes, it can be built-into "structures", it can seem anonymous… +The locus of "x" shifts from person to person and project to project. Yes, it can be built-into "structures", it can seem anonymous… If each project's "x" becomes every person's responsibility, we have a crack at political "authority". -Carol-Ann - - - - -Le 28 mai 2014 à 03:01, warkk <warkk at newschool.edu> a écrit : - -> ----------empyre- soft-skinned space---------------------- -> Sorry to come in late. Just done with the end of semester. Have been reading the various empyre threads for the month of May with interest. I won't be able to keep straight who said what, and lists are a sort of smeared authorship anyway. -> -> The space of technology is always both blu-tack and duct tape, both a space of things intentionally created for an instrumental purpose and things hacked out of that intentionality for no purpose, or counter-purposes. Tech is slightly exogenous to the social order. -> -> So i don't see the current state of the tech ensemble that is the net as pervaded by any particular essence. It isn't entirely of militarization, or the commodity form, or whatever. Its not an expressionist totality. We might be losing our toeholds, but that's no reason to start imagining it as bad totality. -> -> Here i don't see how Snowden changes much, other than perhaps clueing in some publics in things that have surely been obvious all along? Surely listserv veterans remember the revelations about Echelon? One only had to follow the evolution of technical capacity from that point to grasp what was feasible. And if a tech is feasible, one should assume the security state already has it. -> -> The Snowden moment happened when I was finishing The Disintegrating Spectacle, and simply confirmed the theses about the state of the state to be found in the late Debord. That (1) the security apparatus had achieved autonomy from a state which had (2) lost its capacity to know and act *historically*. That seems to describe the present quite well. -> -> Its too crude to think that one could simply withdraw from such a situation. That's why in that book i wrote about the tactics of the 'devil's party', which is neither hidden nor transparent, but pursues the tactics of obscure presences, readable by those who need to know. -> -> It is surely the case that the 'network' is at one and the same time *both* a reality and pure ideology. Like the sun, it actually exists, it just lacks the divine powers that its priests would attribute to it. Pointing this out is no great breakthrough, but it seems to be where pop netkritik is at the moment. -> -> So one withdraws from representation, but to what? Are we not here still playing out the tactics of modernism. That may be no bad thing, but here i think there's more continuities than any grand break. Foucault once warned of the dangers of always trying to see oneself as at the fulcrum of history. This is now what counts as ordinary times. -> -> I think i need to point out that for me (can't speak for Alex and Eugene) excommunication is a *structural condition*, not something one chooses. Communication needs to excommunicate in order to communicate. It has to appear to sever the link to those who would take it upon themselves to be their own authority. Authority over what i call xenocommunication, or communication with the absolute. -> -> Excommmunication may now be an everyday thing, maybe a micro thing. The discussion of bots on the net makes me wonder if a spam filter is what excommunication is today. That which decides which communication can be considered authorized. -> -> Where i perhaps part company with Alex and Eugene is that i think there's other paths besides the via negativa. Rather than a non-relation to the absolute, one can have an absolute relation. This is the 'other path' out of correlation signaled by Meillassoux: empirio-criticism, and its descendant, the empirio-monism of Alexander Bogdanov, on whom i am working now. -> -> I think its time to end the attempts by philosophy to control xenocommuncation, the communication to the absolute. Rather, i think media theory is that theory of the reality of media itself, of how media make sensation, not out of nothing, not totally determined by the social or the political or the discursive or whatever. But rather the media that are of interest now are those which render the nonhuman perceptible via an inhuman apparatus. -> -> Here the techniques of climate science might be a good example. Without the satellites and computers of the cold war (those inhuman media) the nonhuman real of the Anthropocene is not visible -- even though, ironically enough, our collective labor is what produced it. Strange how climate change knowledge is produced by inhuman technical media that are duct tape in origin but put to a blu-tack purpose. tech is always a strange space in that way. -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.cofa.unsw.edu.au -> http://www.subtle.net/empyre - - +Carol-Ann 16.0 -Re: Intro -Ken Friedman +February 2013 Theme of the Month: ‘Curating the Network as Artwork’ +Roddy Hunter <new-media-curating@jiscmail.ac.uk> -Tue, 5 Feb 2013 08:08:00 +0000 - -Friends, +Mon, 4 Feb 2013 02:39:36 +0000 +Dear List, -While I plan to return with my own statement, I want to tip my hat to Clive Robertson for his intro. +It is my pleasure to announce the February 2013 Theme of the Month. -This addresses several of the profound challenges in the concept of the Eternal Network, especially as Robert Filliou and George Brecht conceived it. +‘Curating the Network as Artwork’ -Robert ultimately withdrew into the monastic life of Buddhism, dying on a five-year retreat. George withdrew to a nearly monastic life, answering his phone only when someone made an appointment by postcard, and nearly never going out. In theearly 1970s, Dick Higgins suggested that I find a way to make a living outside the art world – I dipped in and out of the art world for some years, but I found a day job that suited me in the 1990s: it suited me so well that I have mostly stayed away from the art world, doing my art privately. The issues involved are quite complex – nearly everyone needs to make a living, so we all do something, and it sometimes touches on art. This is the case for Clive, too. He teaches art and art history to make a living. +In 1968, artists George Brecht and Robert Filliou co-created 'The Eternal Network'. Arguably, this network was itself an artwork and vice versa. Filliou in particular explored how this network-as-artwork could enable collaboration, exchange and dialogue across space and time. More than solely a means of distribution or medium of production, 'The Eternal Network' became for him a conceptual context for ‘permanent creation’ (Filliou 1996). Filliou’s project is one example of many in which artists inhabit networks as systems of communication and exchange (Grundmann 1984; Saper 2001). These networks are attractive to artists as decentralised or distributed environments bypassing institutional curatorial spaces. There is then often a political as well as aesthetic dimension to the attractiveness of networks-as-artworks. This may now, however, be undermined by a dependence of these networks upon the internet which has been argued to be ‘the most material and visible sign of globalisation’ (Manovich 2001, 6). Lovink (2002) has cited the view that the ‘pace [of globalisation] has increased with the advent of new technologies, especially in the area of telecommunications’ and so artists, activists and commercial, corporate players alike have employed online networks in search of their respective ‘utopias’. Lovink elaborates on this irreconcilability later that ‘we need to develop a long-term view on how networked technologies should and should not be embedded in political and cultural practices’. (Lovink 2012, 160) How far has the ‘globalism’ of communication sought by Filliou and others been supplanted by ‘globalisation’ in its neoliberal, doctrinal sense? (Chomsky 1999). Can the network as artwork be effective beyond conceptualisation in material terms? How can we rethink curatorial strategies in respect of the network-as-artwork’s media of production, means of distribution and experience of reception? In short, how can we find ways to curate 'The Eternal Network' after globalisation? -There are several questions I plan to address, dealing with networks and network effects, and globalism as distinct from globalization. Clive is in essence raising aquestion that Robert (Filliou, 2004[1966]: 16) asked in his 1966 manifesto, “A Proposition, a Problem, a Danger, and a Hunch.” Robert called for a “A refusal to be colonized culturally by a selfstyled race of specialists in painting, sculpture, poetry, music, etc....” -You can get it in PDF format at this URL: -http://www.ubu.com/historical/gb/manifestos.pdf +References: +Chomsky, Noam. 1999. Profit Over People: Neoliberalism and Global Order. New York: Seven Stories Press. +Filliou, Robert. 1996. From Political to Poetical Economy. Vancouver: Morris and Helen Belkin Gallery. +Grundmann, Heidi. 1984. Art and Telecommunication. Vancouver: Western Front / Vienna: BLIX +Lovink, Geert. 2002. “A Ramble through Theories of Globalization”. Available at http://geertlovink.org/texts/a-ramble-through-theories-of-globalization/. +Lovink, Geert. 2012. Networks Without a Cause: A Critique of Social Media. Cambridge: Polity. +Manovich, Lev. 2001. The Language of New Media. MIT press. +Saper, Craig J. 2001. Networked Art. St Paul: University of Minnesota Press -But there are many sides to this coin. I don’t know if there is a good answer, or even a happy one. -Clive ran one of the loveliest spaces, projects, and publishing entities in the not-quite-eternal network of the early 1970s, W.O.R.K.S. in Calgary. I’m always amazed at how much more intelligent and free things are when we don’t need to fund them through the governments and governmental systems that require us to become professional artists. This is what leads to the problem that Clive identifies so well: “The network as shared in the early 1970s preceded the formalization of artists spaces that confronted / was confronted itself by network issues. The network itself was open to abuse as an alternative or oppositional disguise for self-promotion but remains I think a very different concept than what often poses now as reforms or improvements to a re-established hierarchical and exclusionary art system.” That, in essence, is the price in a world where professionalization and the submissive role are quite close to the same thing. -My day job turned out to be quite a good thing – I was good at it, and it suited me better than I could have imagined. No life is perfect, but the next best thing to living the life of a monk is working as a scholar and researcher. +Invited respondents are: -Two or three times in the past few days, I have had occasion to think of another Zen monk, Han-Shan (1966: 49), a 9th century Buddhist and poet. I’ll close with his words for now: +Annie Abrahams +Artist who questions the possibilities and the limits of communication in general and more specifically investigates its modes under networked conditions. +http://bram.org/info/aa.htm -When men see Han-shan -They all say he’s crazy -And not much to look at - -Dressed in rags and hides. -They don’t get what I say -And I don’t talk their language. -All I can say to those I meet: -“Try and make it to Cold Mountain.” +Zeigam Azizov +Artist born in Azerbaijan, based in London. Studied art and philosophy in Russia, France and UK. His work addresses the question of cross-circulations of knowledge through images. Exhibitions include Venice Biennale, Tate Modern, Haus der Kunst, München, Grazer Kunstverein, TN Probe, Tokyo, ICA London and Lakeside Kunstraum, Klagenfurt. +http://zeigamazizov.com/ -Ken +Mideo M. Cruz +Cross-disciplinary artist-organizer based in Manila and Southeast Asia. Network projects critiquing globalisation include New World Disorder in addition to performances internationally. +http://www.mideo.tk/ -Ken Friedman, PhD, DSc (hc), FDRS | University Distinguished Professor | Swinburne University of Technology | Melbourne, Australia | [log in to unmask] | Mobile +61 404 830 462 | Home Page http://www.swinburne.edu.au/design/people/Professor-Ken-Friedman-ID22.html<http://www.swinburne.edu.au/design> +Barnaby Dicker +Artist-filmmaker, researcher, lecturer and curator. He holds a doctorate in experimental stop-frame cinematography and teaches on BA Film Production at University for the Creative Arts, Farnham and the Royal College of Art, London. He is a founder member of Art’s Birthday Wales, which annually celebrates Robert Filliou’s fifty year-old proposition. +http://artsbirthdaywales.tumblr.com -Guest Professor | College of Design and Innovation | Tongji University | Shanghai, China +Ken Friedman +University Distinguished Professor at Swinburne University in Melbourne, Australia. Since 1966, Friedman has been active in Fluxus. Theory, Culture, and Society recently published Friedman's reflections on Fluxus at the 50-year mark. The full text is available free at: http://tcs.sagepub.com/content/29/7-8/372 --- +Marc Garrett +Artist, curator, writer, activist, educator and musician. Co-Founder & Co-Director, Furtherfield, London and currently doctoral researcher in Art, Technology and Social Change at Birkbeck, University of London. +http://www.furtherfield.org/user/marc-garrett -References +Ingo Günther +Artist and journalist based in New York. Studied Ethnology and Cultural Anthropology in Frankfurt, graduated from Kunstakademie Düsseldorf. Founded Eastern Europe's first public access non-commercial TV station. The social geography project Worldprocessor is now in its 24th year. +http://ingogunther.com -Filliou, Robert. 1966. “A Proposition, a Problem, a Danger, and a Hunch.” Manifestoes. New York: Something Else Press, p. 16. [Reprinted 2004.] Free digital copy available at Ubu Classics URL: http://www.ubu.com/historical/gb/index.html Accessed 5 February 2013. +Iliyana Nedkova +Curator and writer. Creative Director (Contemporary Art) at Horsecross, Perth and Research Curator at CCA, Glasgow +http://www.horsecross.co.uk/about/threshold-artspace -Han-Shan. 1966. Cold Mountain Poems. Translated by Gary Snyder. In Riprap and Cold MountainPoems. San Francisco: Four Seasons Foundation. +Helen Pritchard +Artist and researcher exploring ideas of co-research, co-production and co-operation. Currently doctoral researcher at 'HighWire', Lancaster University and visiting researcher at City University, Hong Kong. +http://www.helenpritchard.info + +Clive Robertson +Performance and media artist, curator and critic teaching art history, performance and cultural studies at Queen's University, Kingston, Canada. +http://www.queensu.ca/art/arthistory/faculty/cRobertson.html + +Scott Watson +Head and Professor of Art History, Visual Art and Theory and Director/Curator of the Morris and Helen Belkin Art Gallery at the University of British Columbia, Vancouver. +http://www.ahva.ubc.ca/facultyIntroDisplay.cfm?InstrID=19&FacultyID=1 + +Looking forward to a good conversation, + +Best wishes + +Roddy + + +16.0-p.179 +[Nettime-bold] commentary on Unsubscribe tex +anna balint +nettime-bold@nettime.org +Tue, 19 Jun 2001 23:45:58 +0200 +Robert Filliou published together with George Brecht the Eternal Network +text in 1968 as a project of the La Cédille qui sourit. +Since than it was many times published, and circulated as manuscript as +well. He coined many other largely known terms such as Poetical Economy, +Fete Permanente, Création Permanente, still largely circulating. 'Snail mail +goes on the web' - that was the slogan of mail artists already in the early +nineties, and accordingly most of them migrated on the net. Maybe some +mailing lists hold discussions about irrelevant questions, but Filliou's +network seems to be eternal. +Anna Balint 16.1 Re: Intro Ken Friedman <new-media-curating@jiscmail.ac.uk> -Tue, 5 Feb 2013 08:10:04 +0000 - -Friends, +Tue, 5 Feb 2013 08:08:00 +0000 +Friends, While I plan to return with my own statement, I want to tip my hat to Clive Robertson for his intro. This addresses several of the profound challenges in the concept of the Eternal Network, especially as Robert Filliou and George Brecht conceived it. -Robert ultimately withdrew into the monastic life of Buddhism, dying on a five-year retreat. George withdrew to a nearly monastic life, answering his phone only when someone made an appointment by postcard, and nearly never going out. In theearly 1970s, Dick Higgins suggested that I find a way to make a living outside the art world – I dipped in and out of the art world for some years, but I found a day job that suited me in the 1990s: it suited me so well that I have mostly stayed away from the art world, doing my art privately. The issues involved are quite complex – nearly everyone needs to make a living, so we all do something, and it sometimes touches on art. This is the case for Clive, too. He teaches art and art history to make a living. +Robert ultimately withdrew into the monastic life of Buddhism, dying on a five-year retreat. George withdrew to a nearly monastic life, answering his phone only when someone made an appointment by postcard, and nearly never going out. In theearly 1970s, Dick Higgins suggested that I find a way to make a living outside the art world – I dipped in and out of the art world for some years, but I found a day job that suited me in the 1990s: it suited me so well that I have mostly stayed away from the art world, doing my art privately. The issues involved are quite complex – nearly everyone needs to make a living, so we all do something, and it sometimes touches on art. This is the case for Clive, too. He teaches art and art history to make a living. -There are several questions I plan to address, dealing with networks and network effects, and globalism as distinct from globalization. Clive is in essence raising aquestion that Robert (Filliou, 2004[1966]: 16) asked in his 1966 manifesto, “A Proposition, a Problem, a Danger, and a Hunch.” Robert called for a “A refusal to be colonized culturally by a selfstyled race of specialists in painting, sculpture, poetry, music, etc....” +There are several questions I plan to address, dealing with networks and network effects, and globalism as distinct from globalization. Clive is in essence raising aquestion that Robert (Filliou, 2004[1966]: 16) asked in his 1966 manifesto, “A Proposition, a Problem, a Danger, and a Hunch.” Robert called for a “A refusal to be colonized culturally by a selfstyled race of specialists in painting, sculpture, poetry, music, etc....” You can get it in PDF format at this URL: http://www.ubu.com/historical/gb/manifestos.pdf -But there are many sides to this coin. I don’t know if there is a good answer, or even a happy one. +But there are many sides to this coin. I don’t know if there is a good answer, or even a happy one. -Clive ran one of the loveliest spaces, projects, and publishing entities in the not-quite-eternal network of the early 1970s, W.O.R.K.S. in Calgary. I’m always amazed at how much more intelligent and free things are when we don’t need to fund them through the governments and governmental systems that require us to become professional artists. This is what leads to the problem that Clive identifies so well: “The network as shared in the early 1970s preceded the formalization of artists spaces that confronted / was confronted itself by network issues. The network itself was open to abuse as an alternative or oppositional disguise for self-promotion but remains I think a very different concept than what often poses now as reforms or improvements to a re-established hierarchical and exclusionary art system.” That, in essence, is the price in a world where professionalization and the submissive role are quite close to the same thing. +Clive ran one of the loveliest spaces, projects, and publishing entities in the not-quite-eternal network of the early 1970s, W.O.R.K.S. in Calgary. I’m always amazed at how much more intelligent and free things are when we don’t need to fund them through the governments and governmental systems that require us to become professional artists. This is what leads to the problem that Clive identifies so well: “The network as shared in the early 1970s preceded the formalization of artists spaces that confronted / was confronted itself by network issues. The network itself was open to abuse as an alternative or oppositional disguise for self-promotion but remains I think a very different concept than what often poses now as reforms or improvements to a re-established hierarchical and exclusionary art system.” That, in essence, is the price in a world where professionalization and the submissive role are quite close to the same thing. -My day job turned out to be quite a good thing – I was good at it, and it suited me better than I could have imagined. No life is perfect, but the next best thing to living the life of a monk is working as a scholar and researcher. +My day job turned out to be quite a good thing – I was good at it, and it suited me better than I could have imagined. No life is perfect, but the next best thing to living the life of a monk is working as a scholar and researcher. -Two or three times in the past few days, I have had occasion to think of another Zen monk, Han-Shan (1966: 49), a 9th century Buddhist and poet. I’ll close with his words for now: +Two or three times in the past few days, I have had occasion to think of another Zen monk, Han-Shan (1966: 49), a 9th century Buddhist and poet. I’ll close with his words for now: When men see Han-shan -They all say he’s crazy +They all say he’s crazy And not much to look at - Dressed in rags and hides. -They don’t get what I say -And I don’t talk their language. +They don’t get what I say +And I don’t talk their language. All I can say to those I meet: -“Try and make it to Cold Mountain.” +“Try and make it to Cold Mountain.” Ken -Ken Friedman, PhD, DSc (hc), FDRS | University Distinguished Professor | Swinburne University of Technology | Melbourne, Australia | [log in to unmask]<mailto:[log in to unmask]> | Mobile +61 404 830 462 | Home Page http://www.swinburne.edu.au/design/people/Professor-Ken-Friedman-ID22.html<http://www.swinburne.edu.au/design> - -Guest Professor | College of Design and Innovation | Tongji University | Shanghai, China - -- References -Filliou, Robert. 1966. “A Proposition, a Problem, a Danger, and a Hunch.” Manifestoes. New York: Something Else Press, p. 16. [Reprinted 2004.] Free digital copy available at Ubu Classics URL: http://www.ubu.com/historical/gb/index.html Accessed 5 February 2013. +Filliou, Robert. 1966. “A Proposition, a Problem, a Danger, and a Hunch.” Manifestoes. New York: Something Else Press, p. 16. [Reprinted 2004.] Free digital copy available at Ubu Classics URL: http://www.ubu.com/historical/gb/index.html Accessed 5 February 2013. Han-Shan. 1966. Cold Mountain Poems. Translated by Gary Snyder. In Riprap and Cold MountainPoems. San Francisco: Four Seasons Foundation. @@ -8385,8 +6228,7 @@ Han-Shan. 1966. Cold Mountain Poems. Translated by Gary Snyder. In Riprap and Co Dorothee Richter <new-media-curating@jiscmail.ac.uk> Tue, 5 Feb 2013 08:35:57 +0000 - -Dear Friends and Colleagues, +Dear Friends and Colleagues, I have published my dissertation on Fluxus recently (Fluxus! Art and Life? Mythes about Authorship, Production, Gender and Communitiy.--- Fluxus. Kunst gleich Leben Mythen um Aturoschaft, Produktion, Geschelcht und @@ -8402,116 +6244,7 @@ The film premier will be at Staatsgalerie Stuttgart at 13th of April. We will also put up a website, (everything is always later as one plans) and we would be very very happy to show it elsewhere. So- I totally agree with Ken to see Fluxus as a network (and as a battleground),the Film is in -English; a collage of some sort; Best, Dorothee - --- -Dr. Dorothee Richter - -Head of Postgraduate Program in Curating -Institute Cultural Studies in the Arts -Zurich University of the Arts -Hafnerstr. 31 -8005 Zürich - -www.curating.org study program -www.on-curating.org webjournal -www.curatingdegreezero.org archive - - - - -Am 05.02.13 09:08 schrieb "Ken Friedman" unter <[log in to unmask]>: - ->Friends, -> ->While I plan to return with my own statement, I want to tip my hat to ->Clive Robertson for his intro. -> ->This addresses several of the profound challenges in the concept of the ->Eternal Network, especially as Robert Filliou and George Brecht conceived ->it. -> ->Robert ultimately withdrew into the monastic life of Buddhism, dying on a ->five-year retreat. George withdrew to a nearly monastic life, answering ->his phone only when someone made an appointment by postcard, and nearly ->never going out. In theearly 1970s, Dick Higgins suggested that I find a ->way to make a living outside the art world ­ I dipped in and out of the ->art world for some years, but I found a day job that suited me in the ->1990s: it suited me so well that I have mostly stayed away from the art ->world, doing my art privately. The issues involved are quite complex ­ ->nearly everyone needs to make a living, so we all do something, and it ->sometimes touches on art. This is the case for Clive, too. He teaches art ->and art history to make a living. -> ->There are several questions I plan to address, dealing with networks and ->network effects, and globalism as distinct from globalization. Clive is ->in essence raising aquestion that Robert (Filliou, 2004[1966]: 16) asked ->in his 1966 manifesto, ³A Proposition, a Problem, a Danger, and a Hunch.² ->Robert called for a ³A refusal to be colonized culturally by a selfstyled ->race of specialists in painting, sculpture, poetry, music, etc....² -> ->You can get it in PDF format at this URL: -> ->http://www.ubu.com/historical/gb/manifestos.pdf -> ->But there are many sides to this coin. I don¹t know if there is a good ->answer, or even a happy one. -> ->Clive ran one of the loveliest spaces, projects, and publishing entities ->in the not-quite-eternal network of the early 1970s, W.O.R.K.S. in ->Calgary. I¹m always amazed at how much more intelligent and free things ->are when we don¹t need to fund them through the governments and ->governmental systems that require us to become professional artists. This ->is what leads to the problem that Clive identifies so well: ³The network ->as shared in the early 1970s preceded the formalization of artists spaces ->that confronted / was confronted itself by network issues. The network ->itself was open to abuse as an alternative or oppositional disguise for ->self-promotion but remains I think a very different concept than what ->often poses now as reforms or improvements to a re-established ->hierarchical and exclusionary art system.² That, in essence, is the price ->in a world where professionalization and the submissive role are quite ->close to the same thing. -> ->My day job turned out to be quite a good thing ­ I was good at it, and it ->suited me better than I could have imagined. No life is perfect, but the ->next best thing to living the life of a monk is working as a scholar and ->researcher. -> ->Two or three times in the past few days, I have had occasion to think of ->another Zen monk, Han-Shan (1966: 49), a 9th century Buddhist and poet. ->I¹ll close with his words for now: -> ->When men see Han-shan ->They all say he¹s crazy ->And not much to look at - ->Dressed in rags and hides. ->They don¹t get what I say ->And I don¹t talk their language. ->All I can say to those I meet: ->³Try and make it to Cold Mountain.² -> ->Ken -> ->Ken Friedman, PhD, DSc (hc), FDRS | University Distinguished Professor | ->Swinburne University of Technology | Melbourne, Australia | ->[log in to unmask] | Mobile +61 404 830 462 | Home Page ->http://www.swinburne.edu.au/design/people/Professor-Ken-Friedman-ID22.html -><http://www.swinburne.edu.au/design> -> ->Guest Professor | College of Design and Innovation | Tongji University | ->Shanghai, China -> ->-- -> ->References -> ->Filliou, Robert. 1966. ³A Proposition, a Problem, a Danger, and a Hunch.² ->Manifestoes. New York: Something Else Press, p. 16. [Reprinted 2004.] ->Free digital copy available at Ubu Classics URL: ->http://www.ubu.com/historical/gb/index.html Accessed 5 February 2013. -> ->Han-Shan. 1966. Cold Mountain Poems. Translated by Gary Snyder. In Riprap ->and Cold MountainPoems. San Francisco: Four Seasons Foundation. +English; a collage of some sort; Best, Dorothee 16.3 @@ -8519,8 +6252,7 @@ Am 05.02.13 09:08 schrieb "Ken Friedman" unter <[log in to unmask]>: marc garrett <new-media-curating@jiscmail.ac.uk> Tue, 5 Feb 2013 10:39:30 +0000 - -Hi all, +Hi all, Firstly, I wish thank Roddy for inviting me to share ideas and (possible) revelations with others on the Crumb list. @@ -8535,24 +6267,24 @@ street art, hacking in the late 80s/early 90s - analogue, networked and urban. All the things I do are driven by the idea or spirit of initiating some form of 'self & peer' emancipation. Whether this relates to co-curating at the Furtherfield space, our online communities, or our -media ecology projects and more… +media ecology projects and more… Here is a short intro from my recent paper called 'Disrupting The Gaze. Part 1: Art Intervention and the Tate Gallery.' -“The word “art” can conjure up a vision of objects in an art gallery, +“The word “art” can conjure up a vision of objects in an art gallery, showroom or museum, that can be perceived as reinforcing the values and machinations of the victors of history as leisure objects for elite entertainment, distraction and/or decoration - or the narcissistic -expression of an isolated self-regarding individual.” [1] (Garrett & +expression of an isolated self-regarding individual.” [1] (Garrett & Catlow 2012) We live in a world riddled with contradictions and confusing signals. Our histories are assessed, judged and introduced as fact yet there are so many bits missing. We accept what is given through sound bite forms of mediation and end up using misinformation as our cultural -foundations, and then we build on these ‘acquired’ assumptions as our -‘imagined’ guidelines. This critique studies how contemporary artists +foundations, and then we build on these ‘acquired’ assumptions as our +‘imagined’ guidelines. This critique studies how contemporary artists are challenging these defaults through their connected enactments and critical inquiries of the existing conditions. It highlights a continual dialogue involving a historical struggle between what is condoned as @@ -8564,68 +6296,68 @@ neoliberalism and its dominance. The Tate gallery is used as a reference point and a site of focus for these various historical and contemporary, political and societal conflicts. -The artists’ and art groups featured, such as Graham Harwood, Platform, +The artists’ and art groups featured, such as Graham Harwood, Platform, IOCOSE, Tamiko Thiel, and Mark Wallinger; has each delivered a particular (unofficial and official) mode of art intervention at the Tate Gallery. Whether these artistic activities concern economic, ecological, historical, political or hierarchical conditions, they all connect in different ways. They meet, not through style or as part of a field of practice, but as contemporary artistic practitioners exploring -their own states of agency in a world where our ‘public’ interfaces are +their own states of agency in a world where our ‘public’ interfaces are as much a necessary place of creative engagement, as is the already -accepted physical ‘inner’ sanctum of the gallery space. However, their +accepted physical ‘inner’ sanctum of the gallery space. However, their work has become equally significant (perhaps even more) than, the -mainstream art establishment’s franchised celebrities. +mainstream art establishment’s franchised celebrities. -In keeping with Gregory Sholette’s recently, published vindication for -those artists hidden away where the art establishment’s light rarely -shines, “when, the excluded are made visible, when they demand +In keeping with Gregory Sholette’s recently, published vindication for +those artists hidden away where the art establishment’s light rarely +shines, “when, the excluded are made visible, when they demand visibility, it is always ultimately a matter of politics and rethinking -history.” [2] (Sholette 2011) This paper draws upon a wider, +history.” [2] (Sholette 2011) This paper draws upon a wider, contemporary art culture and audience existing out there. Yet, the artistic discoveries and discourse coming out of this independent art culture, is not reflected back to us. Instead, we receive more of the same, marketed franchises. The central, mainstream version of contemporary art has found its allies within a global and corporate -culture, where business dictate’s art value. However, there is a spirit +culture, where business dictate’s art value. However, there is a spirit of artistic emancipation that exists and is thriving out there. It is self styled, self governed and liberated from the restrictive norms that dominate our mediated gaze, and this is what this paper is mainly about. -end of intro… +end of intro… -extract from paper… +extract from paper… "Institutions are in themselves sacred. If you challenge what is sacred -you not only question the institution’s posture, but also what it +you not only question the institution’s posture, but also what it symbolizes to all those who receive the benefits of its reputed position of authority. Power is also sacred, and myths are bound up in procedures -and presentations engaging in the currency of cultural ‘importance’. The -Tate’s power comes from accumulation; its success is in managing and +and presentations engaging in the currency of cultural ‘importance’. The +Tate’s power comes from accumulation; its success is in managing and maintaining its vast collection of pictorial and sculptural objects for all to see. This is why the institution is cherished and seen as significant, culturally and nationally. From its collection it presents -a ‘finely tuned’ version of Britain’s ‘artistic’ identity. The Tate is +a ‘finely tuned’ version of Britain’s ‘artistic’ identity. The Tate is the protector of collected, artistic memories and an ambassador of history and time, our history and time. The psychoanalyst, O. Brown -insightfully describes this endeavour as archaic, “Archaic man conquers -death by living the life of his dead ancestors.”[16] (O. Brown 1959). -The safeguarding of this ‘curated’ history fashions a situation where we -are asked to trust its status as ‘specialized’, in issuing forth a +insightfully describes this endeavour as archaic, “Archaic man conquers +death by living the life of his dead ancestors.”[16] (O. Brown 1959). +The safeguarding of this ‘curated’ history fashions a situation where we +are asked to trust its status as ‘specialized’, in issuing forth a viable definition of our national, artistic past. This power presents us with other implications. Because historical and cultural weight is given -to the ‘managed’ entities within its collection - our gaze for +to the ‘managed’ entities within its collection - our gaze for lesser-known artists is diverted with an added presumption they are also not as significant. The prevailing ideological governance of what is seen, determines our perceptions of what is of cultural value and significance, due to what is produced as visible and invisible. What is visible through the gaze of the dominant hegemony is then assumed as -merit for ‘special’ attention, lessening the cultural presence of +merit for ‘special’ attention, lessening the cultural presence of emergent forms of consciousness and more diverse, artistic pursuits." References. -[1] By Marc Garrett, Ruth Catlow. DIWO: Do It With Others – No Ecology +[1] By Marc Garrett, Ruth Catlow. DIWO: Do It With Others – No Ecology without Social Ecology. First published in Remediating the Social 2012. Editor: Simon Biggs University of Edinburgh. Pages 69-74 @@ -8639,39 +6371,15 @@ of History. Second Edition. Wesleyan University Press. 1959. Page 285. wishing all well. -marc - --- ----> - -A living - breathing - thriving networked neighbourhood - -proud of free culture - claiming it with others ;) - -Other reviews,articles,interviews -http://www.furtherfield.org/reviews.php - -Furtherfield – online arts community, platforms for creating, viewing, -discussing and learning about experimental practices at the -intersections of art, technology and social change. -http://www.furtherfield.org - -Furtherfield Gallery – Finsbury Park (London). -http://www.furtherfield.org/gallery - -Netbehaviour - Networked Artists List Community. -http://www.netbehaviour.org - -http://identi.ca/furtherfield -http://twitter.com/furtherfield +marc 17.0 -Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ +Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ Randall Packer <new-media-curating@jiscmail.ac.uk> Tue, 5 Feb 2013 16:59:35 -0500 - -I was very interested in Roddy's reference to Robert Filliou's notion of +I was very interested in Roddy's reference to Robert Filliou's notion of 'permanent creation,' which came up recently in an essay by Janet Sarbanes: "The Poiegg and the Mickeymaushaus: Peedagogy and Spatial Practice at the California Institute of the Arts." In this essay, Sarbanes @@ -8710,232 +6418,100 @@ and technologically. I would be interested in related work in this area. -Randall +Randall + + +17.0-p.180 +[Nettime-bold] RE: commentary on Unsubscribe tex +anna balint +nettime-bold@nettime.org +Thu, 21 Jun 2001 17:35:24 +0200 +'Il n'ya plus de centre de l'art.Chaque artiste doit se considérer comme +faisant +partie d'un réseau' Robert Filliou - Eternal Network -On 2/3/13 9:39 PM, "Roddy Hunter" <[log in to unmask]> wrote: +Dear Ana, folks, auto replyer, ->Dear List, -> ->It is my pleasure to announce the February 2013 Theme of the Month. -> ->ŒCurating the Network as Artwork¹ -> ->In 1968, artists George Brecht and Robert Filliou co-created 'The Eternal ->Network'. Arguably, this network was itself an artwork and vice versa. ->Filliou in particular explored how this network-as-artwork could enable ->collaboration, exchange and dialogue across space and time. More than ->solely a means of distribution or medium of production, 'The Eternal ->Network' became for him a conceptual context for Œpermanent creation¹ ->(Filliou 1996). Filliou¹s project is one example of many in which artists ->inhabit networks as systems of communication and exchange (Grundmann ->1984; Saper 2001). These networks are attractive to artists as ->decentralised or distributed environments bypassing institutional ->curatorial spaces. There is then often a political as well as aesthetic ->dimension to the attractiveness of networks-as-artworks. This may now, ->however, be undermined by a dependence of these networks upon the ->internet which has been argued to be Œthe most material and visible sign ->of globalisation¹ (Manovich 2001, 6). Lovink (2002) has cited the view ->that the Œpace [of globalisation] has increased with the advent of new ->technologies, especially in the area of telecommunications¹ and so ->artists, activists and commercial, corporate players alike have employed ->online networks in search of their respective Œutopias¹. Lovink ->elaborates on this irreconcilability later that Œwe need to develop a ->long-term view on how networked technologies should and should not be ->embedded in political and cultural practices¹. (Lovink 2012, 160) How far ->has the Œglobalism¹ of communication sought by Filliou and others been ->supplanted by Œglobalisation¹ in its neoliberal, doctrinal sense? ->(Chomsky 1999). Can the network as artwork be effective beyond ->conceptualisation in material terms? How can we rethink curatorial ->strategies in respect of the network-as-artwork¹s media of production, ->means of distribution and experience of reception? In short, how can we ->find ways to curate 'The Eternal Network' after globalisation? -> ->References: ->Chomsky, Noam. 1999. Profit Over People: Neoliberalism and Global Order. ->New York: Seven Stories Press. ->Filliou, Robert. 1996. From Political to Poetical Economy. Vancouver: ->Morris and Helen Belkin Gallery. ->Grundmann, Heidi. 1984. Art and Telecommunication. Vancouver: Western ->Front / Vienna: BLIX ->Lovink, Geert. 2002. ³A Ramble through Theories of Globalization². ->Available at ->http://geertlovink.org/texts/a-ramble-through-theories-of-globalization/. ->Lovink, Geert. 2012. Networks Without a Cause: A Critique of Social ->Media. Cambridge: Polity. ->Manovich, Lev. 2001. The Language of New Media. MIT press. ->Saper, Craig J. 2001. Networked Art. St Paul: University of Minnesota ->Press -> ->Invited respondents are: -> ->Annie Abrahams ->Artist who questions the possibilities and the limits of communication in ->general and more specifically investigates its modes under networked ->conditions. ->http://bram.org/info/aa.htm -> ->Zeigam Azizov ->Artist born in Azerbaijan, based in London. Studied art and philosophy in ->Russia, France and UK. His work addresses the question of ->cross-circulations of knowledge through images. Exhibitions include ->Venice Biennale, Tate Modern, Haus der Kunst, München, Grazer ->Kunstverein, TN Probe, Tokyo, ICA London and Lakeside Kunstraum, ->Klagenfurt. ->http://zeigamazizov.com/ -> ->Mideo M. Cruz ->Cross-disciplinary artist-organizer based in Manila and Southeast Asia. ->Network projects critiquing globalisation include New World Disorder in ->addition to performances internationally. ->http://www.mideo.tk/ -> ->Barnaby Dicker ->Artist-filmmaker, researcher, lecturer and curator. He holds a doctorate ->in experimental stop-frame cinematography and teaches on BA Film ->Production at University for the Creative Arts, Farnham and the Royal ->College of Art, London. He is a founder member of Art¹s Birthday Wales, ->which annually celebrates Robert Filliou¹s fifty year-old proposition. ->http://artsbirthdaywales.tumblr.com -> ->Ken Friedman ->University Distinguished Professor at Swinburne University in Melbourne, ->Australia. Since 1966, Friedman has been active in Fluxus. Theory, ->Culture, and Society recently published Friedman's reflections on Fluxus ->at the 50-year mark. The full text is available free at: ->http://tcs.sagepub.com/content/29/7-8/372 -> ->Marc Garrett ->Artist, curator, writer, activist, educator and musician. Co-Founder & ->Co-Director, Furtherfield, London and currently doctoral researcher in ->Art, Technology and Social Change at Birkbeck, University of London. ->http://www.furtherfield.org/user/marc-garrett -> ->Ingo Günther ->Artist and journalist based in New York. Studied Ethnology and Cultural ->Anthropology in Frankfurt, graduated from Kunstakademie Düsseldorf. ->Founded Eastern Europe's first public access non-commercial TV station. ->The social geography project Worldprocessor is now in its 24th year. ->http://ingogunther.com -> ->Iliyana Nedkova ->Curator and writer. Creative Director (Contemporary Art) at Horsecross, ->Perth and Research Curator at CCA, Glasgow ->http://www.horsecross.co.uk/about/threshold-artspace -> ->Helen Pritchard ->Artist and researcher exploring ideas of co-research, co-production and ->co-operation. Currently doctoral researcher at 'HighWire', Lancaster ->University and visiting researcher at City University, Hong Kong. ->http://www.helenpritchard.info -> ->Clive Robertson ->Performance and media artist, curator and critic teaching art history, ->performance and cultural studies at Queen's University, Kingston, Canada. ->http://www.queensu.ca/art/arthistory/faculty/cRobertson.html -> ->Scott Watson ->Head and Professor of Art History, Visual Art and Theory and ->Director/Curator of the Morris and Helen Belkin Art Gallery at the ->University of British Columbia, Vancouver. ->http://www.ahva.ubc.ca/facultyIntroDisplay.cfm?InstrID=19&FacultyID=1 -> ->Looking forward to a good conversation, -> ->Best wishes -> ->Roddy -> ->CRUMB Profile: http://tinyurl.com/cm5t3bp +One of the fantastic aspects of the net is the immediate accesibility to the +texts, +sources, works, people. One minute search on the web is enough to +acknowledge the context of a text, and find out that the Eternal Network text was +published. One more minute is enough to overcome the impression that mail +art circles were ever closed. For people with theoretical interest in +mailing lists, networks, netart - the net will probably be a minimum +reference. + +Unfortunately I did not find your text in the nettime archives, as it is +very raw and inefficiently organised. Contrary to such net archives, mail +art archives already developed archiving, filtering strategies, and methods +for organise information. + +Art and media concerned BBSs, mailing lists owe a lot to the correspondence +networks and movements, even the mailing list technique was developed in +mail art circles, it goes back to the newsletter of Dick Higgins and the +New York Correspondence School of Ray Johnson. Besides technical aspects, on +the content level even nettime reproduced and interfered with many of the +mail art and fluxus phenomena - intermedia, collaborative work, the +multiples, the anticopyright movement, much of the netart, media art, visual +poetry, copy art, censorship questions, radio art, sound poetry, fanzines, +video art, computer art, alternative music, alternative galleries, museums, +comes from the correspondence art and fluxus. + +When about bulky correspondence art materials, many theories and concepts +cover them very well, mail art theories in the first place, but the library +of Borges as well, some notions of Flusser, the palimpsest (of Hakim Bay as +well), heteroglossic forms of Michael Bakhtin - his theory of reverse +culture covers your original text as well - hypertext, and so on. +When about legacy of ideas, would it be a coincidence that one of the +moderators of this list comes form the American Fluxus circles, the other +from the Advancement for the Illegal Knowledge group, the third close to the +Marshall MacLuhan heritage - connected with Fluxus, as Marshall MacLuhan was +first published by Something Else Press? + +The concepts, theories, practices and attitudes of the correspondence art +infiltrated not only mailing lists, but contemporary art practices - the +call for artworks and papers for instance, its morality, its rules. The +idea, the illegal knowledge which circulated through postal network on a +global level became much more known and legitimate on a larger scale due to +the net. Though many things originating in the correspondence art became +more visible, some still wait to be discovered. Topics, methods as well. For +instance correspondence artists adored trash, crab and junk, they very much +explored and recycled it. + +When about empty places in mailing lists, the squatters logic works, what's +wrong in that? That logic brought up alternative spaces, alternative radios, +alternative tv's, alternative art, alternative idea. Nokia is a spammer? +Great! We found out! The Dalai Lama is spamming? Good that somebody reminds +me the question of who the Dalai Lama is! Integer was banned from the +syndicate, nettime, rhizome and infowar list at the same time? First of all +we all learn that these lists were connected, their moderators control (too +much) and they lack humour. Her messages are overwhelming? Did we know +before that messages can mix private and public, did we know so much about +private and public feed-back, did we question content, language, filtering +before? Didn't we learn something about hidden and visible aspects of the +email? Did some mailing lists die out? Great! New ones come, and we will +find out what is eternal. + +There is already much said about spatiality of the net, many people explore +utopia and atopia, virtual space, spatiality in general. Much less is +discussed the notion of temporality, though some artists, theoreticians +already struggle with this concept. At this moment my personal time +perceiving is very much determined by the commercial s/censors of +net-works, as the Hungarian Telecomunication Company lets me to work in the +night with less costs. Robert Filliou did not wait the raise of the +internet to formulate his theories, maybe we still need time, to properly +understand his notion of time with the help of the new medium. Eternity is a +religious notion? Which concept is not? +bests regards, +Anna Balint 17.1 -February 2013 Theme of the Month: ‘Curating the Network as Artwork’ -Roddy Hunter -<new-media-curating@jiscmail.ac.uk> -Mon, 4 Feb 2013 02:39:36 +0000 - -Dear List, - -It is my pleasure to announce the February 2013 Theme of the Month. - -‘Curating the Network as Artwork’ - -In 1968, artists George Brecht and Robert Filliou co-created 'The Eternal Network'. Arguably, this network was itself an artwork and vice versa. Filliou in particular explored how this network-as-artwork could enable collaboration, exchange and dialogue across space and time. More than solely a means of distribution or medium of production, 'The Eternal Network' became for him a conceptual context for ‘permanent creation’ (Filliou 1996). Filliou’s project is one example of many in which artists inhabit networks as systems of communication and exchange (Grundmann 1984; Saper 2001). These networks are attractive to artists as decentralised or distributed environments bypassing institutional curatorial spaces. There is then often a political as well as aesthetic dimension to the attractiveness of networks-as-artworks. This may now, however, be undermined by a dependence of these networks upon the internet which has been argued to be ‘the most material and visible sign of globalisation’ (Manovich 2001, 6). Lovink (2002) has cited the view that the ‘pace [of globalisation] has increased with the advent of new technologies, especially in the area of telecommunications’ and so artists, activists and commercial, corporate players alike have employed online networks in search of their respective ‘utopias’. Lovink elaborates on this irreconcilability later that ‘we need to develop a long-term view on how networked technologies should and should not be embedded in political and cultural practices’. (Lovink 2012, 160) How far has the ‘globalism’ of communication sought by Filliou and others been supplanted by ‘globalisation’ in its neoliberal, doctrinal sense? (Chomsky 1999). Can the network as artwork be effective beyond conceptualisation in material terms? How can we rethink curatorial strategies in respect of the network-as-artwork’s media of production, means of distribution and experience of reception? In short, how can we find ways to curate 'The Eternal Network' after globalisation? - - - -References: -Chomsky, Noam. 1999. Profit Over People: Neoliberalism and Global Order. New York: Seven Stories Press. -Filliou, Robert. 1996. From Political to Poetical Economy. Vancouver: Morris and Helen Belkin Gallery. -Grundmann, Heidi. 1984. Art and Telecommunication. Vancouver: Western Front / Vienna: BLIX -Lovink, Geert. 2002. “A Ramble through Theories of Globalization”. Available at http://geertlovink.org/texts/a-ramble-through-theories-of-globalization/. -Lovink, Geert. 2012. Networks Without a Cause: A Critique of Social Media. Cambridge: Polity. -Manovich, Lev. 2001. The Language of New Media. MIT press. -Saper, Craig J. 2001. Networked Art. St Paul: University of Minnesota Press - - - -Invited respondents are: - -Annie Abrahams -Artist who questions the possibilities and the limits of communication in general and more specifically investigates its modes under networked conditions. -http://bram.org/info/aa.htm - -Zeigam Azizov -Artist born in Azerbaijan, based in London. Studied art and philosophy in Russia, France and UK. His work addresses the question of cross-circulations of knowledge through images. Exhibitions include Venice Biennale, Tate Modern, Haus der Kunst, München, Grazer Kunstverein, TN Probe, Tokyo, ICA London and Lakeside Kunstraum, Klagenfurt. -http://zeigamazizov.com/ - -Mideo M. Cruz -Cross-disciplinary artist-organizer based in Manila and Southeast Asia. Network projects critiquing globalisation include New World Disorder in addition to performances internationally. -http://www.mideo.tk/ - -Barnaby Dicker -Artist-filmmaker, researcher, lecturer and curator. He holds a doctorate in experimental stop-frame cinematography and teaches on BA Film Production at University for the Creative Arts, Farnham and the Royal College of Art, London. He is a founder member of Art’s Birthday Wales, which annually celebrates Robert Filliou’s fifty year-old proposition. -http://artsbirthdaywales.tumblr.com - -Ken Friedman -University Distinguished Professor at Swinburne University in Melbourne, Australia. Since 1966, Friedman has been active in Fluxus. Theory, Culture, and Society recently published Friedman's reflections on Fluxus at the 50-year mark. The full text is available free at: http://tcs.sagepub.com/content/29/7-8/372 - -Marc Garrett -Artist, curator, writer, activist, educator and musician. Co-Founder & Co-Director, Furtherfield, London and currently doctoral researcher in Art, Technology and Social Change at Birkbeck, University of London. -http://www.furtherfield.org/user/marc-garrett - -Ingo Günther -Artist and journalist based in New York. Studied Ethnology and Cultural Anthropology in Frankfurt, graduated from Kunstakademie Düsseldorf. Founded Eastern Europe's first public access non-commercial TV station. The social geography project Worldprocessor is now in its 24th year. -http://ingogunther.com - -Iliyana Nedkova -Curator and writer. Creative Director (Contemporary Art) at Horsecross, Perth and Research Curator at CCA, Glasgow -http://www.horsecross.co.uk/about/threshold-artspace - -Helen Pritchard -Artist and researcher exploring ideas of co-research, co-production and co-operation. Currently doctoral researcher at 'HighWire', Lancaster University and visiting researcher at City University, Hong Kong. -http://www.helenpritchard.info - -Clive Robertson -Performance and media artist, curator and critic teaching art history, performance and cultural studies at Queen's University, Kingston, Canada. -http://www.queensu.ca/art/arthistory/faculty/cRobertson.html - -Scott Watson -Head and Professor of Art History, Visual Art and Theory and Director/Curator of the Morris and Helen Belkin Art Gallery at the University of British Columbia, Vancouver. -http://www.ahva.ubc.ca/facultyIntroDisplay.cfm?InstrID=19&FacultyID=1 - -Looking forward to a good conversation, - -Best wishes - -Roddy - -CRUMB Profile: http://tinyurl.com/cm5t3bp - - -17.2 -Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ +Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ Barnaby Dicker <new-media-curating@jiscmail.ac.uk> Tue, 5 Feb 2013 23:28:57 +0000 - -Hi all, +Hi all, I'd like to pick up on a couple of things Randall mentioned. For the (1,000,0)50th anniversary of Art's Birthday, following Filliou's dating, Art's Birthday, Wales (of which I am one of the organisers), was fortunate to have Joachim Pfeufer come to Swansea to discuss his work with Filliou. @@ -8949,29 +6525,15 @@ I was very surprised when Joachim stated that he never used the Poipoidrome as a Picking up on a thread from Ken: I certainly feel that the 'academy' provides a possible space for artforms that are not 'artworld' artforms (i.e. carry no market value). I say 'possible' because it's not about 'isolationist', 'pure' strategies that need totally avoid the artworld or market value. Rather, I am suggesting that the academy legitimates and provides a support - network - (I think someone else brought this topic up too. I forget who. apologies), to say nothing of alternative funding streams, for such practices. Thus, keeping such ideas/practices in play. It also allows many people to feel comfortable being minor artists, producing minor artworks (best perhaps if I claim to be speaking for myself here). Afterall, one of the key features of 'the network' is its inclusion of the 'little people' - too much superstar activity would sink the ship. No room for masterpieces. And presumably the budget (if there is one) should be spread appropriately, as opposed to disproportionately. It is dialogical, not monological. -And on that note... - - - - - - - - - - - - - +And on that note... -17.3 -Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ +17.2 +Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ Roddy Hunter <new-media-curating@jiscmail.ac.uk> Tue, 5 Feb 2013 23:32:04 +0000 - -Hi Randall, +Hi Randall, Glad to see you here, thanks for your comments. I really enjoyed participating in your recent Open Source Studio Global Concept Exchange on @@ -8993,206 +6555,15 @@ in tone. Yours is digitally networked, his is materialistically analogue? Best wishes -Roddy - -On 5 February 2013 21:59, Randall Packer <[log in to unmask]> wrote: - -> I was very interested in Roddy's reference to Robert Filliou's notion of -> 'permanent creation,' which came up recently in an essay by Janet -> Sarbanes: "The Poiegg and the Mickeymaushaus: Peedagogy and Spatial -> Practice at the California Institute of the Arts." In this essay, Sarbanes -> describes CalArts as influenced by the Bauhaus in its approach to the -> "building" as structure for the development of new radical pedagogical -> techniques in arts education as well as the synthesis of the arts. More -> specifically, she points to Filliou's "Institute of Permanent Creation -> where anybody might make suggestions about what kinds of things might be -> investigated or looked at" as a transparent and open source approach to -> teaching and learning. The idea of "education as dialogue rather than as a -> transmission of knowledge" was a fundamental concept I employed in the -> online course I taught at CalArts last semester entitled Open Source -> Studio. (several participants of this community, including Marc Garrett, -> Ruth Catlow, Annie Abrahams, and Helen Varley Jamieson, were guest -> speakers in the course) -> -> Like Roy Ascott's reference to the 'gesamtdatenwerk' in his seminal essay, -> "Is There Love in the Telematic Embrace," I believe more than ever after -> teaching Open Source Studio, that the network and its tools can be used to -> shift art education into a less hierarchical and more peer-to-peer, -> collective experience: precisely where it belongs. In this sense, Roddy's -> suggestion of the political nature of networks-as-artworks also applies to -> the idea of the network-as-art-school. -> -> My own 'utopia' in this regard is the post-institutional approach to -> teaching. I gave up on the idea of being "institutionalized" in my -> academic career several years ago, and now freelance for several -> Universities and art schools around the world. It is through this -> developing network that I see the potential of bringing students into an -> "open university" setting - no longer tethered to a single institution - -> through video-conferencing and other forms of networked learning tools. It -> is my hope that art students can reach out inter-institionally and -> inter-culturally to engage in a form of collaborative research and -> production that is underutilized, but well within our reach conceptually -> and technologically. -> -> I would be interested in related work in this area. -> -> Randall -> -> On 2/3/13 9:39 PM, "Roddy Hunter" <[log in to unmask]> wrote: -> -> >Dear List, -> > -> >It is my pleasure to announce the February 2013 Theme of the Month. -> > -> >ŒCurating the Network as Artwork¹ -> > -> >In 1968, artists George Brecht and Robert Filliou co-created 'The Eternal -> >Network'. Arguably, this network was itself an artwork and vice versa. -> >Filliou in particular explored how this network-as-artwork could enable -> >collaboration, exchange and dialogue across space and time. More than -> >solely a means of distribution or medium of production, 'The Eternal -> >Network' became for him a conceptual context for Œpermanent creation¹ -> >(Filliou 1996). Filliou¹s project is one example of many in which artists -> >inhabit networks as systems of communication and exchange (Grundmann -> >1984; Saper 2001). These networks are attractive to artists as -> >decentralised or distributed environments bypassing institutional -> >curatorial spaces. There is then often a political as well as aesthetic -> >dimension to the attractiveness of networks-as-artworks. This may now, -> >however, be undermined by a dependence of these networks upon the -> >internet which has been argued to be Œthe most material and visible sign -> >of globalisation¹ (Manovich 2001, 6). Lovink (2002) has cited the view -> >that the Œpace [of globalisation] has increased with the advent of new -> >technologies, especially in the area of telecommunications¹ and so -> >artists, activists and commercial, corporate players alike have employed -> >online networks in search of their respective Œutopias¹. Lovink -> >elaborates on this irreconcilability later that Œwe need to develop a -> >long-term view on how networked technologies should and should not be -> >embedded in political and cultural practices¹. (Lovink 2012, 160) How far -> >has the Œglobalism¹ of communication sought by Filliou and others been -> >supplanted by Œglobalisation¹ in its neoliberal, doctrinal sense? -> >(Chomsky 1999). Can the network as artwork be effective beyond -> >conceptualisation in material terms? How can we rethink curatorial -> >strategies in respect of the network-as-artwork¹s media of production, -> >means of distribution and experience of reception? In short, how can we -> >find ways to curate 'The Eternal Network' after globalisation? -> > -> >References: -> >Chomsky, Noam. 1999. Profit Over People: Neoliberalism and Global Order. -> >New York: Seven Stories Press. -> >Filliou, Robert. 1996. From Political to Poetical Economy. Vancouver: -> >Morris and Helen Belkin Gallery. -> >Grundmann, Heidi. 1984. Art and Telecommunication. Vancouver: Western -> >Front / Vienna: BLIX -> >Lovink, Geert. 2002. ³A Ramble through Theories of Globalization². -> >Available at -> >http://geertlovink.org/texts/a-ramble-through-theories-of-globalization/. -> >Lovink, Geert. 2012. Networks Without a Cause: A Critique of Social -> >Media. Cambridge: Polity. -> >Manovich, Lev. 2001. The Language of New Media. MIT press. -> >Saper, Craig J. 2001. Networked Art. St Paul: University of Minnesota -> >Press -> > -> >Invited respondents are: -> > -> >Annie Abrahams -> >Artist who questions the possibilities and the limits of communication in -> >general and more specifically investigates its modes under networked -> >conditions. -> >http://bram.org/info/aa.htm -> > -> >Zeigam Azizov -> >Artist born in Azerbaijan, based in London. Studied art and philosophy in -> >Russia, France and UK. His work addresses the question of -> >cross-circulations of knowledge through images. Exhibitions include -> >Venice Biennale, Tate Modern, Haus der Kunst, München, Grazer -> >Kunstverein, TN Probe, Tokyo, ICA London and Lakeside Kunstraum, -> >Klagenfurt. -> >http://zeigamazizov.com/ -> > -> >Mideo M. Cruz -> >Cross-disciplinary artist-organizer based in Manila and Southeast Asia. -> >Network projects critiquing globalisation include New World Disorder in -> >addition to performances internationally. -> >http://www.mideo.tk/ -> > -> >Barnaby Dicker -> >Artist-filmmaker, researcher, lecturer and curator. He holds a doctorate -> >in experimental stop-frame cinematography and teaches on BA Film -> >Production at University for the Creative Arts, Farnham and the Royal -> >College of Art, London. He is a founder member of Art¹s Birthday Wales, -> >which annually celebrates Robert Filliou¹s fifty year-old proposition. -> >http://artsbirthdaywales.tumblr.com -> > -> >Ken Friedman -> >University Distinguished Professor at Swinburne University in Melbourne, -> >Australia. Since 1966, Friedman has been active in Fluxus. Theory, -> >Culture, and Society recently published Friedman's reflections on Fluxus -> >at the 50-year mark. The full text is available free at: -> >http://tcs.sagepub.com/content/29/7-8/372 -> > -> >Marc Garrett -> >Artist, curator, writer, activist, educator and musician. Co-Founder & -> >Co-Director, Furtherfield, London and currently doctoral researcher in -> >Art, Technology and Social Change at Birkbeck, University of London. -> >http://www.furtherfield.org/user/marc-garrett -> > -> >Ingo Günther -> >Artist and journalist based in New York. Studied Ethnology and Cultural -> >Anthropology in Frankfurt, graduated from Kunstakademie Düsseldorf. -> >Founded Eastern Europe's first public access non-commercial TV station. -> >The social geography project Worldprocessor is now in its 24th year. -> >http://ingogunther.com -> > -> >Iliyana Nedkova -> >Curator and writer. Creative Director (Contemporary Art) at Horsecross, -> >Perth and Research Curator at CCA, Glasgow -> >http://www.horsecross.co.uk/about/threshold-artspace -> > -> >Helen Pritchard -> >Artist and researcher exploring ideas of co-research, co-production and -> >co-operation. Currently doctoral researcher at 'HighWire', Lancaster -> >University and visiting researcher at City University, Hong Kong. -> >http://www.helenpritchard.info -> > -> >Clive Robertson -> >Performance and media artist, curator and critic teaching art history, -> >performance and cultural studies at Queen's University, Kingston, Canada. -> >http://www.queensu.ca/art/arthistory/faculty/cRobertson.html -> > -> >Scott Watson -> >Head and Professor of Art History, Visual Art and Theory and -> >Director/Curator of the Morris and Helen Belkin Art Gallery at the -> >University of British Columbia, Vancouver. -> >http://www.ahva.ubc.ca/facultyIntroDisplay.cfm?InstrID=19&FacultyID=1 -> > -> >Looking forward to a good conversation, -> > -> >Best wishes -> > -> >Roddy -> > -> >CRUMB Profile: http://tinyurl.com/cm5t3bp -> -> -> - - --- -Roddy Hunter - -artist｜curator｜educator｜writer - -[log in to unmask] -http://yorksj.academia.edu/RoddyHunter/About +Roddy -17.4 -Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ +17.3 +Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ Roddy Hunter <new-media-curating@jiscmail.ac.uk> Wed, 6 Feb 2013 00:39:36 +0000 - -Welcome Barnaby, +Welcome Barnaby, Glad of your comments. The Poipoidrome is an extraordinary example of conceptual-architecture. I've even thought it, in all its conceptual-ness, @@ -9203,20 +6574,20 @@ ethnological interpretation. It was fantastic that you had Joachim Pfeuffer in Swansea teaching but yes, why not as a pedagogical space? Would seem obvious. -Have you seen Jean-Jacques Lebel's 'Hommage à Robert Filliou' at Artpool, +Have you seen Jean-Jacques Lebel's 'Hommage à Robert Filliou' at Artpool, Budapest? http://www.youtube.com/watch?v=HhuV1RRxoH0. Filliou and and Pfeufer had constructed the Poipoidrome at the Young Artists' Club, Budapest in 1976 (http://www.artpool.hu/Fluxus/Filliou/Poipoidrom4.html) Making -contact then with Filliou, György Galántai (whom I interviewed last year +contact then with Filliou, György Galántai (whom I interviewed last year for this research) collaborated with him on 'Telepathic Music' at same place in 1979. -This contact with Galántai ultimately led to the reconstruction in 1998 of +This contact with Galántai ultimately led to the reconstruction in 1998 of the earlier structure. ( http://artpool.hu/Installation/documents/Lebel-w.html) and the curating of -an programme that saw Lebel and other artists such as Istvan Kántor ( +an programme that saw Lebel and other artists such as Istvan Kántor ( http://www.youtube.com/watch?v=frftVJqgtzc) develop intervention in the -space. I think Istvan's 'Séance Filliou' is well worth watching. +space. I think Istvan's 'Séance Filliou' is well worth watching. Here is the online / offline divide once more though. If you watch the Lebel interview to the end, you'll hear him talk in English about the @@ -9232,86 +6603,15 @@ within neoliberal democracy the wrong kind of participation and opposition? Best wishes -Roddy - -On 5 February 2013 23:28, Barnaby Dicker <[log in to unmask]> wrote: - -> Hi all, -> -> I'd like to pick up on a couple of things Randall mentioned. -> For the (1,000,0)50th anniversary of Art's Birthday, following Filliou's -> dating, Art's Birthday, Wales (of which I am one of the organisers), was -> fortunate to have Joachim Pfeufer come to Swansea to discuss his work with -> Filliou. -> Their principal project was the Poipoidrome - which is also 50 this year. -> The 'co-architects' describe the Poipoidrome as 'an artistic proposition -> for a centre for permanent creation.' At its centre is the Poipoiegg -> (mentioned in Randall's post). -> Joachim described how he introduced the idea of 'poipoi' to Robert, having -> himself heard about it from anthropologist Herman Hahn, whohimself had -> heard it from the Dogon tribe of Mali for whom it is a salutation marking -> an end or renewal of an exchange. Joachim and Robert visited the Dogon -> while an incarnation of the Poipoidrome was installed in the Pompidou in -> the late 70s. They wanted to discuss and show images of their project to -> the Dogon people. Apparently the Dogon described it as 'the house of good -> weather' or 'the house of weather luck'. Joachim mentioned that Robert -> often signed off his letters with 'weather luck', but that he only realised -> relatively recently that this was Robert's translation of the Dogon -> people's response to the Poipoidrome. -> -> The Poipoidrome very much embodies the principles of Filliou's 'eternal -> network of permanent creation,' being a place for interaction, discussion, -> reflection, displaying, storing, accessing and so on. -> -> I was very surprised when Joachim stated that he never used the -> Poipoidrome as a pedagogical excercise or model during his time as a -> teacher. For me, the Poipoidrome stood precisely as an alternative model of -> pedagogy. If I recall correctly, Joachim was/is hesitant about presenting -> it as something that can be taught. I appreciate and respect his concern, -> but still hold on to my view that the Poipoidrome embodies an important -> alternative site and approach to learning. Of additional interest, Joachim, -> mentioned how he considers their work to address political issues that have -> yet to emerge. -> -> Picking up on a thread from Ken: I certainly feel that the 'academy' -> provides a possible space for artforms that are not 'artworld' artforms -> (i.e. carry no market value). I say 'possible' because it's not about -> 'isolationist', 'pure' strategies that need totally avoid the artworld or -> market value. Rather, I am suggesting that the academy legitimates and -> provides a support - network - (I think someone else brought this topic up -> too. I forget who. apologies), to say nothing of alternative funding -> streams, for such practices. Thus, keeping such ideas/practices in play. It -> also allows many people to feel comfortable being minor artists, producing -> minor artworks (best perhaps if I claim to be speaking for myself here). -> Afterall, one of the key features of 'the network' is its inclusion of the -> 'little people' - too much superstar activity would sink the ship. No room -> for masterpieces. And presumably the budget (if there is one) should be -> spread appropriately, as opposed to disproportionately. It is dialogical, -> not monological. -> -> And on that note... -> -> -> -> - - --- -Roddy Hunter - -artist｜curator｜educator｜writer - -[log in to unmask] -http://yorksj.academia.edu/RoddyHunter/About +Roddy -17.5 -Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ +17.4 +Re: February 2013 Theme of the Month: ŒCurating the Network as Artwork¹ Randall Packer <new-media-curating@jiscmail.ac.uk> Tue, 5 Feb 2013 22:19:33 -0500 - -Thanks Roddy! +Thanks Roddy! I completely forgot you had attended the Open Source Studio (OSS) class with Mark, Ruth, et al last fall. My interpretation of Filliou's notion of @@ -9358,1425 +6658,28 @@ http://www.randallpacker.com/?p=2774 Is this the Future? http://www.randallpacker.com/?p=2755 -Randall - - - - - -On 2/5/13 6:32 PM, "Roddy Hunter" <[log in to unmask]> wrote: - ->Hi Randall, -> ->Glad to see you here, thanks for your comments. I really enjoyed ->participating in your recent Open Source Studio Global Concept Exchange on ->the work of Marc and Ruth at Furtherfield ( ->http://www.randallpacker.com/?p=2798). It was there I encountered Annie ->Abrahams for the first time and have invited her as a respondent to this ->discussion here. We could talk about that event as an example of how your ->particular networked-pedagogic methdology works in terms of production, ->distribution, perception. I have some notes somewhere, if you'd like. -> ->I asked a question then about Cal Arts in relation to ->cross-interdisciplnary pedagogy in relation to my own experience at ->Dartington College of Arts from 1998-2007, where there was a comparably ->experimental approach. There is a good relationship too between your Open ->Source Studio model and Filliou's interest in pedagogy in art. His ->artists' ->book 'Teaching and Learning As Perfroming Arts' ( ->http://www.leftmatrix.com/teachingandlearning.html) is similarly dialogic ->in tone. Yours is digitally networked, his is materialistically analogue? -> ->Best wishes -> ->Roddy -> ->On 5 February 2013 21:59, Randall Packer <[log in to unmask]> wrote: -> ->> I was very interested in Roddy's reference to Robert Filliou's notion of ->> 'permanent creation,' which came up recently in an essay by Janet ->> Sarbanes: "The Poiegg and the Mickeymaushaus: Peedagogy and Spatial ->> Practice at the California Institute of the Arts." In this essay, ->>Sarbanes ->> describes CalArts as influenced by the Bauhaus in its approach to the ->> "building" as structure for the development of new radical pedagogical ->> techniques in arts education as well as the synthesis of the arts. More ->> specifically, she points to Filliou's "Institute of Permanent Creation ->> where anybody might make suggestions about what kinds of things might be ->> investigated or looked at" as a transparent and open source approach to ->> teaching and learning. The idea of "education as dialogue rather than ->>as a ->> transmission of knowledge" was a fundamental concept I employed in the ->> online course I taught at CalArts last semester entitled Open Source ->> Studio. (several participants of this community, including Marc Garrett, ->> Ruth Catlow, Annie Abrahams, and Helen Varley Jamieson, were guest ->> speakers in the course) ->> ->> Like Roy Ascott's reference to the 'gesamtdatenwerk' in his seminal ->>essay, ->> "Is There Love in the Telematic Embrace," I believe more than ever after ->> teaching Open Source Studio, that the network and its tools can be used ->>to ->> shift art education into a less hierarchical and more peer-to-peer, ->> collective experience: precisely where it belongs. In this sense, ->>Roddy's ->> suggestion of the political nature of networks-as-artworks also applies ->>to ->> the idea of the network-as-art-school. ->> ->> My own 'utopia' in this regard is the post-institutional approach to ->> teaching. I gave up on the idea of being "institutionalized" in my ->> academic career several years ago, and now freelance for several ->> Universities and art schools around the world. It is through this ->> developing network that I see the potential of bringing students into an ->> "open university" setting - no longer tethered to a single institution - ->> through video-conferencing and other forms of networked learning tools. ->>It ->> is my hope that art students can reach out inter-institionally and ->> inter-culturally to engage in a form of collaborative research and ->> production that is underutilized, but well within our reach conceptually ->> and technologically. ->> ->> I would be interested in related work in this area. ->> ->> Randall ->> ->> On 2/3/13 9:39 PM, "Roddy Hunter" <[log in to unmask]> wrote: ->> ->> >Dear List, ->> > ->> >It is my pleasure to announce the February 2013 Theme of the Month. ->> > ->> >ŒCurating the Network as Artwork¹ ->> > ->> >In 1968, artists George Brecht and Robert Filliou co-created 'The ->>Eternal ->> >Network'. Arguably, this network was itself an artwork and vice versa. ->> >Filliou in particular explored how this network-as-artwork could enable ->> >collaboration, exchange and dialogue across space and time. More than ->> >solely a means of distribution or medium of production, 'The Eternal ->> >Network' became for him a conceptual context for Œpermanent creation¹ ->> >(Filliou 1996). Filliou¹s project is one example of many in which ->>artists ->> >inhabit networks as systems of communication and exchange (Grundmann ->> >1984; Saper 2001). These networks are attractive to artists as ->> >decentralised or distributed environments bypassing institutional ->> >curatorial spaces. There is then often a political as well as aesthetic ->> >dimension to the attractiveness of networks-as-artworks. This may now, ->> >however, be undermined by a dependence of these networks upon the ->> >internet which has been argued to be Œthe most material and visible ->>sign ->> >of globalisation¹ (Manovich 2001, 6). Lovink (2002) has cited the view ->> >that the Œpace [of globalisation] has increased with the advent of new ->> >technologies, especially in the area of telecommunications¹ and so ->> >artists, activists and commercial, corporate players alike have ->>employed ->> >online networks in search of their respective Œutopias¹. Lovink ->> >elaborates on this irreconcilability later that Œwe need to develop a ->> >long-term view on how networked technologies should and should not be ->> >embedded in political and cultural practices¹. (Lovink 2012, 160) How ->>far ->> >has the Œglobalism¹ of communication sought by Filliou and others been ->> >supplanted by Œglobalisation¹ in its neoliberal, doctrinal sense? ->> >(Chomsky 1999). Can the network as artwork be effective beyond ->> >conceptualisation in material terms? How can we rethink curatorial ->> >strategies in respect of the network-as-artwork¹s media of production, ->> >means of distribution and experience of reception? In short, how can we ->> >find ways to curate 'The Eternal Network' after globalisation? ->> > ->> >References: ->> >Chomsky, Noam. 1999. Profit Over People: Neoliberalism and Global ->>Order. ->> >New York: Seven Stories Press. ->> >Filliou, Robert. 1996. From Political to Poetical Economy. Vancouver: ->> >Morris and Helen Belkin Gallery. ->> >Grundmann, Heidi. 1984. Art and Telecommunication. Vancouver: Western ->> >Front / Vienna: BLIX ->> >Lovink, Geert. 2002. ³A Ramble through Theories of Globalization². ->> >Available at ->> ->>>http://geertlovink.org/texts/a-ramble-through-theories-of-globalization/ ->>>. ->> >Lovink, Geert. 2012. Networks Without a Cause: A Critique of Social ->> >Media. Cambridge: Polity. ->> >Manovich, Lev. 2001. The Language of New Media. MIT press. ->> >Saper, Craig J. 2001. Networked Art. St Paul: University of Minnesota ->> >Press ->> > ->> >Invited respondents are: ->> > ->> >Annie Abrahams ->> >Artist who questions the possibilities and the limits of communication ->>in ->> >general and more specifically investigates its modes under networked ->> >conditions. ->> >http://bram.org/info/aa.htm ->> > ->> >Zeigam Azizov ->> >Artist born in Azerbaijan, based in London. Studied art and philosophy ->>in ->> >Russia, France and UK. His work addresses the question of ->> >cross-circulations of knowledge through images. Exhibitions include ->> >Venice Biennale, Tate Modern, Haus der Kunst, München, Grazer ->> >Kunstverein, TN Probe, Tokyo, ICA London and Lakeside Kunstraum, ->> >Klagenfurt. ->> >http://zeigamazizov.com/ ->> > ->> >Mideo M. Cruz ->> >Cross-disciplinary artist-organizer based in Manila and Southeast Asia. ->> >Network projects critiquing globalisation include New World Disorder in ->> >addition to performances internationally. ->> >http://www.mideo.tk/ ->> > ->> >Barnaby Dicker ->> >Artist-filmmaker, researcher, lecturer and curator. He holds a ->>doctorate ->> >in experimental stop-frame cinematography and teaches on BA Film ->> >Production at University for the Creative Arts, Farnham and the Royal ->> >College of Art, London. He is a founder member of Art¹s Birthday Wales, ->> >which annually celebrates Robert Filliou¹s fifty year-old proposition. ->> >http://artsbirthdaywales.tumblr.com ->> > ->> >Ken Friedman ->> >University Distinguished Professor at Swinburne University in ->>Melbourne, ->> >Australia. Since 1966, Friedman has been active in Fluxus. Theory, ->> >Culture, and Society recently published Friedman's reflections on ->>Fluxus ->> >at the 50-year mark. The full text is available free at: ->> >http://tcs.sagepub.com/content/29/7-8/372 ->> > ->> >Marc Garrett ->> >Artist, curator, writer, activist, educator and musician. Co-Founder & ->> >Co-Director, Furtherfield, London and currently doctoral researcher in ->> >Art, Technology and Social Change at Birkbeck, University of London. ->> >http://www.furtherfield.org/user/marc-garrett ->> > ->> >Ingo Günther ->> >Artist and journalist based in New York. Studied Ethnology and Cultural ->> >Anthropology in Frankfurt, graduated from Kunstakademie Düsseldorf. ->> >Founded Eastern Europe's first public access non-commercial TV station. ->> >The social geography project Worldprocessor is now in its 24th year. ->> >http://ingogunther.com ->> > ->> >Iliyana Nedkova ->> >Curator and writer. Creative Director (Contemporary Art) at Horsecross, ->> >Perth and Research Curator at CCA, Glasgow ->> >http://www.horsecross.co.uk/about/threshold-artspace ->> > ->> >Helen Pritchard ->> >Artist and researcher exploring ideas of co-research, co-production and ->> >co-operation. Currently doctoral researcher at 'HighWire', Lancaster ->> >University and visiting researcher at City University, Hong Kong. ->> >http://www.helenpritchard.info ->> > ->> >Clive Robertson ->> >Performance and media artist, curator and critic teaching art history, ->> >performance and cultural studies at Queen's University, Kingston, ->>Canada. ->> >http://www.queensu.ca/art/arthistory/faculty/cRobertson.html ->> > ->> >Scott Watson ->> >Head and Professor of Art History, Visual Art and Theory and ->> >Director/Curator of the Morris and Helen Belkin Art Gallery at the ->> >University of British Columbia, Vancouver. ->> >http://www.ahva.ubc.ca/facultyIntroDisplay.cfm?InstrID=19&FacultyID=1 ->> > ->> >Looking forward to a good conversation, ->> > ->> >Best wishes ->> > ->> >Roddy ->> > ->> >CRUMB Profile: http://tinyurl.com/cm5t3bp ->> ->> ->> -> -> ->-- ->Roddy Hunter -> ->artist｜curator｜educator｜writer -> ->[log in to unmask] ->http://yorksj.academia.edu/RoddyHunter/About +Randall 18.0 -Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? +Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? Clive Robertson <new-media-curating@jiscmail.ac.uk> Mon, 11 Feb 2013 13:13:28 +0000 - -In considering what the network is or was – even before calling its project organizing an “artwork” (and what is the hoped for gain of this description – for whom is it being described as such: for artists, critics, research funders, taxpayers, etc.?) it might be good to admit that Filliou’s concept of a an artists network as it gained popularity always looked different from the time and place of observation. Its signification was predictably altered by cultural change and by institutionalization. That is only to suggest that it meant something different for Brecht and Filliou, a lot of different things when employed by Filliou-inspired artist collectives and spaces of the 1970s, and so on along its paths to “re-discovery” and/or recapturing in the 21st century. -For me it matters that Filliou’s statements came prefaced with what amounts to a social critique. So when Roddy quotes Filliou saying, “Everytime we turn our attention to what we don’t know, we are doing research” the statement is missing its preface which is, “Research is not the domain of those who know; on the contrary it is the domain of those who do not know.” Was Filliou poking at scholarly specialists (that now includes many of us as respondents) ? Probably. The set-up for announcing the Eternal Network/La Fete est Permanent is similar. “There is always someone making a fortune, someone going bankrupt – we in particular.” Does this suggest that artist poverty or precarity is a pre-condition for being a network member? Of course not. Filliou wrote, “As you can see, we included the fact of our being bankrupt as part of La Fete Permanente. To us, this an important element of the Eternal Network: including in it the harmful, painful or disagreeable things in life, as well as the pleasant, profitable ones.” (Teaching and Learning as Performing Arts, Verlag Gebr,Konig, Koln, 1970) It was (he writes) supposed to help wean artists off of their allotted competitiveness. But was it what we would now call a “safe space?” Was the network brought into being with any socially operational effects in mind? Think of Facebook, not as a corporate string pulling, but how we try to use it with our “friends.” What works and doesn’t work when we try to interact? We have some general sense of what gets approval in our specific node but not much else. Do we describe our earliest use of FB an “artwork?” -Speaking of and to the history of the network, I now want to detour via what Stuart Hall (co-founder of British Cultural Studies) wrote about that project’s history and the “will to connect” (“Cultural Studies and its theoretical legacies,” 1992 ). (This was v. useful for me when I was seeking a way to trouble my view of the history of artist spaces as a doctoral project.) -So while Hall acknowledges that cultural studies as a project is open-ended, “always open to that which it does not know yet, to that which it can’t yet name,” he also argues against pluralism and for the stakes (something at stake) of cultural studies. It will probably take a second post to get to the core of what I think the stakes of an collective artist practice could / might be in relation to a network and that has something to do with a present that appears to accept that the merging of functions of artist, curator, critic, and patron works out for the best of all involved. That collegial management is perhaps the only way forward for a brighter future? -Like our view of art (on good days) Hall reviews c.s. as “a serious project, that is inscribed in what is sometimes called the “political” aspect of cultural studies,” not he adds, “ that there’s one politics inscribed within it.” The tension, Hall says, is “between a refusal to close the field, to police it, and fluency.” -So what if any is the significance of artists formulating and maintaining a network? Hall cites Raymond Williams who wrote that “the relation between a project and a (discursive) formation is always decisive because they are different ways of materializing…and then describing a common disposition of energy and direction.” (Raymond Williams, “The Future of Cultural Studies, 1989). -So I guess from this follows a question of whether or not (or at least in what sense) in this discussion are we bothered whether the “discursive formation” we are hailing is about “art” or “artists?” And in its vagueness, does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? +In considering what the network is or was – even before calling its project organizing an “artwork” (and what is the hoped for gain of this description – for whom is it being described as such: for artists, critics, research funders, taxpayers, etc.?) it might be good to admit that Filliou’s concept of a an artists network as it gained popularity always looked different from the time and place of observation. Its signification was predictably altered by cultural change and by institutionalization. That is only to suggest that it meant something different for Brecht and Filliou, a lot of different things when employed by Filliou-inspired artist collectives and spaces of the 1970s, and so on along its paths to “re-discovery” and/or recapturing in the 21st century. + +For me it matters that Filliou’s statements came prefaced with what amounts to a social critique. So when Roddy quotes Filliou saying, “Everytime we turn our attention to what we don’t know, we are doing research” the statement is missing its preface which is, “Research is not the domain of those who know; on the contrary it is the domain of those who do not know.” Was Filliou poking at scholarly specialists (that now includes many of us as respondents) ? Probably. The set-up for announcing the Eternal Network/La Fete est Permanent is similar. “There is always someone making a fortune, someone going bankrupt – we in particular.” Does this suggest that artist poverty or precarity is a pre-condition for being a network member? Of course not. Filliou wrote, “As you can see, we included the fact of our being bankrupt as part of La Fete Permanente. To us, this an important element of the Eternal Network: including in it the harmful, painful or disagreeable things in life, as well as the pleasant, profitable ones.” (Teaching and Learning as Performing Arts, Verlag Gebr,Konig, Koln, 1970) It was (he writes) supposed to help wean artists off of their allotted competitiveness. But was it what we would now call a “safe space?” Was the network brought into being with any socially operational effects in mind? Think of Facebook, not as a corporate string pulling, but how we try to use it with our “friends.” What works and doesn’t work when we try to interact? We have some general sense of what gets approval in our specific node but not much else. Do we describe our earliest use of FB an “artwork?” +Speaking of and to the history of the network, I now want to detour via what Stuart Hall (co-founder of British Cultural Studies) wrote about that project’s history and the “will to connect” (“Cultural Studies and its theoretical legacies,” 1992 ). (This was v. useful for me when I was seeking a way to trouble my view of the history of artist spaces as a doctoral project.) + +So while Hall acknowledges that cultural studies as a project is open-ended, “always open to that which it does not know yet, to that which it can’t yet name,” he also argues against pluralism and for the stakes (something at stake) of cultural studies. It will probably take a second post to get to the core of what I think the stakes of an collective artist practice could / might be in relation to a network and that has something to do with a present that appears to accept that the merging of functions of artist, curator, critic, and patron works out for the best of all involved. That collegial management is perhaps the only way forward for a brighter future? + +Like our view of art (on good days) Hall reviews c.s. as “a serious project, that is inscribed in what is sometimes called the “political” aspect of cultural studies,” not he adds, “ that there’s one politics inscribed within it.” The tension, Hall says, is “between a refusal to close the field, to police it, and fluency.” +So what if any is the significance of artists formulating and maintaining a network? Hall cites Raymond Williams who wrote that “the relation between a project and a (discursive) formation is always decisive because they are different ways of materializing…and then describing a common disposition of energy and direction.” (Raymond Williams, “The Future of Cultural Studies, 1989). + +So I guess from this follows a question of whether or not (or at least in what sense) in this discussion are we bothered whether the “discursive formation” we are hailing is about “art” or “artists?” And in its vagueness, does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? -18.1 -Re: Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? -Barnaby Dicker -<new-media-curating@jiscmail.ac.uk> -Sun, 17 Feb 2013 18:22:00 +0000 - -Dear all, - -This post is loosely intended as a response to some aspects of Clive’s lucid and meaty post of last Monday. - -Clive opens by stating that we should ‘consider what the network is or was [...] before calling its project organizing an “artwork” (and what is the hoped for gain of this description – for whom is it being described as such: for artists, critics, research funders, taxpayers, etc.?).’ - -On one hand this is absolutely right and necessary, and yet, at the same time, this makes a severance where there should perhaps not be one. i.e. for our discussion we are considering the curation of the network as artwork. We do well to remember that Filliou’s Eternal Network of Permanent Creation connects all artists across time and space. Just as we also do well to remember Filliou’s (amongst others’) project of ‘decommissioning’ the artist (the name, the role) and making time and space for everyone to see their activities in creative terms. - -Personally, for better or worse, I was immediately pleased to see Roddy’s unabashed use of the word ‘artwork’ in the discussion topic title. While I have a lot of time for ‘decommissionist’ / revisionist antics and ideas, I also feel that we stray into the realm of delusion when we call our activities something other than art. However close our work might come to political activism, social regeneration, therapy, philosophy, free market capitalism, etc. it is still art. If it wasn’t, we simply couldn’t frame it in these terms. I feel we can, and should, take some pride in art. Just as those in other fields should take pride in what they do. Art is only a dirty word if we make it one. - -The way I approach my ‘network’ work is as an artist/curator. It means generating particular forms of creative/meaningful exchange with other people that might be different to other creative/meaningful exchanges. Eg. for Art’s Birthday this year we approached a local ‘specialist cake designer’ to make 12 cake designs chosen at random from 150+ designs that we had received following an open call. The ‘novelty’ (possibly the wrong word) of this ricochets through all levels (including Council Health and Saftey regulations). So, something that might seem superficial can actually carry great complexity and substance – defined by and through the contributors and contributions over and above the concept. The importance of the concept, then, lies in generating something that can structure or frame or inspire the activities that really form the work. Needless to say, the cakes were eaten by all those who attended the Art’s Birthday celebration. - -I suppose I have decided that I would like to spend a significant portion of my life taking part in creative exchanges. Sometimes I initiate them, sometimes I am invited to take part. Sometimes they go somewhere, sometimes they don’t. Sometimes I enjoy them, sometimes I don’t. I can either think of creative exchange as a whole, in general or I can break it down to a project by project basis. I see Filliou’s system playing on this tension between perceiving an endless stream of creativity and a compartmentalised, rationalised collection of things done and felt. - -To end. An interesting issue thrown up by Clive’s post concerns what we consider ‘official’ theory/philosophy and how we legitimate ‘unofficial’ theory/philosophy through ‘official’ theory/philosophy. Clive brings in Hall and Williams to reiterate/support/substantiate Filliou. Following Clive’s intervention (as but one example), does this now mean that Filliou can be used in the same way as we do Hall and Williams? Are Hall and Williams now open to accusations of copying Filliou (given the sequence of presentations)? Or are they seen to be working in such separate fields that the congruence is merely coincidental, and purely affirmative of the shared project? -Considering ‘La fete permanente,’ it occurs to me presently that what is at stake is the degree of importance we ascribe the ‘carnival’ to the ‘normal’ running of society and the terms of their relationship. Does ‘cultural theory’ et al belong to the carnival or to ‘normal’ society? And what kind or degree of impact do we acknowledge the two sides have on each other? Can we cleanly split these two realms? Is it inappropriate to do so? Should we look to Filliou and his collaborators for answers? Or to their inheritors? Or to other theorists and historians? Or to society directly? - -Barnaby - - -18.2 -Re: Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? -Mike Stubbs -<new-media-curating@jiscmail.ac.uk> -Sun, 17 Feb 2013 20:19:02 +0000 - -...lurking on the edges...and just travelling back form the opening of - -*"YES MAN DOES WHAT IT IS" -The editions of Galerie Erhard Klein -1972 - 2006* - -http://www.bonner-kunstverein.de/ausstellungen/aktuell/sieht-man-ja-was-es-ist-die-editionen-der-galerie-erhard-klein/ - -highly recommended and hopefully can travel to the uk - -a testament to a social network (rhineland) and one which influences such -so much of our practice - be it new media or performative ...in the -situation and encouraging new forms of social democracy - -klein was is a clever fella and at the time had the curiosity to -befriend-learn-deal: Polke, Beuys, Kippengberger, Klauke and so on - -todays event was full of middle aged artists friends and family - but what -i took form the event (apart form seeing wonderful artwork) was *family* and -a reminder of how things just happen through groups of people swarming - -and then of course there is the digital stuff..... - -more on that another day - -mike - - - -On 17 February 2013 18:22, Barnaby Dicker <[log in to unmask]> wrote: - -> Dear all, -> -> This post is loosely intended as a response to some aspects of Clive’s -> lucid and meaty post of last Monday. -> -> Clive opens by stating that we should ‘consider what the network is or was -> [...] before calling its project organizing an “artwork” (and what is the -> hoped for gain of this description – for whom is it being described as -> such: for artists, critics, research funders, taxpayers, etc.?).’ -> -> On one hand this is absolutely right and necessary, and yet, at the same -> time, this makes a severance where there should perhaps not be one. i.e. -> for our discussion we are considering the curation of the network as -> artwork. We do well to remember that Filliou’s Eternal Network of Permanent -> Creation connects all artists across time and space. Just as we also do -> well to remember Filliou’s (amongst others’) project of ‘decommissioning’ -> the artist (the name, the role) and making time and space for everyone to -> see their activities in creative terms. -> -> Personally, for better or worse, I was immediately pleased to see Roddy’s -> unabashed use of the word ‘artwork’ in the discussion topic title. While I -> have a lot of time for ‘decommissionist’ / revisionist antics and ideas, I -> also feel that we stray into the realm of delusion when we call our -> activities something other than art. However close our work might come to -> political activism, social regeneration, therapy, philosophy, free market -> capitalism, etc. it is still art. If it wasn’t, we simply couldn’t frame it -> in these terms. I feel we can, and should, take some pride in art. Just as -> those in other fields should take pride in what they do. Art is only a -> dirty word if we make it one. -> -> The way I approach my ‘network’ work is as an artist/curator. It means -> generating particular forms of creative/meaningful exchange with other -> people that might be different to other creative/meaningful exchanges. Eg. -> for Art’s Birthday this year we approached a local ‘specialist cake -> designer’ to make 12 cake designs chosen at random from 150+ designs that -> we had received following an open call. The ‘novelty’ (possibly the wrong -> word) of this ricochets through all levels (including Council Health and -> Saftey regulations). So, something that might seem superficial can actually -> carry great complexity and substance – defined by and through the -> contributors and contributions over and above the concept. The importance -> of the concept, then, lies in generating something that can structure or -> frame or inspire the activities that really form the work. Needless to say, -> the cakes were eaten by all those who attended the Art’s Birthday -> celebration. -> -> I suppose I have decided that I would like to spend a significant portion -> of my life taking part in creative exchanges. Sometimes I initiate them, -> sometimes I am invited to take part. Sometimes they go somewhere, sometimes -> they don’t. Sometimes I enjoy them, sometimes I don’t. I can either think -> of creative exchange as a whole, in general or I can break it down to a -> project by project basis. I see Filliou’s system playing on this tension -> between perceiving an endless stream of creativity and a compartmentalised, -> rationalised collection of things done and felt. -> -> To end. An interesting issue thrown up by Clive’s post concerns what we -> consider ‘official’ theory/philosophy and how we legitimate ‘unofficial’ -> theory/philosophy through ‘official’ theory/philosophy. Clive brings in -> Hall and Williams to reiterate/support/substantiate Filliou. Following -> Clive’s intervention (as but one example), does this now mean that Filliou -> can be used in the same way as we do Hall and Williams? Are Hall and -> Williams now open to accusations of copying Filliou (given the sequence of -> presentations)? Or are they seen to be working in such separate fields that -> the congruence is merely coincidental, and purely affirmative of the shared -> project? -> Considering ‘La fete permanente,’ it occurs to me presently that what is -> at stake is the degree of importance we ascribe the ‘carnival’ to the -> ‘normal’ running of society and the terms of their relationship. Does -> ‘cultural theory’ et al belong to the carnival or to ‘normal’ society? And -> what kind or degree of impact do we acknowledge the two sides have on each -> other? Can we cleanly split these two realms? Is it inappropriate to do so? -> Should we look to Filliou and his collaborators for answers? Or to their -> inheritors? Or to other theorists and historians? Or to society directly? -> -> Barnaby -> - - - --- - - -@Mike Stubbs -Director -FACT - - -www.fact.co.uk - -http://about.me/mikestubbs - - - -88 Wood Street -Liverpool L1 4DG - -+ 44 (0) 151 707 4444 -+ 44 (0) 7876 560657 - -skype name: mikestubbs45 ------------------------------------------------------------------ ------------------------------------------------------------------ - -*FACT - Bringing people, art and * -*technology together since 2003* - - ------------------------------------------------------------------ - ------------------------------------------------------------------ - - - -*Winter Sparks* - -*13 December - 24 February* - - - -Visitors to FACT will be able to experience a light - -and sound show with electric sparks, interact with - -the dramatic charges from Tesla coils, and explore - -the mysteries of the Wilberforce pendulum. - - - -*Winter Sparks* features the awe-inspiring - -physics-based works of Canadian artist and - -composer Alexandre Burton, Dutch artist and - -academic Edwin van der Heide, and - -Spain-based Bosch & Simons, known for - -their complex 'music machines'. - - ------------------------------------------------------------------ ------------------------------------------------------------------ - - -18.3 -Re: Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? -Roddy Hunter -<new-media-curating@jiscmail.ac.uk> -Wed, 20 Feb 2013 21:13:51 +0000 - -Hi Mike (and all) - -Glad to see the discussion tempted you out from lurking around the edges. I'm very aware that I've not been catalysing the discussion this week. Too many issues off-list at present. Apologies for neglected correspondence, I will catch up. I am still trying to find time to collate a list of things we might consider as 'networks-as-artworks' already referenced here and others elsewhere. Please do send links and perhaps a few words, needs be nothing more than that. - -In the meantime, in preparing a lecture for first year undergraduate students on Duchamp, postmodernism and appropriation I was quickly searching for Filliou's view on how The Eternal Network 'replaced the concept of the avant-garde which has become obsolete' because: - -"If it is true that information about the knowledge of all modern art research is more than any one artist could comprehend, then the concept of the avant-garde is obsolete. With incomplete knowledge, who can say who is in front, and who ain't. I suggest that considering each artist as part of an Eternal Network is a much more useful concept." (http://www.franklinfurnace.org/research/projects/flow/mailart/mailartf.html) - -Steven Harris has noted that Filliou 'equates art with knowledge here, and still retains a notion of art as research.' I am not sure I agree with this link with knowledge entirely, particularly in the case of practice-led research, unless it also refers to unconscious knowledge which I assume it does. Does this production of knowledge generate value, hence our scholarly interest? Does that institutionalise the practice as a form of capital? What then is it capacity for radicality, for critique ... what does this means for notions of critical art practice? - -In any case, while quickly searching for references I cam across this information regarding the 'Digital Legacies of the Avant Garde' conference in Paris, April, 2012 (http://digitallegacies.org/parispapers.html) which I am kicking myself for not noticing earlier (i have to accept incomplete knowledge again). All good angles on the subject from a slightly different perspective but maybe Stephen Voyce's "The Eternal Network: Avant-Garde Activism and the Cultural Commons" is particular useful! - -Have a look, perhaps it helps us expand our discussion. Anyone know of this conference? - -Best wishes - -Roddy - - -18.4 -Re: Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? -Gary Hall -<new-media-curating@jiscmail.ac.uk> -Sat, 23 Feb 2013 13:56:24 +0000 - -Maybe I can contribute by looping back to Clive Roberston's comments -about Stuart Hall in relation to what the network is or was. - -'So while Hall acknowledges that cultural studies as a project is open-ended, “always open to that which it does not know yet, to that which it can’t yet name,” he also argues against pluralism and for the stakes (something at stake) of cultural studies.' - -As someone who still thinks of what they do in relation to various -networks and curatorial activities as coming out of the history of -cultural studies, at least in part (although my work these days has -moved away from that, and I suspect is probably now unrecognisable to -most in the field as cultural studies, and more or less deliberately so, -for reasons I'm about to hint at), there are a couple of things that -interest me about Hall's 'Cultural Studies and its Theoretical Legacies' -essay. - -1) First, there's Hall’s acknowledgment in the same essay that the -boundary line he is attempting to mark out around cultural studies by -means of its politics is an 'arbitrary' one. 'I don't believe knowledge -is closed', he writes, 'but I do believe politics is impossible without -what I have called the "arbitrary closure".' - -2) And second, the way there's a risk in Hall’s use of the word -‘tension’ when describing these two aspects of cultural studies (what -he's thinking here in terms of it's theoretical and political projects) -of implying that each side in this relationship retains a more or less -unified and stable identity which is equally valid; or that -'intellectual theoretical work' and politics exist in some kind of -dialectic. Whereas I wonder if a more interesting way of seeing this -relation is not as one of mutual transformation, where notions of -‘theory’ and ‘politics’ (and indeed ‘cultural studies’) are pushed -beyond their traditional delimitations and forced to rework their -relationship with one another. - -If so, then it seems to me that we can’t say, as Hall did at the 2007 -‘Cultural Studies Now’ conference at the University of East London, that -cultural studies is capable of questioning everything… except the -relation to the social formation; that what cultural studies does is -analyse culture in relation to its connection to the wider social -formation and that this connection is therefore sacrosanct. For Hall, -theory is a detour from a larger question in this respect, which -concerns rethinking the role of culture and its articulation with other -structures and processes in each time and place, each conjuncture. This, -for him, is cultural studies’ real connection with politics, its -political mission or 'common disposition of energy and direction' -(Williams). - -(Can we see a similar 'arbitrary closure' at work in the way that the -intellectual theoretical work that is most acceptable and feted today -is often quite materialist in tenor?) - -Moreover, if, to quote Clive quoting Filliou, '“Research is not the -domain of those who know; on the contrary it is the domain of those who -do not know, ”' I wonder if we can't also say the same of politics. In -which case the trick, perhaps, would be to find ways of actually -assuming what this means when it comes to politics and being 'political'. - -Hope this helps. - -Gary - - - -On 11/02/2013 13:13, Clive Robertson wrote: -> In considering what the network is or was – even before calling its project organizing an “artwork” (and what is the hoped for gain of this description – for whom is it being described as such: for artists, critics, research funders, taxpayers, etc.?) it might be good to admit that Filliou’s concept of a an artists network as it gained popularity always looked different from the time and place of observation. Its signification was predictably altered by cultural change and by institutionalization. That is only to suggest that it meant something different for Brecht and Filliou, a lot of different things when employed by Filliou-inspired artist collectives and spaces of the 1970s, and so on along its paths to “re-discovery” and/or recapturing in the 21st century. -> For me it matters that Filliou’s statements came prefaced with what amounts to a social critique. So when Roddy quotes Filliou saying, “Everytime we turn our attention to what we don’t know, we are doing research” the statement is missing its preface which is, “Research is not the domain of those who know; on the contrary it is the domain of those who do not know.” Was Filliou poking at scholarly specialists (that now includes many of us as respondents) ? Probably. The set-up for announcing the Eternal Network/La Fete est Permanent is similar. “There is always someone making a fortune, someone going bankrupt – we in particular.” Does this suggest that artist poverty or precarity is a pre-condition for being a network member? Of course not. Filliou wrote, “As you can see, we included the fact of our being bankrupt as part of La Fete Permanente. To us, this an important element of the Eternal Network: including in it the harmful, painful or disagreeable things in life, as well as the pleasant, profitable ones.” (Teaching and Learning as Performing Arts, Verlag Gebr,Konig, Koln, 1970) It was (he writes) supposed to help wean artists off of their allotted competitiveness. But was it what we would now call a “safe space?” Was the network brought into being with any socially operational effects in mind? Think of Facebook, not as a corporate string pulling, but how we try to use it with our “friends.” What works and doesn’t work when we try to interact? We have some general sense of what gets approval in our specific node but not much else. Do we describe our earliest use of FB an “artwork?” -> Speaking of and to the history of the network, I now want to detour via what Stuart Hall (co-founder of British Cultural Studies) wrote about that project’s history and the “will to connect” (“Cultural Studies and its theoretical legacies,” 1992 ). (This was v. useful for me when I was seeking a way to trouble my view of the history of artist spaces as a doctoral project.) -> So while Hall acknowledges that cultural studies as a project is open-ended, “always open to that which it does not know yet, to that which it can’t yet name,” he also argues against pluralism and for the stakes (something at stake) of cultural studies. It will probably take a second post to get to the core of what I think the stakes of an collective artist practice could / might be in relation to a network and that has something to do with a present that appears to accept that the merging of functions of artist, curator, critic, and patron works out for the best of all involved. That collegial management is perhaps the only way forward for a brighter future? -> Like our view of art (on good days) Hall reviews c.s. as “a serious project, that is inscribed in what is sometimes called the “political” aspect of cultural studies,” not he adds, “ that there’s one politics inscribed within it.” The tension, Hall says, is “between a refusal to close the field, to police it, and fluency.” -> So what if any is the significance of artists formulating and maintaining a network? Hall cites Raymond Williams who wrote that “the relation between a project and a (discursive) formation is always decisive because they are different ways of materializing…and then describing a common disposition of energy and direction.” (Raymond Williams, “The Future of Cultural Studies, 1989). -> So I guess from this follows a question of whether or not (or at least in what sense) in this discussion are we bothered whether the “discursive formation” we are hailing is about “art” or “artists?” And in its vagueness, does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? -> - - -** - - - - --- -Gary Hall -Research Professor of Media and Performing Arts -Director of the Centre for Disruptive Media -School of Art and Design, Coventry University -Co-editor of Culture Machine -http://www.culturemachine.net -Co-founder of the Open Humanities Press -http://www.openhumanitiespress.org -Website http://www.garyhall.info - - -19.0 -Curating the Network as Artwork -Annie Abrahams -<new-media-curating@jiscmail.ac.uk> -Sun, 10 Feb 2013 17:05:44 +0100 - -Hi list members, - -As an artist living in France, I had to come across Filliou. It is hard not -to. All art students learn about his work. But I did art school in Holland -and it was only later on, when, living here in France, I met Ben Vautier, -Jean Dupuy and Pierre Tilman, who are all somehow influenced by him, that I -got interested in his work. But I am not very familiar with it. - -My first question is what is the Ethernal Network? On the internet it is -translated as La fête permanente ??? (the permanent party?). - -I have difficulties understanding what you mean by a network as artwork. I -imagine projects like DIWO done by Furtherfield, their mailinglist -netbehaviour, global communities like the ones around Upstage, Waterwheel -or videovortex, to name but a few, might apply for this "title". Also -probably some of my own activities like the Angry women and Huis Clos / No -Exit projects and my involvement with the Cyposium touch on this... - -I am also not sure I understand what a network-as-artwork is, and I ask -myself (and you) what is interesting about considering networks as -artworks? - -I feel kind of uncomfortable with the idea that networks can be curated. I -am not sure that is the right word to use, I think I would rather like to -use the word care taking (I think Clive suggested that in his first mail), -but there might be a much better word. -Curating is a word anchored in the existing landscape of thinking and -activating art as a commodity. As soon as we enter the global networks and -want to think about these as possible artworks we can no longer use "old" -terminologies if we want to understand what is happening. -You can not understand communication using the internet by known standard -and analytical tools. When I need to explain this in a simple way, I do -that by showing, talking about, and acting out my piece A Big Kiss (online -kissing is drawing with a tongue, exciting too, as all drawing can be -exciting, but if you could look at me doing it, you would just see some -strange, foolish gesticulations in the void) - -I am interested in collaborative groupdynamics using internet technologies. -I have no other goal with this than to understand and to experiment these. -I am not sure as Randall seemed to be that these practices will lead -automatically to less hierachical, more peer-to peer based relations. It -depends on intentions, of the users, of the proprieties of the interface -used and on how it is controlled, but maybe I am missing something and I -would be glad if someone pointed that out to me. - -Maybe, maybe describing some facets of one of my projects might triggers -others to write about other concrete, maybe more appropriate examples. - -Angry Women started in 2011. ** It is an artistic research project on -remote communication and collaboration using anger as a pretext, and, in -the beginning it was also a project on female anger using webcam -performances as a facilitator. -So far, besides a lot of email exchange, we had 5 performances with only -ladies, one with only men, two mixed gender performances, but also several -technical test and 2 online evaluation sessions. You can find videos, -texts, performance protocols, analyses and written reaction on -http://www.bram.org/angry/women . 48 People from different professional and -cultural backgrounds (13 different mother tongues), participated, some only -once others up to 6 times. -We are all very much interested in finding out how to communicate in a -situation were we have technological advanced equipment, that makes it -possible to be together in a shared environment while staying on our own, -alone at home; we want to research our contemporary status quo of lonely -togetherness. -This is related to exploring how a sense of "we" can exist in a group of -very different individuals, what it means to think a " to be with" based on -singularities. I hope to find a radical, plastic? new interpretation of -"we". - -In our latest evaluation session we discussed the status of the project. -For the moment it is my project It needs a lot of caring, and for the needs -of each participating individual, and for the overall context, for the -"network?". So, I am the who drives this network, it needs my attention, -more attention than creativity, I guess, and it wouldn't exist if I had -been a party animal. But during the online meetings and the performances, -the creation is continuos, the party goes on and the relations between us -have an ethernal feeling (Filliou would probably like to participate) - -only during - afterwards you feel as going home alone under a starry night -ready for another periode of caring. - - -Yours -Annie Abrahams - - -19.1 -Re: Curating the Network as Artwork -Roddy Hunter -<new-media-curating@jiscmail.ac.uk> -Sun, 10 Feb 2013 20:41:22 +0000 - -Hi all - -Good to be swinging into the second week of the discussion. Thanks, Johannes and Annie for focusing minds on particular issues and questions. Also good to see we are beginning to see ‘concrete examples’ of network practice to discuss and evaluate. I will take a look a closer look at examples you offer, Annie, as well as work of other respondents and write in a later post. The main questions/issues you both raise seem to concern the usefulness or otherwise of thinking about networks-as-artworks, how to determine their success or failure and what role curating might have in these respects. These still seem to be areas needing conceptual clarification so we can move forward. - -I think it can be useful to conceive of a network-as-artwork where production, distribution and reception integrate as closely as possible in the creative process. Typically, the institutional artworld conceives of these separately, often involving different agents of mediation: the artist being one, the curator being another, the critic and hypothetical ‘ideal’ spectator another still. This economy is well known of course and summarized usefully in Alloway, L. (1984) 'Network: The Art World Described as a System'. In: Alloway, L. 'Network: Art and the Complex Present'. Ann Arbor, MI, UMI Research Press, pp. 3-15. Hakim Bey has also equated increasing ‘degrees of mediation’ with corresponding interventions of Capital’ (Bey 1994. Available at: http://hermetic.com/bey/radio_se.html) - -Clearly, this system places ‘artists in a submissive role’ as Clive notes and it's also not surprising that artists have regarded curating ‘as a very corrupt discourse.’ (O’Neill & Wilson, 2009. Available at: http://www.ica.org.uk/Emergence%20by%20Paul%20O'Neill%20&%3B%20Mick%20Wilson+17186.twl). More than this, I remember reading recently – but cannot locate the reference! – of an artist or curator who realised that while for Marx the issue was ownership of the means of production, their own preoccupation was with ownership of the means of distribution/reception or something like that. If anyone can help me re-locate that reference that would be great! - -In any case, the case for the network-as-artwork becomes clearer when regarded from this position. The historical backdrop of the ‘dematerialisation of the art object’, which while a somewhat erroneous term, does expand possible interfaces of aesthetic exchange to encompass always increasingly accessible communications technologies as well as discrete, bounded objects of beauty, fax machines as well as paintings. The communications interface, just as a conversation, requires co-presence and co-production of the aesthetic experience. This sense is typical of the 1960s and found too in Allan Kaprow’s ‘no audience, only participants’ approach to the Happening (Kaprow 1968. Available at: http://www.ubu.com/sound/kaprow.html). - -Much of this work clearly takes advantage of any and all communication technologies, especially those that could have global reach. Extending the capacity to be together in different places in the same liminal moment seems aesthetically to be the driver. There is an ‘aesthetics of distance’ here which actually depends on being separate from each other in space and time. The experience of this relationship, the intersubjective exchange across space and time, becomes itself the aesthetic ‘object’. -Manovich (2001) already points out that Benjamin defines aura 'as the unique phenomenon of a distance' (224) not of proximity. We shouldn’t necessarily assume an authentic desire to overcome physical, geographical separation between networkers: it is the romance of their geographical separation that becomes exotic and perhaps even an act of aesthetic love. Aesthetic experience, in my view and found I believe in Bakhtin, requires difference (non-coincidence) rather than synthesis of respective consciousnesses. Synthesis is often confused with empathy and thus thought of as an aesthetic event, where it is arguably more ethical. When the network-as-artwork ‘fails’ as Ken suggests and Johannes questions, is this failure understood in terms of aesthetic or ethical efficacy/sustainability? The difference between poetical and political economy? - -These conditions all taken together mean arguably that Filliou and others becoming interested in the artist-networker position were in fact becoming engaged with curating. I was struck with Clive’s view that ‘curating (caring for) the network (as mutually authored projects) made sense as an artwork’ which was very well put. I like this because it refers to curating as an activity as opposed to a job or career. I think Filliou and other networkers (e.g. H.R Fricker and ‘The Decentralised Network Congress’) were behaving curatorially in setting/integrating the context of production, distribution, reception as an ‘open system’ in which to participate. - -Two useful views on rethinking curatorial activity in the context of network-as-artwork: - -For artists, Paul O’Neill again: -“The term “artist curator”, which once simply referred to exhibitions curated by artists, is applied by [Gavin] Wade to those practitioners using exhibition design, architectural structures, and curatorial strategies as a way of presenting themselves, alongside other artists, to create composite public outcomes”. -O’Neill, Paul. (2012): The Culture of Curating and the Curating of Culture(s). MIT, p. 105 - -And for curators, CRUMB’s very own Beryl and Sarah: -“Curators who are truly interested in the decentralised, dematerialized activity of network-based arts have tried to change their curatorial tactics to be more in line with the artists, even if that means being increasingly misaligned with the traditional institutions for the presentation of art.” -Cook, Sarah & Graham, Beryl. (2010): Rethinking Curating. MIT, p. 84 - -Rethinking relationships between production, distribution, reception (or at the risk of more hyphenating: production-as-distribution-as-reception, etc., etc.) is important and should welcome interventions from any perspective of hybridity and indeterminacy. - -Hope I’ve explained my grounds for asking the question better! - -Best wishes all, - -Roddy - - -19.2 -Re: Curating the Network as Artwork -Johannes Birringer -<new-media-curating@jiscmail.ac.uk> -Mon, 11 Feb 2013 13:41:31 +0000 - -just wanted to say thank you to Katja Kwastek for her illuminating review of the Transmediale, -your sharp observations seemed to make good sense in the context of this discussion, and -I was sorry of course to learn that Pluto was not elevated but remained confirmed-demoted, -a poor post-planet. - - -as to your comment on PAPER, you mention the Post Digital Publishing workshop, ->> -. A highlight of this was the keynote by Kenneth Goldsmith on conceptual writing, with the provocative thesis: -"with the rise of the web writing has met its photography" - -I don't think I really agree, but it is worth thinking about it - goes into the whole discourse of computationality which was also represented by David Berry. ->> - -I'd like to learn more about this, could you elaborate or send me a follow up link? And how is this connected to the "discourse -on computationality" or to the theme that Annie Abrahams brought forward, on caring for/sustaining a possibly on-going creation -(across/with network) or project involve both site and remote site collaboration. - -I liked the example of "Angry Women", with its organizational and productive dimensions; and it reminds me of a small proiect a theatre friend of mine, Angeles Romero, -started up in Houston, last year with young Latinas who were encouraged to use their cellphones to make short films working with -the restrictions of the medium but developing a craft of the short film (one task was to do the scripting/story-boarding. shoot/edit in one day and upload to YouTube by the end of the day)... - - - -.... see an example here: http://www.youtube.com/watch?v=DWdGgI3yGIk&feature=youtu.be - -http://www.youtube.com/watch?v=dn49HbJkcZU -or -http://www.youtube.com/watch?v=ZltCSIEV82g - -I think these wonderful, humorous and sometimes ironic yet also politicized "tiny" productions are part of a pedagogy of 'teatro espontaneo' that Romero developed in her theatre workshops in the Latino/a community, -and they are now also testing the "re-mediation" possibilities of working with new media or social media networks. Now sure whether the group has -developed a policiy about "curating" the quick work on YouTube. - -And why should they bother? - -What is there is no role for curating in this connection? (Katja, did you not mention something about "'Curating Youtube' in regard to Transmediale?) -certainly for the young mobile-video-makers in Houston the curatorial question is irrelevant, i think. The creative production model, on the other hand, -is not. - - -with regards -Johannes Birringer - - -19.3 -Re: Curating the Network as Artwork -Johannes Birringer -<new-media-curating@jiscmail.ac.uk> -Wed, 20 Feb 2013 21:18:45 +0000 - -hi all - -strangely i think the debate here stopped on February 11, after Clive and I posted some commentary... -I was wondering why the discussion stopped. Sorry for my query, i am always interested into these -things/situations when a dialogue suddenly stops. - -with regards -Johannes - - -[Roddy Hunter schreibt] -[...] - - -19.4 -Re: Curating the Network as Artwork -Roddy Hunter -<new-media-curating@jiscmail.ac.uk> -Wed, 20 Feb 2013 21:47:12 +0000 - -Hi Johannes - -As I said, my fault. Too many serious work/life issues off-list. Am trying to catch up now. Apologies. - -I'd welcome contributions from invited respondents especially those who have not introduced themselves. - -Again links to relevant projects to build a resource list welcome - doesn't have to be essays. - -Thanks all for patience with your faulty moderator. - -Best wishes - -Roddy - - -19.5 -Re: Curating the Network as Artwork -Johannes Birringer -<new-media-curating@jiscmail.ac.uk> -Wed, 20 Feb 2013 21:56:32 +0000 - -oh, not at all, i did not at all mean to suggest it is a matter of moderation, I was wondering aloud, and am sorry for having done so, why discussion -on this list repeatedly tends to stop at certain points. I think I have asked this before, so ignore my curiosity. - -with regards - -Gregor -(just back from Zagreb) - ----------- - -[Roddy schreibt] - -As I said, my fault. Too many serious work/life issues off-list. Am trying to catch up now. Apologies. -I'd welcome contributions from invited respondents especially those who have not introduced themselves. -Again links to relevant projects to build a resource list welcome - doesn't have to be essays. -Thanks all for patience with your faulty moderator. - - -19.6 -Curating the Network as Artwork -Tom Sherman -<new-media-curating@jiscmail.ac.uk> -Mon, 25 Feb 2013 12:44:17 +0000 - -I met Robert Filliou somewhere in the 1970s, could have been Vancouver or Toronto. He had a lot of presence in his unassuming way. When he made reference to the Eternal Network I thought at the time he was referring to the spirit of curiosity and creativity that will always glow or bubble up or erupt around the planet. No matter how sour and stiff and roboticized our societies would become, there was always hope in youth and all those who refuse to stop playing. Filliou was one who joked around as if his and everyone else’s life depended on a sense of irreverence and frivolity and invention. I was fortunate to know Clive Robertson who had managed to fix and firm up Filliou’s spirit in media, video and other deceptively modest media, including audiocassette editions, and later audio CDs. - -I understood the practicality of Filliou’s obsession with travel and connection and networking because I had interned as a boy sending out messages in Morse code as a ham radio operator from my bedroom in a small town in Michigan. I spent even more time DXing short wave and medium wave radio stations around the world and setting up ‘tapespondence’ networks through which locally originated reel-to-reel audio recordings were exchanged through the postal networks. We didn’t have long-distance telecom access in late 1950s or early 1960s (the use of telephones was financially prohibitive). I figured out how to find out what was going on everywhere else and to manifest my own voice and participate in and invent global networks because I had to in order to survive. In rural Michigan there were few cultural options at the time: hunting and fishing, sports, car culture, alcohol, pop music and three television networks. I didn’t know there were people like Robert Filliou and horizontal networks like Fluxus forming at that time, but I was starving for information and desperate to find others who weren’t satisfied with the mass media culture of Ed Sullivan or Elvis Presley or Walter Cronkite. - -Later I would realize that Filliou and artists of like-minds would understand that the sparks of curiosity and discovery could be amplified and highlighted through networks. I saw artist-run centres spring up and floods of mail art begin to circulate through and beyond this constellation of alternative institutions in parallel to commercial galleries and museums. Horizontality flattened verticality and became for many an ideal. Postal networks gave way to bicycled videocassettes and slow-scan television and photocopy and fax and primitive e-mail systems. Telephony, just a whisper of what it would become, was enlarging at an incomprehensible rate, kicked into light speed by analogue to digital conversion. Satellites and later fibre-optic undersea cables fired this mushrooming connectivity. The idea of ‘communities of interest’ became more and more apparent and necessary. Communities of common interests were forming concretely, suddenly, without the necessity of physical, in the flesh, communities. Kindred spirits were connecting ethereally and interactivity was arising like Brownian motion around the foundations, the ruins, of mass media. The phenomena of distributed authorship were becoming tangible. The economy of goods and services was shifting into the information economy—economies based on scarcity were collapsing as gift economies were emerging in rich cultures of abundance. - -The weak signals of unpopular culture gained enough strength to form clear alternatives to mainstream cultures through networked exchanges. The electronic and eventually digital telecommunication networks accrued in layers of webs over obscure galleries and clubs, universities and town halls, those places were people actually meet. Everyone aspired to create difference. Anomaly was actually the norm for a while. But as culture was atomized into rivers and seas of individual voices (as we have become full transceiver cultures), differences have become less significant and people have become less interested in being different and more interested in being the same. Don’t ask me why, I just know that this is true. Young people want to be part of a set of emergent identical behaviors, moving this way and that like schools of fish. Maybe this results from more and more consistent prompts from the mediated environment--a kind of engineered roboticism, the behavioral response to endlessly consistent instruction sets--or maybe there is simply too much risk associated with being different? (maybe it is only acceptable to internalize, to ‘secretize’ 21st century individualism?) One thing for sure, the connective tissues of networks are far more elaborate and comprehensive than ever before. We are flush with channels for trading messages. Telecom is simultaneously personal and institutional and evolving at unprecedented speed. Kindred spirits are no longer isolated by distance and time. Kindred spirits find themselves jam packed in overcrowded networks. - -Where is Robert Filliou when we need him? We need artists with miners’ hats, the helmets with probing lights mounted on them, to comb the clogged networks for signs of copious curiosity and playfulness. (Baseline inventiveness.) Where are those flaunting ignorance for a chance to celebrate what they don’t know? Risky takers of chance. Lovely eccentrics. People who make our head hurt just being themselves. I think things have changed more than we think they have over the past fifty or sixty years. The kids are playing in seclusion with intelligent artifacts and far too many people are humanizing cats and watching dogs speaking in affected voices in the English language on their Apple telephones. - - ------ - -Tom Sherman is an artist and writer with a history of involvement with networks. He is a professor in the Department of Transmedia at Syracuse University in central New York. http://vpa.syr.edu/directory/tom-sherman - - -19.7 -Re: Curating the Network as Artwork -Roddy Hunter -<new-media-curating@jiscmail.ac.uk> -Mon, 25 Feb 2013 23:23:43 +0000 - -Dear list, - -Armin: I appreciate your comment on the impossibility or otherwise of curating the net as if it were a giant ready-made. It may well have been possible to approach it from this angle at the time of Cosic, Shulgin, Lialina et al. Galloway expressed similar when he says net.art ‘is dirty aesthetic deeply limited, but also facilitated, by the network […] a type of art making that is a mapping of the network’s technological limitations and failures’.[1] The pervasiveness of Web 2.0, particularly social media, has meant the network is more likely a spectacle, in the Debordian sense of ‘a social relation between people that is mediated by images’. [2] I am not sure that curating the network-as-artwork is the same as curating the net as artwork, in the way I mean to explore it. I was ashamed of myself that prior to this discussion I had not read Tatiana Bazzichelli’s ‘Networking: The Net as Artwork’ [3] but will soon to try to resolve the question of whether there is a difference. Essentially, in my view currently, the Net is one network - perhaps the paradigmatic apogee of networking – but there needs to be a way the ‘network-as-artwork’ can affirm critique of its post-Web 2.0 pre-eminence. I agree entirely then with your view that ‘We need to move beyond this situation and not just invent a new aesthetics but new forms of living, of co-operation, of exchange. Technologies will play a role in this, but not such a privileged anymore.’ [4] This moves us closer back onto Filliou’s territory of ‘The Eternal Network’ where we need to contend then, however, with the problems of materialisation again. I see you trying to do that with your FIELDS project and while I won't be able to take part would like to know how that turns out. - -Ken: I also appreciate your attempt to think through different meanings of ‘network’. If I follow, you seem to suggest one sense lies in artists’ manipulating communications technologies for aesthetic ends (Nam June Paik, ‘Art by Telephone’, ‘Omaha Flow Systems’) – network as tool, perhaps – and the other being the broader context of networked communication itself, which in many ways transcends specifically art production. If this careful differentiation stands, then it probably benefits Filliou’s conception of ‘art being what makes like more interesting than art’. It is useful to think of your differentiation of networks-as-tools and networks-as-systems. Sure, The Eternal Network would need to fall into the latter category as an artwork as an ongoing system of relations rather than an as a networked ‘artefact’. Your point of sustainability is valid to raise given the apparently ‘permanent’ nature of ‘la fête permanent’… but really how did Filliou mean this ‘permanence’ to be interpreted? I think his definition of ‘The Eternal Network’ – again from Clive’s ‘Porta Filliou’ tape – refers to the ‘eternal’ aspect as ‘la fête permanent’ of the post-avant-garde, as what happens whenever ‘through the collective efforts of artists …artistic activity becomes just one of the elements.’ [5] If artists collectively succeed in escaping the fixed positioning of the avant-garde as a dialectically-bound reaction and recoverable antidote to mainstream hegemony, then needing to circumvent the regulation of their activities as art could be important. The issue then is how to employ whichever criteria decide the efficacy of such a network or not. To move toward Clive and Gary’s discussion of Stuart Hall elsewhere, I wonder if ‘The Eternal Network’ is a puzzle which resists the moment of ‘regulation’ in the circuit of culture that ‘comprises controls on cultural activity’. There is also ‘play’ here as a critique of instrumentalisation and yes; I think Filliou is making mischief that’s keeps us talking now. Maybe working out what ‘la fête permanent’ is a koan? Thanks for making “The Wealth and Poverty of Networks” available [6]. I read it earlier in my research and it certainly works well as critique of Filliou that needs to be responded. Maybe the problem is in sticking to ‘network’ - we could argue whether Art’s Birthday is a ‘network’ or not. I guess I am as interested in in it as a ‘formation’ and a ‘networked formation’ at that. Problem? - -Gary: I really appreciate your excursus on Cultural Studies and Hall [7] and do sense there is an answer from that perspective to these problems – as I hint at in a very literal, uninformed way above – but I am going to have spend longer working through those issues of research and politics you raise – is Rancière useful in relation to finding ways to consider ‘being ‘political’’? - -Clive: “ideals Die” totally gets into the annotated bibliography – you know we all want to hear it! Upload a MP3 please, just for us? I also completely appreciate your idea of printing a small and cheap – as you say –edition reflecting the discussion that we can put up as a PDF on the CRUMB site, maybe? That’ll also give us a reason to keep talking once this month is over and see where this current network formation can lead us. Brilliant idea, thanks very much for proposing. Everyone else happy with that, anyone want to join in particularly? - -My hard dive is slowing down and I am getting unresponsive script warnings trying to filter the wonderful further material Helen, Gary, Ken, Clive and Tom contributed to the list discussion. This will form part two of my response within the next couple of days but there is certainly a wealth of links that we can add there to our bibliography of ‘network-as-artwork’ research. Thank you for your generosity, all. - -Oh, Filliou, why are you one of those ‘People who make our head hurt just being themselves’? [8] Thanks for that in particular, Tom. - -Network greetings, - -Roddy - -[1] Galloway, Alexander R. 2004. ‘Internet Art’. In: Protocol: How Control Exists After Decentralization. MIT Press, 219. -[2] http://www.bopsecrets.org/SI/debord/1.htm -[3] http://darc.imv.au.dk/wp-content/files/networking_bazzichelli.pdf -[4] https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=ind1302&L=new-media-curating&D=1&O=D&X=03DC5D40CE246463EE&Y=hunter.roddy%40gmail.com&P=31120 -[5] http://www.youtube.com/watch?v=9BgOfsG7J0Q -[6] http://swinburne.academia.edu/KenFriedman -[7] https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=ind1302&L=new-media-curating&D=1&O=D&X=03DC5D40CE246463EE&Y=hunter.roddy%40gmail.com&P=32335 -[8] https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=ind1302&L=new-media-curating&D=1&O=D&X=65ACE72CDFD17E2F92&Y=hunter.roddy%40gmail.com&P=37926 - - -20.0 -What is a Network? -Ken Friedman -<new-media-curating@jiscmail.ac.uk> -Sat, 23 Feb 2013 06:26:17 +0000 - -Friends, - -The question on why the conversation went quiet is a good one. I’ve been puzzled that many of those who agreed to contribute have not done so. - -For myself, I can explain my silence. I’ve been thinking. It seems to me that there have been two meanings of the word “network” in use here. - -One meaning applies to art works that use and mirror networked systems. Examples would be Nam June Paik’s spectacular use of television networks in projects such as the 1984 television project titled “Good Morning, Mr. Orwell,” the elegant 1969 exhibition at the Museum of Contemporary Art in Chicago titled “Art by Telephone,” or my 1973 mail art exhibition at the Joslyn Art Museum titled “Omaha Flow Systems.” - -The other meaning is that of networks in the larger sense of ongoing systems that permit interactions of many kinds – networks such as postal systems, the World Wide Web, the Internet, or the global telephone network, as well as networks fornews transmission, publications, or regular social and economic interaction. This is the kind of network that I was referring to in my somewhat pessimistic statement about the failure of artists to generate durable, functioning networks. - -On February 7, Johannes Birringer asked me about a comment in an earlier post. I had written, “most of the projects, networks, and systems that artists try to build fail. I wanted to know why, and how to do better. This led me to questions in humanbehavior, sociology, and economics. I found general history and world history useful in examining how people have addressed different kinds of issues at other times and places.” - -Johannes wrote, “nothing could be further from the truth I think, it surprises me really that you claim this overwhelming failure, Ken, which is historically not accurate at all I'd think. (well, maybe I should speak from my perspective: most of theprojects and networks that I tried to help build and sustain did work, and even if there are adaptations and modifications needed, they can be accomplished). I am sure many here know examples of organizational networks that worked.” - -What I meant, though, was not specific projects or art works using networks, but actual network systems that thrive and develop for longer than a year or two. - -Any network can be made to function if one pours enough resources and funds in. The challenge is to develop networks that generate true networks effects, becoming more valuable and more effective as more nodes affiliate. Examples of networks that function and grow successfully have – at times – included the telephone and telegraph systems, canal networks, railroad networks prior to the advent oftrucking and then cheap air transport. - -Robert Filliou and George Brecht’s concept of The Eternal Network was a concept of community, not a concept for an art work. Projects such as Art’s Birthday continue and flourish – but these use a network, they are not in themselves networks, and the constituencies and communities that generate them change, die, and flourish through revivals rather than the continuity the describes a network. - -Johannes asked, “What did you have in mind, Ken? what projects, networks and systems?” I’d feel inappropriate describing the particular details of projects and systems that don’t work or didn’t. There is too little time and room for a robust, detailed analysis in a list conversation such as this. In a conversation where key participants are unwilling to post a first entry, I’m not prepared to launch a sociological and economic analysis of projects to which, in many respects, I was and remain sympathetic. - -If artists have indeed created social and economic networks that function for more than short periods supported by massive external subsidies, it would be interesting toknow of them. - -In 2005, The MIT Press published Anne-Marie Chandler and Norie Neumark’s book At A Distance: Precursors to Internet Art and Activism. I wrote a chapter for the book titled “The Wealth and Poverty of Networks.” This chapter describes some of the issues that I feel describe networks, and I give examples of networks that succeeded and failed. - -Interested list members can download a PDF copy of the chapter – produced with permission of the publisher – at URL: - -http://swinburne.academia.edu/KenFriedman - -One aspect of all networks is that they are lodged in a culture and a technological era. They are also subject to the laws of biology, chemistry, and physics. Therefore, allnetworks eventually vanish. The Sumerian civilization began nearly 8,000 years ago. A king named Culgi who rule 4,000 years ago was quite proud of his sophisticated network of roads with a postal service and rest stops: - -“I, Culgi, the mighty king, superior to all, strengthened the roads, put in order the highways of the Land. I marked out the double-hour distances, built there lodging houses. I planted gardens by their side and established resting-places, andinstalled in those places experienced men. Whichever direction one comes from, one can refresh oneself at their cool sides; and the traveller who reaches nightfall on the road can seek haven there as in a well-built city.” - -The Sumerian road system went the way of Ramses II and his works – as Shelley wrote, “Of that colossal wreck, boundless and bare The lone and level sands stretch far away.” One expects that Eisenhower’s Interstate Highway System will follow, along with most networks we humans have built. - -The main difference between these and the networks I noted is that they flourished longer by giving rise to successful network effects with a smaller proportional inflow of external energy applied relative to the economic and social valuethey spin off. - -For now, I’m happy to make “The Wealth and Poverty of Networks” available at: - -http://swinburne.academia.edu/KenFriedman - -Yours, - -Ken Friedman - -Ken Friedman, PhD, DSc (hc), FDRS | University Distinguished Professor | Swinburne University of Technology | Melbourne, Australia | [log in to unmask] | Mobile +61 404 830 462 | Home Page http://www.swinburne.edu.au/design/people/Professor-Ken-Friedman-ID22.html<http://www.swinburne.edu.au/design> - -Guest Professor | College of Design and Innovation | Tongji University | Shanghai, China - - -21.0 -Reading the Network -Helen Pritchard -<new-media-curating@jiscmail.ac.uk> -Sun, 24 Feb 2013 00:10:59 +0800 - -Hello, - -Thankyou Roddy for the invitation to be part of this discussion and also thanks to the other respondents for their comments and thoughts so far…I have a few tentative notes and responses and I want to start first of all with the notion of diffraction... - -What is interesting about the questions you are posing is that in a way it sets up a space for productively reading ‘network culture’, ‘curating’ and ‘Fluxus’ through each other - as an affirmative process. Which could perhaps be thought of as the process that Donna Haraway and Karen Barad have described as 'diffraction'. [1]. As Barad explains diffraction is a productive methodology and - -" a method of diffractively reading insights through one another, building new insights, and attentively and carefully reading for differences that matter in their fine details, together with the recognition that there intrinsic to this analysis is an ethics that is not predicated on externality but rather entanglement. Diffractive readings bring inventive provocations; they are good to think with. They are respectful, detailed, ethical engagements." [2] - -Diffraction as a methodology is something we are currently exploring in the work I am undertaking with Jane Prophet [3], Winnie Soon [4] and Fran Perona [5] at the School of Creative Media, City University Hong Kong. In our research we have become increasingly interested in considering not just ‘reading’ the blind spots of theory against each other but also diffracting ‘practices’ through each other such as diffracting arts practice through the practice of nano science or the practice of archiving through the practice of network art. - -Diffraction as Iris Van der Tuin explains, “is meant to disrupt linear and fixed causalities, and to work toward ‘‘more promising interference patterns’’ [6]. It is practiced by reading one text through another text and the rewriting. Disrupting the temporality of the piece and opening up meanings in new contexts. - -I bring up this idea of diffracting practices through one another in response to Clive’s earlier comments about the possibility for curating as the network as a practice of ‘caring’ for the/a network/s and Marc’s suggestion that much of the work they engage with at furtherfield, artists/collectives such as YOHA and Platform, “meet, not through style or as part of a field of practice, but as contemporary artistic practitioners exploring their own states of agency in a world where our ‘public’ interfaces are as much a necessary place of creative engagement”. It also relates to Ken's comments outlining the question "what is a network?" and perhaps - how we begin to become attuned to what a network is/and or might be otherwise. The matter of becoming attuned - is something I was alerted to recently in discussion with Kathryn Yusoff [7]. - -It seems to me that many artists that engage with network ecology often use the methodology of diffraction to become attuned to its performativity - to what it includes or excludes in what Adrian Mckenzie might describe as the processes of circulation [8]. Artists often diffract one practice through another to expose its blind spots - such as in the network reading group work “Common Practice” initiated by Magda Tyżlik-Carver [9]. In this work online reading practices are diffracted through the practice of curating and the practice of “commoning”. Not in order to control, order or stabilise these reading practices but as a way to become attuned to both limitations and the indeterminate possibilities of both networks and curating. - -As Magda explains “ the subject of my research which proposes to understand curating in/as common/s. If the common, as Hardt and Negri say (256), is discovered and produced through joyful encounters, then perhaps writing about curating in/as common/s should be also done with others. [10] - -- more soon :) -Helen - -[1] Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke UP, 2007 -[2] http://quod.lib.umich.edu/o/ohp/11515701.0001.001/1:4.3/--new-materialism-interviews-cartographies?rgn=div2;view=fulltext -[3] http://www.janeprophet.com/ -[4] http://www.siusoon.com/home/ -[5] http://www.francescaperona.com/ -[7] http://www.lec.lancs.ac.uk/people/Kathryn_Yusoff -[8] Adrian Mackenzie, 'The Performativity of Code: Software and Cultures of Circulation', Theory, Culture & Society_, vol. 22, no. 1, London: Sage, 2005, pp. 71-92. -[9] http://www.magda.thecommonpractice.org/index.php?/projects/common-practicecode/ -[10] http://www.aprja.net/?p=460 - - -21.1 -Re: Reading the Network -Gary Hall -<new-media-curating@jiscmail.ac.uk> -Sat, 23 Feb 2013 22:02:05 +0000 - -While we're waiting for Clive's remake of 'Ideals Die', perhaps I can -attempt some speculations (one could almost call them 'inventive -provocations' if they were more detailed) on what it might mean to think -both research and politics as 'the domain of those who do not know' in -the context of some of the contributions to the discussion so far. In -particular, I'd like to try to find a way of thinking this idea -affirmatively together with: - -Clive's concern about having a 'common direction'; -Ken Friedman's comments about the concept of The Eternal Network being a -concept of community, and about the apparent failure of artists to -create network systems that thrive and develop for longer than a year or -two; -and Helen Pritchard's reference to the common, for Hardt and Negri, -being discovered and produced through joyful encounters. - -The latter brought to mind Nick Mirzeoff's disappointment with their -book Declaration, on the basis that, for Hardt and Negri: - -'“living information” is said to be gained by physical proximity. Thus, -at the encampments "the participants experienced the power of creating -new political affects through being together." While that seems clearly -true, there’s a hint of Romantic nostalgia in the evocation of the -letter over the email and the distaste for social media. Entirely absent -here... is any mention of the role of photography and moving image -distribution. From the al-Jazeera feeds of Tunisia and Tahrir to the -Livestreaming of Occupy, web-disseminated video has indeed created a new -way of being together without which it’s hard to understand the -formation of global affinities that we’ve witnessed over the past 18 -months.'[1] - -That in turn made me think of how - as we know from the work of Dymitri -Kleiner and others [2] - the idea of the commons is a place where the -interests of a large number of diverse groups, movements, organisations -and constituencies – including network technologists, media theorists, -artists, activists and curators - come together, but also exist in a -state of 'tension' and are often demonstrably incompatible and -incommensurable. For example, some in the Free Software community argue -for copyleft which is a use of copyright law, but one that’s designed to -serve the opposite ends to those such a copyright or Creative Commons -license is usually put. Instead of supporting the ownership of private -property, copyleft defends the freedom of everyone to copy, distribute, -develop and improve software or any other work covered by such a -licence. Meanwhile, others question just how left politically copyleft -actually is. Rather than preventing access to information and source -code from being restricted, those on the political left tend to be more -concerned with developing a free, common culture, and promoting the -equal and just distribution of wealth among the creative workers who -produce it. To this end, Kleiner himself advocates for copyleft to be -transformed into copyfarleft, in which creative workers themselves own -the means of production, and only prevent use of their works which is -not based in the commons. Then again, many anti-intellectual property -advocates in the Pirate movement argue against copyright and the use of -licenses altogether, regarding them as remnants from a previous age. - -Now all this could of course be taken as providing one illustration as -to why it is difficult for network technologists, media theorists, -artists, activists and curators to create durable, scalable network -systems that thrive and develop for longer than a year or two - -especially if we are attempting to understand the politics of the common -in terms of a known 'arbitrary closure' (such as 'continuity' -possibly?). Or, it could be taken as suggesting we should perhaps -approach the question of community, of being together and holding -something in common, a little differently - in terms of a certain -conflict, antagonism and incommensurability, and thus as being not the -domain of those who already know what community and the common are in -advance, but more 'the domain of those who do not know'. It is -something of this kind that Michael Bauwens seems to be pointing toward -when he talks about the larger cultural and social shift he associates -with peer-to-peer networks of production: - -'The fact that the commons interfaces with capital is not necessarily -negative. It can be, but it is not necessarily so.... Critics ask you to -choose one or the other, and what I am trying to say is that it is not -either or, but both. They are both happening at the same time, we are -de-commodifying and we are commodifying. ... I find it really -interesting that, within the system we already have, communal dynamics -are actually happening. My point of view is not to take an -anti-capitalist view, but to take a post-capitalist view.... I think -that is what happened in the past as well, I do not think that the -Christians fought the Roman Empire or fought Feudalism as such; they -just created a world based on their new logic .... The people no longer -believe in the mainstream system. They may not know what they want, but -people in the French Revolution did not know what they want, and people -in the Russian Revolution did not know what they want.'[3] - -All of which appears to provide another way of thinking community -together with performativity. For (and I'm just speculating here -remember) how might we set about creating such an (as yet) unknown -community or world - especially if we're concerned to try to avoid the -situation we've seen Stuart Hall fall into, where we're open to -questioning everything... except certain 'arbitrary closures' that -establish boundary lines around what we supposedly do know, such as -politics and the relation to the social formation in Hall's case. -Wouldn’t we have to try to performatively create such a community via -how we act as network technologists, media theorists, artists, -activists and curators? And do so ‘without any guarantees’ (Stuart Hall -again) that this would happen?[4] - -Let me try to illustrate what this might involve with the example of -Graham Harman and his book on Bruno Latour, Prince of Networks (and I'm -referring to authors and texts that are part of the networks of networks -I help to curate and care for quite deliberately here).[5] Harman of -course is known for advocating a 'new logic' via Latour and others, -based on the argument that ‘there is no privilege for a unique human -subject’, and that with this ‘a total democracy of objects replaces the -long tyranny of human beings in philosophy’.[6] However, even though -Prince of Networks is available open access through re.press,[7] that -doesn’t mean a network of people, objects or actants can take Harman’s -text, rewrite and improve it, and in this way produce a work derived -from it that can then be legally published. Since Harman has chosen to -publish his book under a Creative Commons BY-NC-ND licence, that would -still be to infringe his claim to copyright: both the right Harman -wishes to retain to be identified as the author of Prince of Networks, -and to have it attributed to him precisely as a unique human subject; -but also Harman’s right of integrity, which enables him as a human being -to claim it as his intellectual property, and which grants him the -privilege of refusing to allow the ‘original’, fixed and final form of -Prince of Networks to be modified or distorted by others, be they humans -or objects. - -So how might we begin to think about how we could act differently in -this respect? Well, one starting point for doing so is perhaps offered -by Lawrence Liang's troubling of the 'distinction between an agent who -performs an action and the action that the agent performs.' Here, 'an -agent is constituted by the actions that he or she performs, or an agent -is the actions performed and nothing more. Interestingly, what this -means when it comes to written texts - and this brings us back neatly to -Helen's mention of joyful encounters - is that: 'to assert "This is my -poem" within the social imaginary of intellectual property is to make a -claim that sounds very much like "This is my pen", whereas in fact, it -might be more accurate to think of its claim as the same as "This is my -friend".' - -Gary - - -[1] -http://www.nicholasmirzoeff.com/O2012/2012/05/09/on-hardt-and-negris-declaration/ -[2] Dmytri Kleiner, The Telecommumist Manifesto, Amsterdam: Institute of -Network Cultures, 2010, -http://telekommunisten.net/the-telekommunist-manifesto/. -[3] Michel Bauwens in Sam Kinsley, ‘TOWARDS PEER-TO-PEER ALTERNATIVES: -An interview with Michel Bauwens’, Culture Machine, 2012, -http://www.culturemachine.net/index.php/cm/article/view/467/497. -[4] 'The Problem of Ideology: Marxism without Guarantees', in D. Morley -and Kuan-Hsing Chen (eds.) Stuart Hall : Critical Dialogues in Cultural -Studies (London/ New York: Routledge 1996) pp26-29. -[5] http://openhumanitiespress.org/new-metaphysics.html. -[6] Graham Harman, ‘The Importance of Bruno Latour for Philosophy’, -Cultural Studies Review, Volume 13, Number 1, March 2007, p.36. -[7] -http://re-press.org/books/prince-of-networks-bruno-latour-and-metaphysics/. -[8] Lawrence Liang, ‘The Man Who Mistook His Wife for a Book’, in Gaelle -Krikorian and Amy Kapczynski, eds, Access to Knowledge In the Age of -Intellectual Property (New York: Zone Books, 2010) p.286, 283-284. - - -22.0 -[Nettime-bold] txt from C-front: Unsubscri -ana peraica -nettime-bold@nettime.org -Tue, 19 Jun 2001 18:44:18 +0200 -*UNSUBSCRIBE! [On Net citizens and the new geography, a sanitation view] -dedicated to Brian, Dalai Lama and Nokia telephones... and my Delete folder - -txt from C-front 2001 (Plovdiv, Bulgaria) - -Ana Peraica - -A friend's three-year-old child was screaming into the toilet bowl, -'graaaandmother, graandmother', while the parents sitting with guests in the -living room were quite shocked, and slightly embarassed. It took them time -to understand that, if a child still in nappies saw that every apartment has -almost the same toilet, and they all have holes, it logically concluded - -they are all connected. And what is connected are not only toilet bowls -[but, sorry for vocabulary but asses, shits, and sewers...]. - -A year ago, during the informal lecture of Andreas Broeckman on Oreste and -Syndicate, a visitor, artist Rod Summers handed me an unpublished -transcribed Robert Fillou speech, 'Eternal Network', dated precisely thirty -years before, and speaking on the same topic. The text [1] spoke -romantically about pre-existing networks, such as solar, biological, and -others in pan-psychic terms of Nature as the One; divine, sublime, -glorious... Then it shifted to the even more primitive religion related -terms, of 'meditation', 'feeling'... a kind of a hippy 'being well with it', -at the same time covering the other part of the phenomenon: its horror -element 'of being included unwillingly', 'being absorbed', 'being small', -'being only a particle imprisoned'. It was not precisely, but nearly a -version of the Shreber's anus-centric version of the solar network [2]. -The speech was actually about the art of mailing, finding reasons for it not -in art history, but within the theory of the Sublime. Established as a -chain, after the death of the author, the network itself unfortunately ended -up in the closed and therefore anti-networked circle of inner mailings, -still active among forty-year-old artists, who were raised on marijuana on -the shores of Maastrircht, or around. -Humans can only be consumed in networks, as flies can in those of spiders' -webs. And usually they are absorbed without knowing, without giving their -real -name. As, for the network the name is less important than the name of the -network itself. The name simply is only a dot that holds the tension of the -link, rope, of the road. -But after the time of fascination with the Network, with the own program -network, a period of disappointment arrives... As in the net held by many of -them after some time nothing is caught, only the garbage left behind by the -activity of the network itself, its own digestion. Fragile due to holes, -they all intersect, intervene each other, still holding own names. Good and -bad networks; networks in the sky, sewer networks, street networks, spider -networks, networks of the spreading of the pediculum pubis and other veneral -diseases, spamming networks... They morph and become one another. If you are -in the communal network of the city, necessarily you are also in the state -system of communal activities, but also of all countries that direct the -sewers to the sea. -But, the myth of the Network suddenly ended up in a variety of networks, -rising and falling down. But then, as information flows, each of them at -some period turns into an appendix, a footnote, a chapter of the other, in a -different constellation. -Why don't you post it on the Syndicate? Did you read that on Nettime? -Meeting with Faces? Well, wasn't it on the Rhizome Raw? X-change, 7-11... -Report! Report! as in the army, the network asks for constant attention, -constant care... It seems that the relation is inevitable. All networks sort -people; into heroes, receptors and locally politically-correct subscribers. -Emancipated e-mail heroes [as a parallel to the toilet network ones Zizek -was writing on] form their own territories, their own enclaves, and then -send their own programs, party posters all around... Other kind of existing -people are passive, not posting, only reading and trying to catch up, use, -find some sense... That is why networks die becoming parties, as -Internacionala did, becoming a sort of 'being politically-correct', being -pre-programmed, and establishing routes that one not only cannot escape, but -must not. Party marriages, party suicides... -Is there a place for Icarus in Shreber's case? It is obvious on mailing - -event lists: Oreste, Balkania... Once an interesting project, the Balkania -list became one of those devastated territories of paradoxical actions of -commercial advertisement, spamming, petitions etc... Brian, Nokia -telephones,the Dalai Lama on life [2] visit it regularly. The -once-interesting curatorial project Oreste became a closed daily report of -individuals still having time for such a narrative, and posting html -e-mails, and attachments. Digestion... -The scenario is the same - after exchanging some decent e-mails a list -starts to slowly die and serves as a sub-list of the personal announcement -list, there is no communication, no addressing. Everyone escapes, and -finally - an abandoned list, a heaven from spamming. Collapsed networks, -abandoned mailing lists, territories of the vampire spam artists as Integer, -enjoying the political incorrectness, et.al. But even without being -abandoned... mailing lists are open. Just subscribe and send a 'who' command -to Majordomo that lacks protection, as happened to the McLuhan-list in 1997. -Evacuation from the mailing list seems to be a general move of the networked -society. Who gave you my e-mail address? [Unsubscribe... Please, please -remove me from this list. Stop spamming!!!] -But a spammed individual net citizen should not be shocked. Wasted contacts, -redundant greetings, are normal in any kind of network, although the -frequency and dimensional problems of the electronic ones only underline the -principle already existing: Networks raise and collapse. They are only -events. Cohesion and dispersion are its phenomena. The absence of the -networked individual from their own 'forced working place' is similar to -Kafka's stories. After only seven days of absence either a computer crashes -or the server... 'Receiving 25 out of 765 e-mail messages'. Subscribe before -the summer holidays, that is the rule, - the server will not survive. In -other days, fortunately Inbox assistants encountered this impossibility: -just adding an e-mail address or the heading of the e-mail if it is a -mailing list can release us from pressing Delete. And those individuals, -always deleted are not noticed ... [or someone says 'You are on my Inbox -assistant Delete from the server list, you are in my address book under the -letter S, I reserved only for the 'Shit people'? 'She told me that if you -call she is not at home.']. -How to organize the universe of information and not to be killed by it. Some -of the communication and total control freaks fear that something will -happen when they are away and subscribe to the free SMS message solution, -noting the arrival of e-mail. With every e-mail a mobile shakes, beeps, -screams... Nettime, Nettime... Syndicate... Syndicate... -Once, a long, long time ago, people were still saving newspapers even those -bad ones, to wrap the fish, to use when cleaning potatoes, to put in the -summer shoes cleaned up for winter storage. Still then, back on the streets -of peaceful towns where colporters are selling the daily city newspaper... -shouting. [BRIAN. BRIAN. SOLIDARIDAE COOOON BRIAAAAAAAAN! Stop SHOUTING AT -ME. Stop SCREAMING!]. With junk e-mail one can do nothing. But finally, they -do not make such a waste as the plastic bags one gets in every shop as -shopping is about getting rid of the plastic. -Flash, Delete... Use the Big Network, Nature, a Big toilet. Unsubscribe... - -FOOTNOTES: -[1] latter published in the publication Hype_text ed. by Jean Paul Jacquet -(Academy Jan Van Eyck, Maastricht, 2000) -[2] Freud's Schreber case symptomising, among others, in his attitude that -his ass is inhabited by the sun ['solar anus'] is a classical example of -schizophrenic dellusion. -[3] Brian [Solidaridae con Brian] is a net spam classic, along with: Nokia -telephones, Dalai Lama on life - -LINKS: -Big spam http://www.irational.org/cern -Archives of spams -http://www.eff.org/pub/Net_culture/Folklore/Spam/ -http://pemtropics.mit.edu/~jcho/spam/archive.html -http://www.annexia.org/spam/ -Anti-spam and net.cop tools http://kryten.eng.monash.edu.au/gspam.html - - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - - - -23.0 -[Nettime-bold] commentary on Unsubscribe tex -anna balint -nettime-bold@nettime.org -Tue, 19 Jun 2001 23:45:58 +0200 -Robert Filliou published together with George Brecht the Eternal Network -text in 1968 as a project of the La Cédille qui sourit. -Since than it was many times published, and circulated as manuscript as -well. He coined many other largely known terms such as Poetical Economy, -Fete Permanente, Création Permanente, still largely circulating. 'Snail mail -goes on the web' - that was the slogan of mail artists already in the early -nineties, and accordingly most of them migrated on the net. Maybe some -mailing lists hold discussions about irrelevant questions, but Filliou's -network seems to be eternal. -Anna Balint - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - - - -24.0 -[Nettime-bold] RE: commentary on Unsubscribe tex -anna balint -nettime-bold@nettime.org -Thu, 21 Jun 2001 17:35:24 +0200 -'Il n'ya plus de centre de l'art.Chaque artiste doit se considérer comme -faisant -partie d'un réseau' Robert Filliou - Eternal Network - -Dear Ana, folks, auto replyer, - -One of the fantastic aspects of the net is the immediate accesibility to the -texts, -sources, works, people. One minute search on the web is enough to -acknowledge -the context of a text, and find out that the Eternal Network text was -published. One more minute is enough to overcome the impression that mail -art circles were ever closed. For people with theoretical interest in -mailing lists, networks, netart - the net will probably be a minimum -reference. -Unfortunately I did not find your text in the nettime archives, as it is -very raw and inefficiently organised. Contrary to such net archives, mail -art archives already developed archiving, filtering strategies, and methods -for organise information. -Art and media concerned BBSs, mailing lists owe a lot to the correspondence -networks and movements, even the mailing list technique was developed in -mail art circles, it goes back to the newsletter of Dick Higgins and the -New York Correspondence School of Ray Johnson. Besides technical aspects, on -the content level even nettime reproduced and interfered with many of the -mail art and fluxus phenomena - intermedia, collaborative work, the -multiples, the anticopyright movement, much of the netart, media art, visual -poetry, copy art, censorship questions, radio art, sound poetry, fanzines, -video art, computer art, alternative music, alternative galleries, museums, -comes from the correspondence art and fluxus. -When about bulky correspondence art materials, many theories and concepts -cover them very well, mail art theories in the first place, but the library -of Borges as well, some notions of Flusser, the palimpsest (of Hakim Bay as -well), heteroglossic forms of Michael Bakhtin - his theory of reverse -culture covers your original text as well - hypertext, and so on. -When about legacy of ideas, would it be a coincidence that one of the -moderators of this list comes form the American Fluxus circles, the other -from the Advancement for the Illegal Knowledge group, the third close to the -Marshall MacLuhan heritage - connected with Fluxus, as Marshall MacLuhan was -first published by Something Else Press? -The concepts, theories, practices and attitudes of the correspondence art -infiltrated not only mailing lists, but contemporary art practices - the -call for artworks and papers for instance, its morality, its rules. The -idea, the illegal knowledge which circulated through postal network on a -global level became much more known and legitimate on a larger scale due to -the net. Though many things originating in the correspondence art became -more visible, some still wait to be discovered. Topics, methods as well. For -instance correspondence artists adored trash, crab and junk, they very much -explored and recycled it. -When about empty places in mailing lists, the squatters logic works, what's -wrong in that? That logic brought up alternative spaces, alternative radios, -alternative tv's, alternative art, alternative idea. Nokia is a spammer? -Great! We found out! The Dalai Lama is spamming? Good that somebody reminds -me the question of who the Dalai Lama is! Integer was banned from the -syndicate, nettime, rhizome and infowar list at the same time? First of all -we all learn that these lists were connected, their moderators control (too -much) and they lack humour. Her messages are overwhelming? Did we know -before that messages can mix private and public, did we know so much about -private and public feed-back, did we question content, language, filtering -before? Didn't we learn something about hidden and visible aspects of the -email? Did some mailing lists die out? Great! New ones come, and we will -find out what is eternal. -There is already much said about spatiality of the net, many people explore -utopia and atopia, virtual space, spatiality in general. Much less is -discussed the notion of temporality, though some artists, theoreticians -already struggle with this concept. At this moment my personal time -perceiving is very much determined by the commercial s/censors of -net-works, as the Hungarian Telecomunication Company lets me to work in the -night with less costs. Robert Filliou did not wait the raise of the -internet to formulate his theories, maybe we still need time, to properly -understand his notion of time with the help of the new medium. Eternity is a -religious notion? Which concept is not? -bests regards, -Anna Balint - - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - - - -25.0 +18.0-p.180 [Nettime-bold] Re: <nettime> txt from C-front: Unsubscri Ruine der Kuenste Berlin nettime-bold@nettime.org @@ -10802,11 +6705,11 @@ or disappearing network in the net (and other media!) and so full of humour, that your feelings of a frightening undeliberately beeing connected situation are just a surfacial misunderstanding. Read again and not only this text. I invited Robert for example to exhibit his Research of the -Origine here in Berlin in 1974, there is a very good ´catalogue on it -published in Düsseldorf and Berlin (Aktionen der Avanatgarde, ADA, Akademie -der Künste Berlin) that year. Read, if you are interested my text on Roberts +Origine here in Berlin in 1974, there is a very good ´catalogue on it +published in Düsseldorf and Berlin (Aktionen der Avanatgarde, ADA, Akademie +der Künste Berlin) that year. Read, if you are interested my text on Roberts (Tibetan buddhist) philosophy, which can be clearly seen and proven in his -works by the one, who know buddhism. (Wolf Kahlen: Une chose en t´e`te ou +works by the one, who know buddhism. (Wolf Kahlen: Une chose en t´e`te ou piece qui s'effilochent. A propos de EIND.UN.ONE.... du point de vue bouddhiste de Robert Filliou, in: Robert Filliou, poet, Galerie der Stadt Remscheid 1997). @@ -10818,24 +6721,35 @@ And by the way: I had a strange feeling, as if your sewer story was (perfectly fitting but) invented, it fits more to the mood of the rest of your words...or am I mistaken? With good wishes -Wolf Kahlen - -www.wolf-kahlen.de -www.tu-berlin.de/~arch_net_art - - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - +Wolf Kahlen -25.1 +18.1 +Re: Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? +Barnaby Dicker +<new-media-curating@jiscmail.ac.uk> +Sun, 17 Feb 2013 18:22:00 +0000 +Dear all, + +This post is loosely intended as a response to some aspects of Clive’s lucid and meaty post of last Monday. + +Clive opens by stating that we should ‘consider what the network is or was [...] before calling its project organizing an “artwork” (and what is the hoped for gain of this description – for whom is it being described as such: for artists, critics, research funders, taxpayers, etc.?).’ + +On one hand this is absolutely right and necessary, and yet, at the same time, this makes a severance where there should perhaps not be one. i.e. for our discussion we are considering the curation of the network as artwork. We do well to remember that Filliou’s Eternal Network of Permanent Creation connects all artists across time and space. Just as we also do well to remember Filliou’s (amongst others’) project of ‘decommissioning’ the artist (the name, the role) and making time and space for everyone to see their activities in creative terms. + +Personally, for better or worse, I was immediately pleased to see Roddy’s unabashed use of the word ‘artwork’ in the discussion topic title. While I have a lot of time for ‘decommissionist’ / revisionist antics and ideas, I also feel that we stray into the realm of delusion when we call our activities something other than art. However close our work might come to political activism, social regeneration, therapy, philosophy, free market capitalism, etc. it is still art. If it wasn’t, we simply couldn’t frame it in these terms. I feel we can, and should, take some pride in art. Just as those in other fields should take pride in what they do. Art is only a dirty word if we make it one. + +The way I approach my ‘network’ work is as an artist/curator. It means generating particular forms of creative/meaningful exchange with other people that might be different to other creative/meaningful exchanges. Eg. for Art’s Birthday this year we approached a local ‘specialist cake designer’ to make 12 cake designs chosen at random from 150+ designs that we had received following an open call. The ‘novelty’ (possibly the wrong word) of this ricochets through all levels (including Council Health and Saftey regulations). So, something that might seem superficial can actually carry great complexity and substance – defined by and through the contributors and contributions over and above the concept. The importance of the concept, then, lies in generating something that can structure or frame or inspire the activities that really form the work. Needless to say, the cakes were eaten by all those who attended the Art’s Birthday celebration. + +I suppose I have decided that I would like to spend a significant portion of my life taking part in creative exchanges. Sometimes I initiate them, sometimes I am invited to take part. Sometimes they go somewhere, sometimes they don’t. Sometimes I enjoy them, sometimes I don’t. I can either think of creative exchange as a whole, in general or I can break it down to a project by project basis. I see Filliou’s system playing on this tension between perceiving an endless stream of creativity and a compartmentalised, rationalised collection of things done and felt. + +To end. An interesting issue thrown up by Clive’s post concerns what we consider ‘official’ theory/philosophy and how we legitimate ‘unofficial’ theory/philosophy through ‘official’ theory/philosophy. Clive brings in Hall and Williams to reiterate/support/substantiate Filliou. Following Clive’s intervention (as but one example), does this now mean that Filliou can be used in the same way as we do Hall and Williams? Are Hall and Williams now open to accusations of copying Filliou (given the sequence of presentations)? Or are they seen to be working in such separate fields that the congruence is merely coincidental, and purely affirmative of the shared project? +Considering ‘La fete permanente,’ it occurs to me presently that what is at stake is the degree of importance we ascribe the ‘carnival’ to the ‘normal’ running of society and the terms of their relationship. Does ‘cultural theory’ et al belong to the carnival or to ‘normal’ society? And what kind or degree of impact do we acknowledge the two sides have on each other? Can we cleanly split these two realms? Is it inappropriate to do so? Should we look to Filliou and his collaborators for answers? Or to their inheritors? Or to other theorists and historians? Or to society directly? + +Barnaby + + +18.1-p.181 [Nettime-bold] Re: <nettime> txt from C-front: Unsubscribe (bibliographical note) ana peraica nettime-bold@nettime.org @@ -10916,21 +6830,43 @@ IMPROVE. 5-9 people: Your life will improve to your liking. 9-14 people: You will have at least 5 surprises in the next 3 weeks. 15 people and above: Your life will improve drastically and everything - you ever dreamed of will begin to take shape. - - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - + you ever dreamed of will begin to take shape. -25.2 +18.2 +Re: Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? +Mike Stubbs +<new-media-curating@jiscmail.ac.uk> +Sun, 17 Feb 2013 20:19:02 +0000 +...lurking on the edges...and just travelling back form the opening of + +*"YES MAN DOES WHAT IT IS" +The editions of Galerie Erhard Klein +1972 - 2006* + +http://www.bonner-kunstverein.de/ausstellungen/aktuell/sieht-man-ja-was-es-ist-die-editionen-der-galerie-erhard-klein/ + +highly recommended and hopefully can travel to the uk + +a testament to a social network (rhineland) and one which influences such +so much of our practice - be it new media or performative ...in the +situation and encouraging new forms of social democracy + +klein was is a clever fella and at the time had the curiosity to +befriend-learn-deal: Polke, Beuys, Kippengberger, Klauke and so on + +todays event was full of middle aged artists friends and family - but what +i took form the event (apart form seeing wonderful artwork) was *family* and +a reminder of how things just happen through groups of people swarming + +and then of course there is the digital stuff..... + +more on that another day + +mike + + +18.2-p.181 [Nettime-bold] Re: <nettime> txt from C-front: Unsubscribe (bibliographical note) Ruine der Kuenste Berlin nettime-bold@nettime.org @@ -10945,36 +6881,34 @@ times, so please open your archive and I am the first to start tracing the spource and finding out myself and if necessary to apologize.I must not tell you how easy it is to forge messages in the net, right? By the way, was it really you writing the last response? -Good wishes Wolf - ------Ursprüngliche Nachricht----- -Von: "ana peraica" <ana.peraica@st.tel.hr> -An: "Ruine der Kuenste Berlin" <ruine-kuenste.berlin@snafu.de> -Cc: "Nettime" <nettime-l@bbs.thing.net> -Gesendet: Samstag, 23. Juni 2001 17:31 -Betreff: Re: <nettime> txt from C-front: Unsubscribe (bibliographical note) - - -> Dear Wolf and others, -> -> | I mean leave the Dalai Lama -> -> so, I am sending spam bibliography, I thought 'Dalai Lama on life' was -known -> in net circles - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - +Good wishes Wolf -25.3 +18.3 +Re: Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? +Roddy Hunter +<new-media-curating@jiscmail.ac.uk> +Wed, 20 Feb 2013 21:13:51 +0000 +Hi Mike (and all) + +Glad to see the discussion tempted you out from lurking around the edges. I'm very aware that I've not been catalysing the discussion this week. Too many issues off-list at present. Apologies for neglected correspondence, I will catch up. I am still trying to find time to collate a list of things we might consider as 'networks-as-artworks' already referenced here and others elsewhere. Please do send links and perhaps a few words, needs be nothing more than that. + +In the meantime, in preparing a lecture for first year undergraduate students on Duchamp, postmodernism and appropriation I was quickly searching for Filliou's view on how The Eternal Network 'replaced the concept of the avant-garde which has become obsolete' because: + +"If it is true that information about the knowledge of all modern art research is more than any one artist could comprehend, then the concept of the avant-garde is obsolete. With incomplete knowledge, who can say who is in front, and who ain't. I suggest that considering each artist as part of an Eternal Network is a much more useful concept." (http://www.franklinfurnace.org/research/projects/flow/mailart/mailartf.html) + +Steven Harris has noted that Filliou 'equates art with knowledge here, and still retains a notion of art as research.' I am not sure I agree with this link with knowledge entirely, particularly in the case of practice-led research, unless it also refers to unconscious knowledge which I assume it does. Does this production of knowledge generate value, hence our scholarly interest? Does that institutionalise the practice as a form of capital? What then is it capacity for radicality, for critique ... what does this means for notions of critical art practice? + +In any case, while quickly searching for references I cam across this information regarding the 'Digital Legacies of the Avant Garde' conference in Paris, April, 2012 (http://digitallegacies.org/parispapers.html) which I am kicking myself for not noticing earlier (i have to accept incomplete knowledge again). All good angles on the subject from a slightly different perspective but maybe Stephen Voyce's "The Eternal Network: Avant-Garde Activism and the Cultural Commons" is particular useful! + +Have a look, perhaps it helps us expand our discussion. Anyone know of this conference? + +Best wishes + +Roddy + + +18.3-p.181 [Nettime-bold] Re: <nettime> txt from C-front: Unsubscribe (bibliographical note) ana peraica nettime-bold@nettime.org @@ -11022,20 +6956,165 @@ in theory of metaphysics; if God is all-including, he is also including Evil and so on... ). best -Ana - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - +Ana -26.0 +18.4 +Re: Does it matter if the network had / has a “common direction” that in any way, shape or form might be called ‘political’ ? +Gary Hall +<new-media-curating@jiscmail.ac.uk> +Sat, 23 Feb 2013 13:56:24 +0000 +Maybe I can contribute by looping back to Clive Roberston's comments +about Stuart Hall in relation to what the network is or was. + +'So while Hall acknowledges that cultural studies as a project is open-ended, “always open to that which it does not know yet, to that which it can’t yet name,” he also argues against pluralism and for the stakes (something at stake) of cultural studies.' + +As someone who still thinks of what they do in relation to various +networks and curatorial activities as coming out of the history of +cultural studies, at least in part (although my work these days has +moved away from that, and I suspect is probably now unrecognisable to +most in the field as cultural studies, and more or less deliberately so, +for reasons I'm about to hint at), there are a couple of things that +interest me about Hall's 'Cultural Studies and its Theoretical Legacies' +essay. + +1) First, there's Hall’s acknowledgment in the same essay that the +boundary line he is attempting to mark out around cultural studies by +means of its politics is an 'arbitrary' one. 'I don't believe knowledge +is closed', he writes, 'but I do believe politics is impossible without +what I have called the "arbitrary closure".' + +2) And second, the way there's a risk in Hall’s use of the word +‘tension’ when describing these two aspects of cultural studies (what +he's thinking here in terms of it's theoretical and political projects) +of implying that each side in this relationship retains a more or less +unified and stable identity which is equally valid; or that +'intellectual theoretical work' and politics exist in some kind of +dialectic. Whereas I wonder if a more interesting way of seeing this +relation is not as one of mutual transformation, where notions of +‘theory’ and ‘politics’ (and indeed ‘cultural studies’) are pushed +beyond their traditional delimitations and forced to rework their +relationship with one another. + +If so, then it seems to me that we can’t say, as Hall did at the 2007 +‘Cultural Studies Now’ conference at the University of East London, that +cultural studies is capable of questioning everything… except the +relation to the social formation; that what cultural studies does is +analyse culture in relation to its connection to the wider social +formation and that this connection is therefore sacrosanct. For Hall, +theory is a detour from a larger question in this respect, which +concerns rethinking the role of culture and its articulation with other +structures and processes in each time and place, each conjuncture. This, +for him, is cultural studies’ real connection with politics, its +political mission or 'common disposition of energy and direction' +(Williams). + +(Can we see a similar 'arbitrary closure' at work in the way that the +intellectual theoretical work that is most acceptable and feted today +is often quite materialist in tenor?) + +Moreover, if, to quote Clive quoting Filliou, '“Research is not the +domain of those who know; on the contrary it is the domain of those who +do not know, ”' I wonder if we can't also say the same of politics. In +which case the trick, perhaps, would be to find ways of actually +assuming what this means when it comes to politics and being 'political'. + +Hope this helps. + +Gary + + +19.0 +Curating the Network as Artwork +Annie Abrahams +<new-media-curating@jiscmail.ac.uk> +Sun, 10 Feb 2013 17:05:44 +0100 +Hi list members, + +As an artist living in France, I had to come across Filliou. It is hard not +to. All art students learn about his work. But I did art school in Holland +and it was only later on, when, living here in France, I met Ben Vautier, +Jean Dupuy and Pierre Tilman, who are all somehow influenced by him, that I +got interested in his work. But I am not very familiar with it. + +My first question is what is the Ethernal Network? On the internet it is +translated as La fête permanente ??? (the permanent party?). + +I have difficulties understanding what you mean by a network as artwork. I +imagine projects like DIWO done by Furtherfield, their mailinglist +netbehaviour, global communities like the ones around Upstage, Waterwheel +or videovortex, to name but a few, might apply for this "title". Also +probably some of my own activities like the Angry women and Huis Clos / No +Exit projects and my involvement with the Cyposium touch on this... + +I am also not sure I understand what a network-as-artwork is, and I ask +myself (and you) what is interesting about considering networks as +artworks? + +I feel kind of uncomfortable with the idea that networks can be curated. I +am not sure that is the right word to use, I think I would rather like to +use the word care taking (I think Clive suggested that in his first mail), +but there might be a much better word. +Curating is a word anchored in the existing landscape of thinking and +activating art as a commodity. As soon as we enter the global networks and +want to think about these as possible artworks we can no longer use "old" +terminologies if we want to understand what is happening. +You can not understand communication using the internet by known standard +and analytical tools. When I need to explain this in a simple way, I do +that by showing, talking about, and acting out my piece A Big Kiss (online +kissing is drawing with a tongue, exciting too, as all drawing can be +exciting, but if you could look at me doing it, you would just see some +strange, foolish gesticulations in the void) + +I am interested in collaborative groupdynamics using internet technologies. +I have no other goal with this than to understand and to experiment these. +I am not sure as Randall seemed to be that these practices will lead +automatically to less hierachical, more peer-to peer based relations. It +depends on intentions, of the users, of the proprieties of the interface +used and on how it is controlled, but maybe I am missing something and I +would be glad if someone pointed that out to me. + +Maybe, maybe describing some facets of one of my projects might triggers +others to write about other concrete, maybe more appropriate examples. + +Angry Women started in 2011. ** It is an artistic research project on +remote communication and collaboration using anger as a pretext, and, in +the beginning it was also a project on female anger using webcam +performances as a facilitator. +So far, besides a lot of email exchange, we had 5 performances with only +ladies, one with only men, two mixed gender performances, but also several +technical test and 2 online evaluation sessions. You can find videos, +texts, performance protocols, analyses and written reaction on +http://www.bram.org/angry/women . 48 People from different professional and +cultural backgrounds (13 different mother tongues), participated, some only +once others up to 6 times. +We are all very much interested in finding out how to communicate in a +situation were we have technological advanced equipment, that makes it +possible to be together in a shared environment while staying on our own, +alone at home; we want to research our contemporary status quo of lonely +togetherness. +This is related to exploring how a sense of "we" can exist in a group of +very different individuals, what it means to think a " to be with" based on +singularities. I hope to find a radical, plastic? new interpretation of +"we". + +In our latest evaluation session we discussed the status of the project. +For the moment it is my project It needs a lot of caring, and for the needs +of each participating individual, and for the overall context, for the +"network?". So, I am the who drives this network, it needs my attention, +more attention than creativity, I guess, and it wouldn't exist if I had +been a party animal. But during the online meetings and the performances, +the creation is continuos, the party goes on and the relations between us +have an ethernal feeling (Filliou would probably like to participate) - +only during - afterwards you feel as going home alone under a starry night +ready for another periode of caring. + + +Yours +Annie Abrahams + + +19.0-p.182 [Nettime-bold] FW: commentary on Unsubscribe tex anna balint nettime-bold@nettime.org @@ -11045,10 +7124,9 @@ Choice'. It was a postcard with two different addressees on each of its sides.] - -'Il n'ya plus de centre de l'art.Chaque artiste doit se considérer comme +'Il n'ya plus de centre de l'art.Chaque artiste doit se considérer comme faisant -partie d'un réseau' Robert Filliou - Eternal Network +partie d'un réseau' Robert Filliou - Eternal Network Dear Ana, folks, auto replyer, @@ -11121,21 +7199,49 @@ formulate his theories, maybe we still need time to properly understand his notion of time with the help of the new medium. Eternity is a religious notion? Which concept is not? bests regards, -Anna Balint - - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - +Anna Balint -26.1 +19.1 +Re: Curating the Network as Artwork +Roddy Hunter +<new-media-curating@jiscmail.ac.uk> +Sun, 10 Feb 2013 20:41:22 +0000 +Hi all + +Good to be swinging into the second week of the discussion. Thanks, Johannes and Annie for focusing minds on particular issues and questions. Also good to see we are beginning to see ‘concrete examples’ of network practice to discuss and evaluate. I will take a look a closer look at examples you offer, Annie, as well as work of other respondents and write in a later post. The main questions/issues you both raise seem to concern the usefulness or otherwise of thinking about networks-as-artworks, how to determine their success or failure and what role curating might have in these respects. These still seem to be areas needing conceptual clarification so we can move forward. + +I think it can be useful to conceive of a network-as-artwork where production, distribution and reception integrate as closely as possible in the creative process. Typically, the institutional artworld conceives of these separately, often involving different agents of mediation: the artist being one, the curator being another, the critic and hypothetical ‘ideal’ spectator another still. This economy is well known of course and summarized usefully in Alloway, L. (1984) 'Network: The Art World Described as a System'. In: Alloway, L. 'Network: Art and the Complex Present'. Ann Arbor, MI, UMI Research Press, pp. 3-15. Hakim Bey has also equated increasing ‘degrees of mediation’ with corresponding interventions of Capital’ (Bey 1994. Available at: http://hermetic.com/bey/radio_se.html) + +Clearly, this system places ‘artists in a submissive role’ as Clive notes and it's also not surprising that artists have regarded curating ‘as a very corrupt discourse.’ (O’Neill & Wilson, 2009. Available at: http://www.ica.org.uk/Emergence%20by%20Paul%20O'Neill%20&%3B%20Mick%20Wilson+17186.twl). More than this, I remember reading recently – but cannot locate the reference! – of an artist or curator who realised that while for Marx the issue was ownership of the means of production, their own preoccupation was with ownership of the means of distribution/reception or something like that. If anyone can help me re-locate that reference that would be great! + +In any case, the case for the network-as-artwork becomes clearer when regarded from this position. The historical backdrop of the ‘dematerialisation of the art object’, which while a somewhat erroneous term, does expand possible interfaces of aesthetic exchange to encompass always increasingly accessible communications technologies as well as discrete, bounded objects of beauty, fax machines as well as paintings. The communications interface, just as a conversation, requires co-presence and co-production of the aesthetic experience. This sense is typical of the 1960s and found too in Allan Kaprow’s ‘no audience, only participants’ approach to the Happening (Kaprow 1968. Available at: http://www.ubu.com/sound/kaprow.html). + +Much of this work clearly takes advantage of any and all communication technologies, especially those that could have global reach. Extending the capacity to be together in different places in the same liminal moment seems aesthetically to be the driver. There is an ‘aesthetics of distance’ here which actually depends on being separate from each other in space and time. The experience of this relationship, the intersubjective exchange across space and time, becomes itself the aesthetic ‘object’. +Manovich (2001) already points out that Benjamin defines aura 'as the unique phenomenon of a distance' (224) not of proximity. We shouldn’t necessarily assume an authentic desire to overcome physical, geographical separation between networkers: it is the romance of their geographical separation that becomes exotic and perhaps even an act of aesthetic love. Aesthetic experience, in my view and found I believe in Bakhtin, requires difference (non-coincidence) rather than synthesis of respective consciousnesses. Synthesis is often confused with empathy and thus thought of as an aesthetic event, where it is arguably more ethical. When the network-as-artwork ‘fails’ as Ken suggests and Johannes questions, is this failure understood in terms of aesthetic or ethical efficacy/sustainability? The difference between poetical and political economy? + +These conditions all taken together mean arguably that Filliou and others becoming interested in the artist-networker position were in fact becoming engaged with curating. I was struck with Clive’s view that ‘curating (caring for) the network (as mutually authored projects) made sense as an artwork’ which was very well put. I like this because it refers to curating as an activity as opposed to a job or career. I think Filliou and other networkers (e.g. H.R Fricker and ‘The Decentralised Network Congress’) were behaving curatorially in setting/integrating the context of production, distribution, reception as an ‘open system’ in which to participate. + +Two useful views on rethinking curatorial activity in the context of network-as-artwork: + +For artists, Paul O’Neill again: +“The term “artist curator”, which once simply referred to exhibitions curated by artists, is applied by [Gavin] Wade to those practitioners using exhibition design, architectural structures, and curatorial strategies as a way of presenting themselves, alongside other artists, to create composite public outcomes”. +O’Neill, Paul. (2012): The Culture of Curating and the Curating of Culture(s). MIT, p. 105 + +And for curators, CRUMB’s very own Beryl and Sarah: +“Curators who are truly interested in the decentralised, dematerialized activity of network-based arts have tried to change their curatorial tactics to be more in line with the artists, even if that means being increasingly misaligned with the traditional institutions for the presentation of art.” +Cook, Sarah & Graham, Beryl. (2010): Rethinking Curating. MIT, p. 84 + +Rethinking relationships between production, distribution, reception (or at the risk of more hyphenating: production-as-distribution-as-reception, etc., etc.) is important and should welcome interventions from any perspective of hybridity and indeterminacy. + +Hope I’ve explained my grounds for asking the question better! + +Best wishes all, + +Roddy + + +19.1-p.182 [Nettime-bold] Re: Syndicate: FW: commentary on Unsubscribe tex ana peraica nettime-bold@nettime.org @@ -11224,30 +7330,214 @@ commercial spam, and the second a spiritual one (chain letter that ends up with a course). best -Ana - - - - - - -_______________________________________________ -Nettime-bold mailing list -Nettime-bold@nettime.org -http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-bold - - - - +Ana -27.0 +19.2 +Re: Curating the Network as Artwork +Johannes Birringer +<new-media-curating@jiscmail.ac.uk> +Mon, 11 Feb 2013 13:41:31 +0000 +just wanted to say thank you to Katja Kwastek for her illuminating review of the Transmediale, +your sharp observations seemed to make good sense in the context of this discussion, and +I was sorry of course to learn that Pluto was not elevated but remained confirmed-demoted, +a poor post-planet. + + +as to your comment on PAPER, you mention the Post Digital Publishing workshop, +>> +. A highlight of this was the keynote by Kenneth Goldsmith on conceptual writing, with the provocative thesis: +"with the rise of the web writing has met its photography" - +I don't think I really agree, but it is worth thinking about it - goes into the whole discourse of computationality which was also represented by David Berry. +>> + +I'd like to learn more about this, could you elaborate or send me a follow up link? And how is this connected to the "discourse +on computationality" or to the theme that Annie Abrahams brought forward, on caring for/sustaining a possibly on-going creation +(across/with network) or project involve both site and remote site collaboration. + +I liked the example of "Angry Women", with its organizational and productive dimensions; and it reminds me of a small proiect a theatre friend of mine, Angeles Romero, +started up in Houston, last year with young Latinas who were encouraged to use their cellphones to make short films working with +the restrictions of the medium but developing a craft of the short film (one task was to do the scripting/story-boarding. shoot/edit in one day and upload to YouTube by the end of the day)... + + + +.... see an example here: http://www.youtube.com/watch?v=DWdGgI3yGIk&feature=youtu.be + +http://www.youtube.com/watch?v=dn49HbJkcZU +or +http://www.youtube.com/watch?v=ZltCSIEV82g + +I think these wonderful, humorous and sometimes ironic yet also politicized "tiny" productions are part of a pedagogy of 'teatro espontaneo' that Romero developed in her theatre workshops in the Latino/a community, +and they are now also testing the "re-mediation" possibilities of working with new media or social media networks. Now sure whether the group has +developed a policiy about "curating" the quick work on YouTube. + +And why should they bother? + +What is there is no role for curating in this connection? (Katja, did you not mention something about "'Curating Youtube' in regard to Transmediale?) +certainly for the young mobile-video-makers in Houston the curatorial question is irrelevant, i think. The creative production model, on the other hand, +is not. + + +with regards +Johannes Birringer + + +19.3 +Re: Curating the Network as Artwork +Johannes Birringer +<new-media-curating@jiscmail.ac.uk> +Wed, 20 Feb 2013 21:18:45 +0000 +hi all + +strangely i think the debate here stopped on February 11, after Clive and I posted some commentary... +I was wondering why the discussion stopped. Sorry for my query, i am always interested into these +things/situations when a dialogue suddenly stops. + +with regards +Johannes + + +19.4 +Re: Curating the Network as Artwork +Roddy Hunter +<new-media-curating@jiscmail.ac.uk> +Wed, 20 Feb 2013 21:47:12 +0000 +Hi Johannes + +As I said, my fault. Too many serious work/life issues off-list. Am trying to catch up now. Apologies. + +I'd welcome contributions from invited respondents especially those who have not introduced themselves. + +Again links to relevant projects to build a resource list welcome - doesn't have to be essays. + +Thanks all for patience with your faulty moderator. + +Best wishes + +Roddy + + +19.5 +Re: Curating the Network as Artwork +Johannes Birringer +<new-media-curating@jiscmail.ac.uk> +Wed, 20 Feb 2013 21:56:32 +0000 +oh, not at all, i did not at all mean to suggest it is a matter of moderation, I was wondering aloud, and am sorry for having done so, why discussion +on this list repeatedly tends to stop at certain points. I think I have asked this before, so ignore my curiosity. + +with regards + +Gregor +(just back from Zagreb) + + +19.6 +Curating the Network as Artwork +Tom Sherman +<new-media-curating@jiscmail.ac.uk> +Mon, 25 Feb 2013 12:44:17 +0000 +I met Robert Filliou somewhere in the 1970s, could have been Vancouver or Toronto. He had a lot of presence in his unassuming way. When he made reference to the Eternal Network I thought at the time he was referring to the spirit of curiosity and creativity that will always glow or bubble up or erupt around the planet. No matter how sour and stiff and roboticized our societies would become, there was always hope in youth and all those who refuse to stop playing. Filliou was one who joked around as if his and everyone else’s life depended on a sense of irreverence and frivolity and invention. I was fortunate to know Clive Robertson who had managed to fix and firm up Filliou’s spirit in media, video and other deceptively modest media, including audiocassette editions, and later audio CDs. + +I understood the practicality of Filliou’s obsession with travel and connection and networking because I had interned as a boy sending out messages in Morse code as a ham radio operator from my bedroom in a small town in Michigan. I spent even more time DXing short wave and medium wave radio stations around the world and setting up ‘tapespondence’ networks through which locally originated reel-to-reel audio recordings were exchanged through the postal networks. We didn’t have long-distance telecom access in late 1950s or early 1960s (the use of telephones was financially prohibitive). I figured out how to find out what was going on everywhere else and to manifest my own voice and participate in and invent global networks because I had to in order to survive. In rural Michigan there were few cultural options at the time: hunting and fishing, sports, car culture, alcohol, pop music and three television networks. I didn’t know there were people like Robert Filliou and horizontal networks like Fluxus forming at that time, but I was starving for information and desperate to find others who weren’t satisfied with the mass media culture of Ed Sullivan or Elvis Presley or Walter Cronkite. + +Later I would realize that Filliou and artists of like-minds would understand that the sparks of curiosity and discovery could be amplified and highlighted through networks. I saw artist-run centres spring up and floods of mail art begin to circulate through and beyond this constellation of alternative institutions in parallel to commercial galleries and museums. Horizontality flattened verticality and became for many an ideal. Postal networks gave way to bicycled videocassettes and slow-scan television and photocopy and fax and primitive e-mail systems. Telephony, just a whisper of what it would become, was enlarging at an incomprehensible rate, kicked into light speed by analogue to digital conversion. Satellites and later fibre-optic undersea cables fired this mushrooming connectivity. The idea of ‘communities of interest’ became more and more apparent and necessary. Communities of common interests were forming concretely, suddenly, without the necessity of physical, in the flesh, communities. Kindred spirits were connecting ethereally and interactivity was arising like Brownian motion around the foundations, the ruins, of mass media. The phenomena of distributed authorship were becoming tangible. The economy of goods and services was shifting into the information economy—economies based on scarcity were collapsing as gift economies were emerging in rich cultures of abundance. + +The weak signals of unpopular culture gained enough strength to form clear alternatives to mainstream cultures through networked exchanges. The electronic and eventually digital telecommunication networks accrued in layers of webs over obscure galleries and clubs, universities and town halls, those places were people actually meet. Everyone aspired to create difference. Anomaly was actually the norm for a while. But as culture was atomized into rivers and seas of individual voices (as we have become full transceiver cultures), differences have become less significant and people have become less interested in being different and more interested in being the same. Don’t ask me why, I just know that this is true. Young people want to be part of a set of emergent identical behaviors, moving this way and that like schools of fish. Maybe this results from more and more consistent prompts from the mediated environment--a kind of engineered roboticism, the behavioral response to endlessly consistent instruction sets--or maybe there is simply too much risk associated with being different? (maybe it is only acceptable to internalize, to ‘secretize’ 21st century individualism?) One thing for sure, the connective tissues of networks are far more elaborate and comprehensive than ever before. We are flush with channels for trading messages. Telecom is simultaneously personal and institutional and evolving at unprecedented speed. Kindred spirits are no longer isolated by distance and time. Kindred spirits find themselves jam packed in overcrowded networks. + +Where is Robert Filliou when we need him? We need artists with miners’ hats, the helmets with probing lights mounted on them, to comb the clogged networks for signs of copious curiosity and playfulness. (Baseline inventiveness.) Where are those flaunting ignorance for a chance to celebrate what they don’t know? Risky takers of chance. Lovely eccentrics. People who make our head hurt just being themselves. I think things have changed more than we think they have over the past fifty or sixty years. The kids are playing in seclusion with intelligent artifacts and far too many people are humanizing cats and watching dogs speaking in affected voices in the English language on their Apple telephones. + + +19.7 +Re: Curating the Network as Artwork +Roddy Hunter +<new-media-curating@jiscmail.ac.uk> +Mon, 25 Feb 2013 23:23:43 +0000 +Dear list, + +Armin: I appreciate your comment on the impossibility or otherwise of curating the net as if it were a giant ready-made. It may well have been possible to approach it from this angle at the time of Cosic, Shulgin, Lialina et al. Galloway expressed similar when he says net.art ‘is dirty aesthetic deeply limited, but also facilitated, by the network […] a type of art making that is a mapping of the network’s technological limitations and failures’.[1] The pervasiveness of Web 2.0, particularly social media, has meant the network is more likely a spectacle, in the Debordian sense of ‘a social relation between people that is mediated by images’. [2] I am not sure that curating the network-as-artwork is the same as curating the net as artwork, in the way I mean to explore it. I was ashamed of myself that prior to this discussion I had not read Tatiana Bazzichelli’s ‘Networking: The Net as Artwork’ [3] but will soon to try to resolve the question of whether there is a difference. Essentially, in my view currently, the Net is one network - perhaps the paradigmatic apogee of networking – but there needs to be a way the ‘network-as-artwork’ can affirm critique of its post-Web 2.0 pre-eminence. I agree entirely then with your view that ‘We need to move beyond this situation and not just invent a new aesthetics but new forms of living, of co-operation, of exchange. Technologies will play a role in this, but not such a privileged anymore.’ [4] This moves us closer back onto Filliou’s territory of ‘The Eternal Network’ where we need to contend then, however, with the problems of materialisation again. I see you trying to do that with your FIELDS project and while I won't be able to take part would like to know how that turns out. + +Ken: I also appreciate your attempt to think through different meanings of ‘network’. If I follow, you seem to suggest one sense lies in artists’ manipulating communications technologies for aesthetic ends (Nam June Paik, ‘Art by Telephone’, ‘Omaha Flow Systems’) – network as tool, perhaps – and the other being the broader context of networked communication itself, which in many ways transcends specifically art production. If this careful differentiation stands, then it probably benefits Filliou’s conception of ‘art being what makes like more interesting than art’. It is useful to think of your differentiation of networks-as-tools and networks-as-systems. Sure, The Eternal Network would need to fall into the latter category as an artwork as an ongoing system of relations rather than an as a networked ‘artefact’. Your point of sustainability is valid to raise given the apparently ‘permanent’ nature of ‘la fête permanent’… but really how did Filliou mean this ‘permanence’ to be interpreted? I think his definition of ‘The Eternal Network’ – again from Clive’s ‘Porta Filliou’ tape – refers to the ‘eternal’ aspect as ‘la fête permanent’ of the post-avant-garde, as what happens whenever ‘through the collective efforts of artists …artistic activity becomes just one of the elements.’ [5] If artists collectively succeed in escaping the fixed positioning of the avant-garde as a dialectically-bound reaction and recoverable antidote to mainstream hegemony, then needing to circumvent the regulation of their activities as art could be important. The issue then is how to employ whichever criteria decide the efficacy of such a network or not. To move toward Clive and Gary’s discussion of Stuart Hall elsewhere, I wonder if ‘The Eternal Network’ is a puzzle which resists the moment of ‘regulation’ in the circuit of culture that ‘comprises controls on cultural activity’. There is also ‘play’ here as a critique of instrumentalisation and yes; I think Filliou is making mischief that’s keeps us talking now. Maybe working out what ‘la fête permanent’ is a koan? Thanks for making “The Wealth and Poverty of Networks” available [6]. I read it earlier in my research and it certainly works well as critique of Filliou that needs to be responded. Maybe the problem is in sticking to ‘network’ - we could argue whether Art’s Birthday is a ‘network’ or not. I guess I am as interested in in it as a ‘formation’ and a ‘networked formation’ at that. Problem? + +Gary: I really appreciate your excursus on Cultural Studies and Hall [7] and do sense there is an answer from that perspective to these problems – as I hint at in a very literal, uninformed way above – but I am going to have spend longer working through those issues of research and politics you raise – is Rancière useful in relation to finding ways to consider ‘being ‘political’’? + +Clive: “ideals Die” totally gets into the annotated bibliography – you know we all want to hear it! Upload a MP3 please, just for us? I also completely appreciate your idea of printing a small and cheap – as you say –edition reflecting the discussion that we can put up as a PDF on the CRUMB site, maybe? That’ll also give us a reason to keep talking once this month is over and see where this current network formation can lead us. Brilliant idea, thanks very much for proposing. Everyone else happy with that, anyone want to join in particularly? + +My hard dive is slowing down and I am getting unresponsive script warnings trying to filter the wonderful further material Helen, Gary, Ken, Clive and Tom contributed to the list discussion. This will form part two of my response within the next couple of days but there is certainly a wealth of links that we can add there to our bibliography of ‘network-as-artwork’ research. Thank you for your generosity, all. + +Oh, Filliou, why are you one of those ‘People who make our head hurt just being themselves’? [8] Thanks for that in particular, Tom. + +Network greetings, + +Roddy + +[1] Galloway, Alexander R. 2004. ‘Internet Art’. In: Protocol: How Control Exists After Decentralization. MIT Press, 219. +[2] http://www.bopsecrets.org/SI/debord/1.htm +[3] http://darc.imv.au.dk/wp-content/files/networking_bazzichelli.pdf +[4] https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=ind1302&L=new-media-curating&D=1&O=D&X=03DC5D40CE246463EE&Y=hunter.roddy%40gmail.com&P=31120 +[5] http://www.youtube.com/watch?v=9BgOfsG7J0Q +[6] http://swinburne.academia.edu/KenFriedman +[7] https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=ind1302&L=new-media-curating&D=1&O=D&X=03DC5D40CE246463EE&Y=hunter.roddy%40gmail.com&P=32335 +[8] https://www.jiscmail.ac.uk/cgi-bin/webadmin?A2=ind1302&L=new-media-curating&D=1&O=D&X=65ACE72CDFD17E2F92&Y=hunter.roddy%40gmail.com&P=37926 + + +20.0 +What is a Network? +Ken Friedman +<new-media-curating@jiscmail.ac.uk> +Sat, 23 Feb 2013 06:26:17 +0000 +Friends, + +The question on why the conversation went quiet is a good one. I’ve been puzzled that many of those who agreed to contribute have not done so. + +For myself, I can explain my silence. I’ve been thinking. It seems to me that there have been two meanings of the word “network” in use here. + +One meaning applies to art works that use and mirror networked systems. Examples would be Nam June Paik’s spectacular use of television networks in projects such as the 1984 television project titled “Good Morning, Mr. Orwell,” the elegant 1969 exhibition at the Museum of Contemporary Art in Chicago titled “Art by Telephone,” or my 1973 mail art exhibition at the Joslyn Art Museum titled “Omaha Flow Systems.” + +The other meaning is that of networks in the larger sense of ongoing systems that permit interactions of many kinds – networks such as postal systems, the World Wide Web, the Internet, or the global telephone network, as well as networks fornews transmission, publications, or regular social and economic interaction. This is the kind of network that I was referring to in my somewhat pessimistic statement about the failure of artists to generate durable, functioning networks. + +On February 7, Johannes Birringer asked me about a comment in an earlier post. I had written, “most of the projects, networks, and systems that artists try to build fail. I wanted to know why, and how to do better. This led me to questions in humanbehavior, sociology, and economics. I found general history and world history useful in examining how people have addressed different kinds of issues at other times and places.” + +Johannes wrote, “nothing could be further from the truth I think, it surprises me really that you claim this overwhelming failure, Ken, which is historically not accurate at all I'd think. (well, maybe I should speak from my perspective: most of theprojects and networks that I tried to help build and sustain did work, and even if there are adaptations and modifications needed, they can be accomplished). I am sure many here know examples of organizational networks that worked.” + +What I meant, though, was not specific projects or art works using networks, but actual network systems that thrive and develop for longer than a year or two. + +Any network can be made to function if one pours enough resources and funds in. The challenge is to develop networks that generate true networks effects, becoming more valuable and more effective as more nodes affiliate. Examples of networks that function and grow successfully have – at times – included the telephone and telegraph systems, canal networks, railroad networks prior to the advent oftrucking and then cheap air transport. + +Robert Filliou and George Brecht’s concept of The Eternal Network was a concept of community, not a concept for an art work. Projects such as Art’s Birthday continue and flourish – but these use a network, they are not in themselves networks, and the constituencies and communities that generate them change, die, and flourish through revivals rather than the continuity the describes a network. + +Johannes asked, “What did you have in mind, Ken? what projects, networks and systems?” I’d feel inappropriate describing the particular details of projects and systems that don’t work or didn’t. There is too little time and room for a robust, detailed analysis in a list conversation such as this. In a conversation where key participants are unwilling to post a first entry, I’m not prepared to launch a sociological and economic analysis of projects to which, in many respects, I was and remain sympathetic. + +If artists have indeed created social and economic networks that function for more than short periods supported by massive external subsidies, it would be interesting toknow of them. + +In 2005, The MIT Press published Anne-Marie Chandler and Norie Neumark’s book At A Distance: Precursors to Internet Art and Activism. I wrote a chapter for the book titled “The Wealth and Poverty of Networks.” This chapter describes some of the issues that I feel describe networks, and I give examples of networks that succeeded and failed. + +Interested list members can download a PDF copy of the chapter – produced with permission of the publisher – at URL: + +http://swinburne.academia.edu/KenFriedman + +One aspect of all networks is that they are lodged in a culture and a technological era. They are also subject to the laws of biology, chemistry, and physics. Therefore, allnetworks eventually vanish. The Sumerian civilization began nearly 8,000 years ago. A king named Culgi who rule 4,000 years ago was quite proud of his sophisticated network of roads with a postal service and rest stops: + +“I, Culgi, the mighty king, superior to all, strengthened the roads, put in order the highways of the Land. I marked out the double-hour distances, built there lodging houses. I planted gardens by their side and established resting-places, andinstalled in those places experienced men. Whichever direction one comes from, one can refresh oneself at their cool sides; and the traveller who reaches nightfall on the road can seek haven there as in a well-built city.” + +The Sumerian road system went the way of Ramses II and his works – as Shelley wrote, “Of that colossal wreck, boundless and bare The lone and level sands stretch far away.” One expects that Eisenhower’s Interstate Highway System will follow, along with most networks we humans have built. + +The main difference between these and the networks I noted is that they flourished longer by giving rise to successful network effects with a smaller proportional inflow of external energy applied relative to the economic and social valuethey spin off. + +For now, I’m happy to make “The Wealth and Poverty of Networks” available at: + +http://swinburne.academia.edu/KenFriedman + +Yours, + +Ken Friedman + + +20.0-p.183 Re: <nettime> On the state of net ar Florian Cramer nettime-l@bbs.thing.net Wed, 4 Dec 2002 14:12:35 +0100 - -Since many people responded to me off-list, I should write a postscript +Since many people responded to me off-list, I should write a postscript to my posting. Everyone seems to have overlooked that the correspondence between John Berndt (a Neoist and experimental musician from Baltimore) and LLoyd Dunn (editor of the Mail Art/anticopyright @@ -11268,7 +7558,7 @@ thus embracing all kinds of fringe activities and (to use a term by Inke Arns and Andreas Broeckmann) "small media" which mainly circulated via personal snail mail. -Practical proofs are book titles like "The Magazine Network" by Géza +Practical proofs are book titles like "The Magazine Network" by Géza Perneczky [1991] or "Networking Currents" [1986] and "Eternal Network" [1995] by Chuck Welch. The whole range of pre-Internet network culture comes better across, though, in Ivan Stang's book "Heigh Weirdness by @@ -11314,18 +7604,47 @@ online under -- http://userpage.fu-berlin.de/~cantsin/homepage/ http://www.complit.fu-berlin.de/institut/lehrpersonal/cramer.html -GnuPG/PGP public key ID 3200C7BA, finger cantsin {AT} mail.zedat.fu-berlin.de - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +GnuPG/PGP public key ID 3200C7BA, finger cantsin {AT} mail.zedat.fu-berlin.de -28.0 +21.0 +Reading the Network +Helen Pritchard +<new-media-curating@jiscmail.ac.uk> +Sun, 24 Feb 2013 00:10:59 +0800 +Hello, + +Thankyou Roddy for the invitation to be part of this discussion and also thanks to the other respondents for their comments and thoughts so far…I have a few tentative notes and responses and I want to start first of all with the notion of diffraction... + +What is interesting about the questions you are posing is that in a way it sets up a space for productively reading ‘network culture’, ‘curating’ and ‘Fluxus’ through each other - as an affirmative process. Which could perhaps be thought of as the process that Donna Haraway and Karen Barad have described as 'diffraction'. [1]. As Barad explains diffraction is a productive methodology and + +" a method of diffractively reading insights through one another, building new insights, and attentively and carefully reading for differences that matter in their fine details, together with the recognition that there intrinsic to this analysis is an ethics that is not predicated on externality but rather entanglement. Diffractive readings bring inventive provocations; they are good to think with. They are respectful, detailed, ethical engagements." [2] + +Diffraction as a methodology is something we are currently exploring in the work I am undertaking with Jane Prophet [3], Winnie Soon [4] and Fran Perona [5] at the School of Creative Media, City University Hong Kong. In our research we have become increasingly interested in considering not just ‘reading’ the blind spots of theory against each other but also diffracting ‘practices’ through each other such as diffracting arts practice through the practice of nano science or the practice of archiving through the practice of network art. + +Diffraction as Iris Van der Tuin explains, “is meant to disrupt linear and fixed causalities, and to work toward ‘‘more promising interference patterns’’ [6]. It is practiced by reading one text through another text and the rewriting. Disrupting the temporality of the piece and opening up meanings in new contexts. + +I bring up this idea of diffracting practices through one another in response to Clive’s earlier comments about the possibility for curating as the network as a practice of ‘caring’ for the/a network/s and Marc’s suggestion that much of the work they engage with at furtherfield, artists/collectives such as YOHA and Platform, “meet, not through style or as part of a field of practice, but as contemporary artistic practitioners exploring their own states of agency in a world where our ‘public’ interfaces are as much a necessary place of creative engagement”. It also relates to Ken's comments outlining the question "what is a network?" and perhaps - how we begin to become attuned to what a network is/and or might be otherwise. The matter of becoming attuned - is something I was alerted to recently in discussion with Kathryn Yusoff [7]. + +It seems to me that many artists that engage with network ecology often use the methodology of diffraction to become attuned to its performativity - to what it includes or excludes in what Adrian Mckenzie might describe as the processes of circulation [8]. Artists often diffract one practice through another to expose its blind spots - such as in the network reading group work “Common Practice” initiated by Magda Tyżlik-Carver [9]. In this work online reading practices are diffracted through the practice of curating and the practice of “commoning”. Not in order to control, order or stabilise these reading practices but as a way to become attuned to both limitations and the indeterminate possibilities of both networks and curating. + +As Magda explains “ the subject of my research which proposes to understand curating in/as common/s. If the common, as Hardt and Negri say (256), is discovered and produced through joyful encounters, then perhaps writing about curating in/as common/s should be also done with others. [10] + +- more soon :) +Helen + +[1] Karen Barad, Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham: Duke UP, 2007 +[2] http://quod.lib.umich.edu/o/ohp/11515701.0001.001/1:4.3/--new-materialism-interviews-cartographies?rgn=div2;view=fulltext +[3] http://www.janeprophet.com/ +[4] http://www.siusoon.com/home/ +[5] http://www.francescaperona.com/ +[7] http://www.lec.lancs.ac.uk/people/Kathryn_Yusoff +[8] Adrian Mackenzie, 'The Performativity of Code: Software and Cultures of Circulation', Theory, Culture & Society_, vol. 22, no. 1, London: Sage, 2005, pp. 71-92. +[9] http://www.magda.thecommonpractice.org/index.php?/projects/common-practicecode/ +[10] http://www.aprja.net/?p=460 + + +21.0-p.183 [-empyre-] relational poetry and semiotics n/a <empyre@lists.cofa.unsw.edu.au> @@ -11352,7 +7671,7 @@ the art and the communication to distance from the art centers of the world, in charge of the artist-s-mail, they happened many before the World Wide Web". -Fagagaga, 15 of Nov.´99, personal letter to me +Fagagaga, 15 of Nov.´99, personal letter to me The things don't happen scatteredly, all are linked. The art in the Net of @@ -11392,7 +7711,7 @@ predispose to the talkative act. There is, perhaps, the reasons of its persistense like current of artistic expression: it don't take place for the market of the art, for which it -isn´t sold neither there are juries that select the works, neither limits in +isn´t sold neither there are juries that select the works, neither limits in relation to the techniques employees neither in relation to the currents of ideological expression or aesthetics, not refund, etc. Neither interests the artistic, either literary gender, plastic, musical, even the own presence of @@ -11435,35 +7754,178 @@ characteristics have been transmitted the Networking and to the Art in the Weg. ------------------------------------------------------ -Fraternal greetings, - ------ Mensaje original ----- -De: "Jim Andrews" <jim@vispo.com> -Para: <empyre@lists.cofa.unsw.edu.au> -Enviado: Jueves, 31 de Octubre de 2002 02:55 a.m. -Asunto: RE: [-empyre-] re: Jorge Luiz Antonio, Jim Andrews - relational -poetry and semiotics - - -> I know that prior to the Web, you were very active in mail art, Clemente, -among other things. -> How are you finding net/web.art in comparison to mail art? -> -> ja -> - - - - - +Fraternal greetings -29.0 +21.1 +Re: Reading the Network +Gary Hall +<new-media-curating@jiscmail.ac.uk> +Sat, 23 Feb 2013 22:02:05 +0000 +While we're waiting for Clive's remake of 'Ideals Die', perhaps I can +attempt some speculations (one could almost call them 'inventive +provocations' if they were more detailed) on what it might mean to think +both research and politics as 'the domain of those who do not know' in +the context of some of the contributions to the discussion so far. In +particular, I'd like to try to find a way of thinking this idea +affirmatively together with: + +Clive's concern about having a 'common direction'; +Ken Friedman's comments about the concept of The Eternal Network being a +concept of community, and about the apparent failure of artists to +create network systems that thrive and develop for longer than a year or +two; +and Helen Pritchard's reference to the common, for Hardt and Negri, +being discovered and produced through joyful encounters. + +The latter brought to mind Nick Mirzeoff's disappointment with their +book Declaration, on the basis that, for Hardt and Negri: + +'“living information” is said to be gained by physical proximity. Thus, +at the encampments "the participants experienced the power of creating +new political affects through being together." While that seems clearly +true, there’s a hint of Romantic nostalgia in the evocation of the +letter over the email and the distaste for social media. Entirely absent +here... is any mention of the role of photography and moving image +distribution. From the al-Jazeera feeds of Tunisia and Tahrir to the +Livestreaming of Occupy, web-disseminated video has indeed created a new +way of being together without which it’s hard to understand the +formation of global affinities that we’ve witnessed over the past 18 +months.'[1] + +That in turn made me think of how - as we know from the work of Dymitri +Kleiner and others [2] - the idea of the commons is a place where the +interests of a large number of diverse groups, movements, organisations +and constituencies – including network technologists, media theorists, +artists, activists and curators - come together, but also exist in a +state of 'tension' and are often demonstrably incompatible and +incommensurable. For example, some in the Free Software community argue +for copyleft which is a use of copyright law, but one that’s designed to +serve the opposite ends to those such a copyright or Creative Commons +license is usually put. Instead of supporting the ownership of private +property, copyleft defends the freedom of everyone to copy, distribute, +develop and improve software or any other work covered by such a +licence. Meanwhile, others question just how left politically copyleft +actually is. Rather than preventing access to information and source +code from being restricted, those on the political left tend to be more +concerned with developing a free, common culture, and promoting the +equal and just distribution of wealth among the creative workers who +produce it. To this end, Kleiner himself advocates for copyleft to be +transformed into copyfarleft, in which creative workers themselves own +the means of production, and only prevent use of their works which is +not based in the commons. Then again, many anti-intellectual property +advocates in the Pirate movement argue against copyright and the use of +licenses altogether, regarding them as remnants from a previous age. + +Now all this could of course be taken as providing one illustration as +to why it is difficult for network technologists, media theorists, +artists, activists and curators to create durable, scalable network +systems that thrive and develop for longer than a year or two - +especially if we are attempting to understand the politics of the common +in terms of a known 'arbitrary closure' (such as 'continuity' +possibly?). Or, it could be taken as suggesting we should perhaps +approach the question of community, of being together and holding +something in common, a little differently - in terms of a certain +conflict, antagonism and incommensurability, and thus as being not the +domain of those who already know what community and the common are in +advance, but more 'the domain of those who do not know'. It is +something of this kind that Michael Bauwens seems to be pointing toward +when he talks about the larger cultural and social shift he associates +with peer-to-peer networks of production: + +'The fact that the commons interfaces with capital is not necessarily +negative. It can be, but it is not necessarily so.... Critics ask you to +choose one or the other, and what I am trying to say is that it is not +either or, but both. They are both happening at the same time, we are +de-commodifying and we are commodifying. ... I find it really +interesting that, within the system we already have, communal dynamics +are actually happening. My point of view is not to take an +anti-capitalist view, but to take a post-capitalist view.... I think +that is what happened in the past as well, I do not think that the +Christians fought the Roman Empire or fought Feudalism as such; they +just created a world based on their new logic .... The people no longer +believe in the mainstream system. They may not know what they want, but +people in the French Revolution did not know what they want, and people +in the Russian Revolution did not know what they want.'[3] + +All of which appears to provide another way of thinking community +together with performativity. For (and I'm just speculating here +remember) how might we set about creating such an (as yet) unknown +community or world - especially if we're concerned to try to avoid the +situation we've seen Stuart Hall fall into, where we're open to +questioning everything... except certain 'arbitrary closures' that +establish boundary lines around what we supposedly do know, such as +politics and the relation to the social formation in Hall's case. +Wouldn’t we have to try to performatively create such a community via +how we act as network technologists, media theorists, artists, +activists and curators? And do so ‘without any guarantees’ (Stuart Hall +again) that this would happen?[4] + +Let me try to illustrate what this might involve with the example of +Graham Harman and his book on Bruno Latour, Prince of Networks (and I'm +referring to authors and texts that are part of the networks of networks +I help to curate and care for quite deliberately here).[5] Harman of +course is known for advocating a 'new logic' via Latour and others, +based on the argument that ‘there is no privilege for a unique human +subject’, and that with this ‘a total democracy of objects replaces the +long tyranny of human beings in philosophy’.[6] However, even though +Prince of Networks is available open access through re.press,[7] that +doesn’t mean a network of people, objects or actants can take Harman’s +text, rewrite and improve it, and in this way produce a work derived +from it that can then be legally published. Since Harman has chosen to +publish his book under a Creative Commons BY-NC-ND licence, that would +still be to infringe his claim to copyright: both the right Harman +wishes to retain to be identified as the author of Prince of Networks, +and to have it attributed to him precisely as a unique human subject; +but also Harman’s right of integrity, which enables him as a human being +to claim it as his intellectual property, and which grants him the +privilege of refusing to allow the ‘original’, fixed and final form of +Prince of Networks to be modified or distorted by others, be they humans +or objects. + +So how might we begin to think about how we could act differently in +this respect? Well, one starting point for doing so is perhaps offered +by Lawrence Liang's troubling of the 'distinction between an agent who +performs an action and the action that the agent performs.' Here, 'an +agent is constituted by the actions that he or she performs, or an agent +is the actions performed and nothing more. Interestingly, what this +means when it comes to written texts - and this brings us back neatly to +Helen's mention of joyful encounters - is that: 'to assert "This is my +poem" within the social imaginary of intellectual property is to make a +claim that sounds very much like "This is my pen", whereas in fact, it +might be more accurate to think of its claim as the same as "This is my +friend".' + +Gary + + +[1] +http://www.nicholasmirzoeff.com/O2012/2012/05/09/on-hardt-and-negris-declaration/ +[2] Dmytri Kleiner, The Telecommumist Manifesto, Amsterdam: Institute of +Network Cultures, 2010, +http://telekommunisten.net/the-telekommunist-manifesto/. +[3] Michel Bauwens in Sam Kinsley, ‘TOWARDS PEER-TO-PEER ALTERNATIVES: +An interview with Michel Bauwens’, Culture Machine, 2012, +http://www.culturemachine.net/index.php/cm/article/view/467/497. +[4] 'The Problem of Ideology: Marxism without Guarantees', in D. Morley +and Kuan-Hsing Chen (eds.) Stuart Hall : Critical Dialogues in Cultural +Studies (London/ New York: Routledge 1996) pp26-29. +[5] http://openhumanitiespress.org/new-metaphysics.html. +[6] Graham Harman, ‘The Importance of Bruno Latour for Philosophy’, +Cultural Studies Review, Volume 13, Number 1, March 2007, p.36. +[7] +http://re-press.org/books/prince-of-networks-bruno-latour-and-metaphysics/. +[8] Lawrence Liang, ‘The Man Who Mistook His Wife for a Book’, in Gaelle +Krikorian and Amy Kapczynski, eds, Access to Knowledge In the Age of +Intellectual Property (New York: Zone Books, 2010) p.286, 283-284. + + +22.0 [-empyre-] rehearsal of a network - [week 3] lizvlx <empyre@lists.cofa.unsw.edu.au> Tue Jun 19 00:37:36 AEST 2018 -🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 +🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 HELLO I dont know if you can hear me, I can hear you but I dont know if this is a good connection it keeps breaking o @@ -11471,7 +7933,7 @@ I dont know if you can hear me, I can hear you but I dont know if this is a good Thank you Shu Lea for the invite and I dare you I have read all the communication that has been going on and I am sure I did not at all understand it but then it is not understanding that I crave but inspirazione. I medias res. A topic to start from. -🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 +🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 The network within me (cave: relates to immersive species and the before mentioned DNA fingerprints) I have a vast genetic network within me. @@ -11489,10 +7951,10 @@ I have a vast genetic network within me. I am many. I have gotten these results about 3 months ago. I am watching my relationship to far away netnodes of natures and cultures. I watched the GERMEX game yesterday knowing that I am I tiny bit Mexican too. Does it make a difference? Or is my love connection to Mexico more relevant? Or is there a love connection because of my genetic network? -🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 +🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 What does it mean to be indigenous? (As my father is from the Hallstatt area my Celtic roots are my indigenous roots) I know I have never had any understanding of Western Europe and this mirrors in my genetic network. -Being pregnant with my first child re-taught me what it feels like to be not-one — looking at my genetics I feel relieved to be not one but many. +Being pregnant with my first child re-taught me what it feels like to be not-one — looking at my genetics I feel relieved to be not one but many. I am wondering how does my genetic intranet connect to the internet. @@ -11502,18 +7964,14 @@ I would like to discuss with you. As a note: immersive species might really be a problematic term (I guess the immersive species themselves would argue such) - but I do think that there are immersive predators - as pointed out with the island/cat example. -🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 +🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 Postscript: I am not a theoreticienne - neither am I very versed in contemporary art practice besides my own. My influences are strictly Mozart Hallstatt Culture Marilyn Manson Rammstein KLF Kenyan Newspapers Montessori Macroeconomics Thinking Local Acting Global Norwegian TV Series Trees and Stones and https://youtu.be/awY1MRlMKMc. Postscript02: at UBERMORGEN we are currently working on making art for the alt.right. this is more bout undermining the current networks of the heartless psychopaths, we can talk bout that later if ya want. -lizvlx --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180618/fcaa95fc/attachment.html> - +lizvlx -29.1 +22.1 [-empyre-] rehearsal of a network - [week 3] BStalbaum <empyre@lists.cofa.unsw.edu.au> @@ -11562,30 +8020,17 @@ Or that your DNA is what makes you a German or a Scot, as in the ridiculous commercial for Ancestry [.com] But in the US, the commercial shows how common these weird and often racist beliefs are. It is so sick, I feel like there must be lot of cultural specificity to it. I'd -love to hear about how these DNA kits are playing out in other places. - - -On 06/18/2018 07:37 AM, lizvlx wrote: -> ----------empyre- soft-skinned space---------------------- -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180618/287830f3/attachment.html> - +love to hear about how these DNA kits are playing out in other places. -29.2 +22.2 [-empyre-] rehearsal of a network - [week 3] Christiane Robbins <empyre@lists.cofa.unsw.edu.au> Tue Jun 19 10:33:04 AEST 2018 Brett, -I couldn’t agree more in that DNA kits are ripe for parody … the clichés the stereotyping, the narrow bandwidth of race is utterly sophomoric and misleading. That said, I take issue with the focus of your position below - the “will toward cultural appropriation”, identity theft and the rush to judgement of an the exploitive branding as an identity prop for purposes of cultural appropriation…. or if, as you may be implying, for financial gain. +I couldn’t agree more in that DNA kits are ripe for parody … the clichés the stereotyping, the narrow bandwidth of race is utterly sophomoric and misleading. That said, I take issue with the focus of your position below - the “will toward cultural appropriation”, identity theft and the rush to judgement of an the exploitive branding as an identity prop for purposes of cultural appropriation…. or if, as you may be implying, for financial gain. I, too, state this as a citizen of the USA. My own ancestor was Robert Coe - an original puritan ( colonizer) displaced from the UK and arriving in MA - and a rather prolific one at that!. My blood lines ( as it were ) speak to the amalgam of immigration patterns in the east coast of USA since 1635 . These include the Lenape Tribe ( the original peoples,) the British, the Irish, the German, the Italian, the Spanish, the Finnish and the Lebanese - and all of these speak to their own migratory patterns throughout the millennia that in themselves have been racialized and nationalized. @@ -11599,40 +8044,10 @@ Thanks to all for a stimulating conversation - once again! Best, -Chris - - - -> On Jun 18, 2018, at 12:45 PM, BStalbaum <bstalbaum at ucsd.edu> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> DNA kits have become hilarious, painfully unaware self parodies of the will toward cultural appropriation. (Just for one example: https://www.youtube.com/watch?v=84LnTrQ2us8 <https://www.youtube.com/watch?v=84LnTrQ2us8> ) Of course I say this as a citizen of the U.S. Our context is particular and perverse, one in which some substantial proportion of the white population believes they are in the "blood line" (we still have a lot of strong premodern beliefs like "the blood"...) of indigenous North American peoples. Most of whom we killed, so the common case of whites who make very strong claims to native ancestry is particularly perverse. It is only ~100 years since the open, armed hunting of native people was still taking place here, basically unopposed by civil society, even in now liberal California. Actually I live in one of the last places in the US where this genocidal practice was commonly practiced, and is well documented. But people in my state hardly own up to it, and my own University system is deeply implicated. (Look up the history of Kroeber Hall at Berkeley, for example.) To put a personal spin on the matter, I have a couple of true believers in my own very white family. Honestly, people who have "dream catchers", believe they are part of a tribe - they are not registered and can not register with any actual tribe - and who believe that their blood puts them in deeper touch with the spirits of the land. I am not popular at family events, as you might imagine;-) Calling these false beliefs out, even among whites only, is still quite incendiary here. -> -> An other example of the obscene nature of this common identity theft comes in the figure of US senator Elizabeth Warren of Massachusetts. She was raised with these false beliefs, that she had natives in her family tree, and yes I do believe she has suffered a lot of well deserved embarrassment in the process of slowly coming around to personally owning her false family narrative. She is an otherwise sympathetic figure in most ways, and I should note, our president has belittled her in an explicitly racist manner, demonstrating the continuum between the soft and hard forms of racism in my country. -> -> DNA is fraught, we should be very careful call it out when we see it used as an identity prop for cultural appropriation. Our networks are full of this kind of theft and positioning, as if such reductive DNA results can possibly mean more than our experience within the more tangible web of social relations; how we individually experience privilege and discrimination. (Including generational effects.) -> -> Or that your DNA is what makes you a German or a Scot, as in the ridiculous commercial for Ancestry [.com] But in the US, the commercial shows how common these weird and often racist beliefs are. It is so sick, I feel like there must be lot of cultural specificity to it. I'd love to hear about how these DNA kits are playing out in other places. -> -> -> On 06/18/2018 07:37 AM, lizvlx wrote: ->> ----------empyre- soft-skinned space---------------------- ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au <mailto:empyre at lists.artdesign.unsw.edu.au> ->> http://empyre.library.cornell.edu <http://empyre.library.cornell.edu/> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180618/c23b1cd4/attachment.html> - +Chris -29.3 +22.3 [-empyre-] rehearsal of a network - [week 3] Melinda Rackham <empyre@lists.cofa.unsw.edu.au> @@ -11643,7 +8058,7 @@ my take on DNA is rather different as an Adopted person without knowledge of my I did as a kid dream I was misplaced child of European royalty, but alas my birth mum was just a young unmarried working class woman from the poorer suburbs shamed and bullied by society and religion into letting nuns take her child. she had another daughter she lost to adoption two years later. I have never met my 1/2 sister. -so I am using DNA to locate my relatives - and I agree ist full of clichés and stereotyping , especially when one runs ones results through different companies (ancestry, 23andMe, my heritage etc) . their ancestral algorithms are based on estimates and probabilities, not certainties, and I come out racially differently in each result. +so I am using DNA to locate my relatives - and I agree ist full of clichés and stereotyping , especially when one runs ones results through different companies (ancestry, 23andMe, my heritage etc) . their ancestral algorithms are based on estimates and probabilities, not certainties, and I come out racially differently in each result. My Scandanavian is overtaken by western European, I get to be more english and less Irish/Scottish in others, my precious bit of Persian decreases, while my Italian gains. As well there are no DNA testing companies that have reliable reference SNP data from Indigenous Australians -so bad luck if you are looking. @@ -11659,232 +8074,63 @@ And in all of this heart-felt searching, most companies ask if they can retain o happy testing Kerri Anne Burgess -as I was on my birth certificate before I was legally transformed into Melinda Rackham - - -> On 19 Jun 2018, at 10:03 am, Christiane Robbins <crobbins at mindspring.com> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> Brett, -> -> I couldn’t agree more in that DNA kits are ripe for parody … the clichés the stereotyping, the narrow bandwidth of race is utterly sophomoric and misleading. That said, I take issue with the focus of your position below - the “will toward cultural appropriation”, identity theft and the rush to judgement of an the exploitive branding as an identity prop for purposes of cultural appropriation…. or if, as you may be implying, for financial gain. -> -> I, too, state this as a citizen of the USA. My own ancestor was Robert Coe - an original puritan ( colonizer) displaced from the UK and arriving in MA - and a rather prolific one at that!. My blood lines ( as it were ) speak to the amalgam of immigration patterns in the east coast of USA since 1635 . These include the Lenape Tribe ( the original peoples,) the British, the Irish, the German, the Italian, the Spanish, the Finnish and the Lebanese - and all of these speak to their own migratory patterns throughout the millennia that in themselves have been racialized and nationalized. -> -> I am simply an exemplary example of 4 centuries of migratory co-mingling in what is now called the USA. All are verifiable in my DNA analysis as well as the patriarchal names ( Coe, Maier, Cassidy, Allaway, etc.) And most significantly via an oral history that has been handed down to me through my matriarchal line - my mother. This oral history is most incredible but now pales in responding to the evidentiary demands of verifiable data analysis of the 21st c the DNA analysis which has now taken center stage . This is simply an apt metaphor for our moment in history. -> -> FYI, throughout the 17th, 18th and 19th century in the USA the Lenape tribes ( comprising 3 clans in NY, NJ, PA CT,and MD) my own ancestors, were decimated first by the Dutch, then the French and then the English - i.e. Amherst and disordering of the disbursement of infected blankets. As we all understand, colonial brutality, enslavement and native disappearance spread in waves across the racialized continent. -> -> My understanding is that numerous others, including Elizabeth Warren, also responded to an oral history in their claims to Cherokee blood. I do not automatically associate this with Identity Theft - at all. Anyone who is actually familiar with Native American Tribal histories understands this respected oral tradition - as well as the tribal politics due the fairly recent financial gains by tribal investments and assets. As the survivors fled south - some following the "Trail of Tears" they became one with the Cherokee tribes who eventually settled in Oklahoma - and again co-mingled. In scapegoating Elizabeth Warren - you seem to do so from limited understanding of these histories and their respective operative and systemic racisms. -> -> Thanks to all for a stimulating conversation - once again! -> -> Best, -> -> Chris -> -> -> ->> On Jun 18, 2018, at 12:45 PM, BStalbaum <bstalbaum at ucsd.edu> wrote: ->> ->> ----------empyre- soft-skinned space---------------------- ->> DNA kits have become hilarious, painfully unaware self parodies of the will toward cultural appropriation. (Just for one example: https://www.youtube.com/watch?v=84LnTrQ2us8 ) Of course I say this as a citizen of the U.S. Our context is particular and perverse, one in which some substantial proportion of the white population believes they are in the "blood line" (we still have a lot of strong premodern beliefs like "the blood"...) of indigenous North American peoples. Most of whom we killed, so the common case of whites who make very strong claims to native ancestry is particularly perverse. It is only ~100 years since the open, armed hunting of native people was still taking place here, basically unopposed by civil society, even in now liberal California. Actually I live in one of the last places in the US where this genocidal practice was commonly practiced, and is well documented. But people in my state hardly own up to it, and my own University system is deeply implicated. (Look up the history of Kroeber Hall at Berkeley, for example.) To put a personal spin on the matter, I have a couple of true believers in my own very white family. Honestly, people who have "dream catchers", believe they are part of a tribe - they are not registered and can not register with any actual tribe - and who believe that their blood puts them in deeper touch with the spirits of the land. I am not popular at family events, as you might imagine;-) Calling these false beliefs out, even among whites only, is still quite incendiary here. ->> ->> An other example of the obscene nature of this common identity theft comes in the figure of US senator Elizabeth Warren of Massachusetts. She was raised with these false beliefs, that she had natives in her family tree, and yes I do believe she has suffered a lot of well deserved embarrassment in the process of slowly coming around to personally owning her false family narrative. She is an otherwise sympathetic figure in most ways, and I should note, our president has belittled her in an explicitly racist manner, demonstrating the continuum between the soft and hard forms of racism in my country. ->> ->> DNA is fraught, we should be very careful call it out when we see it used as an identity prop for cultural appropriation. Our networks are full of this kind of theft and positioning, as if such reductive DNA results can possibly mean more than our experience within the more tangible web of social relations; how we individually experience privilege and discrimination. (Including generational effects.) ->> ->> Or that your DNA is what makes you a German or a Scot, as in the ridiculous commercial for Ancestry [.com] But in the US, the commercial shows how common these weird and often racist beliefs are. It is so sick, I feel like there must be lot of cultural specificity to it. I'd love to hear about how these DNA kits are playing out in other places. ->> ->> ->> On 06/18/2018 07:37 AM, lizvlx wrote: ->>> ----------empyre- soft-skinned space---------------------- ->>> _______________________________________________ ->>> empyre forum ->>> empyre at lists.artdesign.unsw.edu.au ->>> http://empyre.library.cornell.edu ->> ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au ->> http://empyre.library.cornell.edu -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - - +as I was on my birth certificate before I was legally transformed into Melinda Rackham -29.4 +22.4 [-empyre-] rehearsal of a network - [week 3] Christiane Robbins <empyre@lists.cofa.unsw.edu.au> Wed Jun 20 02:09:50 AEST 2018 Good Morning All - -Well….this thread is taking an unexpected twist. Luxury may be in the mind of the beholder here relative to taking racial and cultural heritage. +Well….this thread is taking an unexpected twist. Luxury may be in the mind of the beholder here relative to taking racial and cultural heritage. -Melinda, I, too, was adopted - from Catholic Charities - a larger story here and there. But the searching for answers - the promise that is inherent in offerings - the services - of these corporate entities - are predicated (as are many commodities) upon our own fantastical projections. Seems like a child’s common fantasy was coming from Royalty … in my case, the Kennedys :). Until I was in my twenties, I was told I was of a different ethnicity - and no one was the wiser as my physical appearance can lean in several regions depending on one’s perspective. So was I placeless, perhaps, but somehow I did feel anchored - a feeling for which I cannot account. Perhaps it was that I was raised in the same region that my families had been for centuries, as opposed to being totally displaced geographically as well. The Lenape( the original people) had been in the Americas for a millennia or more. +Melinda, I, too, was adopted - from Catholic Charities - a larger story here and there. But the searching for answers - the promise that is inherent in offerings - the services - of these corporate entities - are predicated (as are many commodities) upon our own fantastical projections. Seems like a child’s common fantasy was coming from Royalty … in my case, the Kennedys :). Until I was in my twenties, I was told I was of a different ethnicity - and no one was the wiser as my physical appearance can lean in several regions depending on one’s perspective. So was I placeless, perhaps, but somehow I did feel anchored - a feeling for which I cannot account. Perhaps it was that I was raised in the same region that my families had been for centuries, as opposed to being totally displaced geographically as well. The Lenape( the original people) had been in the Americas for a millennia or more. -Nonetheless, I had found my birth mother through an Underground Railroad of sorts - a “mole" working in the Federal Gov with whom I had been put in touch with by one of my students who had been working on a documentary on adoption. This underground detective did this the hard way - looking through archival paper documents - this was the 90’s and the govt. was not yet fully digitized. My matriarchal line held the Lenape line along with the Coe lineage ( British.) among a few more. +Nonetheless, I had found my birth mother through an Underground Railroad of sorts - a “mole" working in the Federal Gov with whom I had been put in touch with by one of my students who had been working on a documentary on adoption. This underground detective did this the hard way - looking through archival paper documents - this was the 90’s and the govt. was not yet fully digitized. My matriarchal line held the Lenape line along with the Coe lineage ( British.) among a few more. -The oral tradition had not been handed down to me over a lifetime but through a few visits in my adulthood that with were abruptly halted with her untimely death. It was she that told me of the Lenape. Ironically, the Coe family refutes any Lenape lineage as offered thru their familial DNA analysis - which the family archivist is steadfastly tracking online and which is how I traced myself back to the Puritans. BTW, I found the Coes on FB - When my mother who told me of the Lenape and also made me promise ( honest to God ) to track down the church (land) in Manhattan that had been “stolen” from her family - talk about a fantasy - not to mention a financial incentive :). The Lenape is now represented by a 6% in the proverbial pie chart of my DNA analysis. I had previously understood that it was more prominent but then again I have only taken one DNA test. Nonetheless, the matriarchal oral tradition is operative … although not verifiable by our evidentiary analytical mechanisms …. yet. This is a chasm. +The oral tradition had not been handed down to me over a lifetime but through a few visits in my adulthood that with were abruptly halted with her untimely death. It was she that told me of the Lenape. Ironically, the Coe family refutes any Lenape lineage as offered thru their familial DNA analysis - which the family archivist is steadfastly tracking online and which is how I traced myself back to the Puritans. BTW, I found the Coes on FB - When my mother who told me of the Lenape and also made me promise ( honest to God ) to track down the church (land) in Manhattan that had been “stolen” from her family - talk about a fantasy - not to mention a financial incentive :). The Lenape is now represented by a 6% in the proverbial pie chart of my DNA analysis. I had previously understood that it was more prominent but then again I have only taken one DNA test. Nonetheless, the matriarchal oral tradition is operative … although not verifiable by our evidentiary analytical mechanisms …. yet. This is a chasm. Actually, I took a DNA analysis to find out about my father - of whom no one would speak. This also gave rise to many fantasies - not the least of which was the Sopranos - Italian, New Jersey - you may know what I am getting at. But as they say there has been no cheese down that hole and so my new fantasy is that I may have been an Immaculate Conception :). The DNA analysis has not been helpful in sorting this one out - Need to run but once again, many thanks for such a unexpected and enriching conversation. -Chris - - - - -> On Jun 19, 2018, at 1:49 AM, Melinda Rackham <melinda at subtle.net> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> Hi all, -> great monthly topics.. and DNA talk compels me to respond.. -> my take on DNA is rather different as an Adopted person without knowledge of my racial/cultural heritage -> -> I did as a kid dream I was misplaced child of European royalty, but alas my birth mum was just a young unmarried working class woman from the poorer suburbs shamed and bullied by society and religion into letting nuns take her child. she had another daughter she lost to adoption two years later. I have never met my 1/2 sister. -> -> so I am using DNA to locate my relatives - and I agree ist full of clichés and stereotyping , especially when one runs ones results through different companies (ancestry, 23andMe, my heritage etc) . their ancestral algorithms are based on estimates and probabilities, not certainties, and I come out racially differently in each result. -> -> My Scandanavian is overtaken by western European, I get to be more english and less Irish/Scottish in others, my precious bit of Persian decreases, while my Italian gains. As well there are no DNA testing companies that have reliable reference SNP data from Indigenous Australians -so bad luck if you are looking. -> -> For me it is flawed on so many levels , but serious as its the only linkage I have to my paternal heritage, and to my adopted 1/2 sister. It also answers a few questions for me, like why having grown up in outback Australia I feel so at home safe and comfortable in European forests - why I feel very familiar with Denmark and Danish. -> -> Those that have the luxury of connection to heritage, I don't think could really understand what its like to not see anyone u look like, and that mirroring is a vital component of development, and have no threads to cultures, society, or land. Its a little like being a refugee from birth .. grateful for food and shelter but stricken with grief and loss - cant go back uncertain about going fwd, a placeless person. -> -> DNA promises a lot, but it doesn't deliver - almost like gambling- get a lead follow it, then people don't respond, etc.. .MyHeritage has a pro bono initiative DNA Quest which is supposed to help adoptees and their birth families reunite through DNA testing- sending out 15,000 DNA kits for free. But u still need the dedication to do the work to find and follow links and build thier network and info. My favourite line in their blurb: -> " We hope to make this project a shining light for corporate philanthropy and an example to be followed by other commercial companies in their own lines of expertise, to help make our world a better place." -> -> And in all of this heart-felt searching, most companies ask if they can retain our DNA records for medical research .. building a Biodata Empire, and most people, thinking they are helping their fellows, say yes. -> -> happy testing -> -> Kerri Anne Burgess -> as I was on my birth certificate before I was legally transformed into Melinda Rackham -> -> ->> On 19 Jun 2018, at 10:03 am, Christiane Robbins <crobbins at mindspring.com> wrote: ->> ->> ----------empyre- soft-skinned space---------------------- ->> Brett, ->> ->> I couldn’t agree more in that DNA kits are ripe for parody … the clichés the stereotyping, the narrow bandwidth of race is utterly sophomoric and misleading. That said, I take issue with the focus of your position below - the “will toward cultural appropriation”, identity theft and the rush to judgement of an the exploitive branding as an identity prop for purposes of cultural appropriation…. or if, as you may be implying, for financial gain. ->> ->> I, too, state this as a citizen of the USA. My own ancestor was Robert Coe - an original puritan ( colonizer) displaced from the UK and arriving in MA - and a rather prolific one at that!. My blood lines ( as it were ) speak to the amalgam of immigration patterns in the east coast of USA since 1635 . These include the Lenape Tribe ( the original peoples,) the British, the Irish, the German, the Italian, the Spanish, the Finnish and the Lebanese - and all of these speak to their own migratory patterns throughout the millennia that in themselves have been racialized and nationalized. ->> ->> I am simply an exemplary example of 4 centuries of migratory co-mingling in what is now called the USA. All are verifiable in my DNA analysis as well as the patriarchal names ( Coe, Maier, Cassidy, Allaway, etc.) And most significantly via an oral history that has been handed down to me through my matriarchal line - my mother. This oral history is most incredible but now pales in responding to the evidentiary demands of verifiable data analysis of the 21st c the DNA analysis which has now taken center stage . This is simply an apt metaphor for our moment in history. ->> ->> FYI, throughout the 17th, 18th and 19th century in the USA the Lenape tribes ( comprising 3 clans in NY, NJ, PA CT,and MD) my own ancestors, were decimated first by the Dutch, then the French and then the English - i.e. Amherst and disordering of the disbursement of infected blankets. As we all understand, colonial brutality, enslavement and native disappearance spread in waves across the racialized continent. ->> ->> My understanding is that numerous others, including Elizabeth Warren, also responded to an oral history in their claims to Cherokee blood. I do not automatically associate this with Identity Theft - at all. Anyone who is actually familiar with Native American Tribal histories understands this respected oral tradition - as well as the tribal politics due the fairly recent financial gains by tribal investments and assets. As the survivors fled south - some following the "Trail of Tears" they became one with the Cherokee tribes who eventually settled in Oklahoma - and again co-mingled. In scapegoating Elizabeth Warren - you seem to do so from limited understanding of these histories and their respective operative and systemic racisms. ->> ->> Thanks to all for a stimulating conversation - once again! ->> ->> Best, ->> ->> Chris ->> ->> ->> ->>> On Jun 18, 2018, at 12:45 PM, BStalbaum <bstalbaum at ucsd.edu> wrote: ->>> ->>> ----------empyre- soft-skinned space---------------------- ->>> DNA kits have become hilarious, painfully unaware self parodies of the will toward cultural appropriation. (Just for one example: https://www.youtube.com/watch?v=84LnTrQ2us8 ) Of course I say this as a citizen of the U.S. Our context is particular and perverse, one in which some substantial proportion of the white population believes they are in the "blood line" (we still have a lot of strong premodern beliefs like "the blood"...) of indigenous North American peoples. Most of whom we killed, so the common case of whites who make very strong claims to native ancestry is particularly perverse. It is only ~100 years since the open, armed hunting of native people was still taking place here, basically unopposed by civil society, even in now liberal California. Actually I live in one of the last places in the US where this genocidal practice was commonly practiced, and is well documented. But people in my state hardly own up to it, and my own University system is deeply implicated. (Look up the history of Kroeber Hall at Berkeley, for example.) To put a personal spin on the matter, I have a couple of true believers in my own very white family. Honestly, people who have "dream catchers", believe they are part of a tribe - they are not registered and can not register with any actual tribe - and who believe that their blood puts them in deeper touch with the spirits of the land. I am not popular at family events, as you might imagine;-) Calling these false beliefs out, even among whites only, is still quite incendiary here. ->>> ->>> An other example of the obscene nature of this common identity theft comes in the figure of US senator Elizabeth Warren of Massachusetts. She was raised with these false beliefs, that she had natives in her family tree, and yes I do believe she has suffered a lot of well deserved embarrassment in the process of slowly coming around to personally owning her false family narrative. She is an otherwise sympathetic figure in most ways, and I should note, our president has belittled her in an explicitly racist manner, demonstrating the continuum between the soft and hard forms of racism in my country. ->>> ->>> DNA is fraught, we should be very careful call it out when we see it used as an identity prop for cultural appropriation. Our networks are full of this kind of theft and positioning, as if such reductive DNA results can possibly mean more than our experience within the more tangible web of social relations; how we individually experience privilege and discrimination. (Including generational effects.) ->>> ->>> Or that your DNA is what makes you a German or a Scot, as in the ridiculous commercial for Ancestry [.com] But in the US, the commercial shows how common these weird and often racist beliefs are. It is so sick, I feel like there must be lot of cultural specificity to it. I'd love to hear about how these DNA kits are playing out in other places. ->>> ->>> ->>> On 06/18/2018 07:37 AM, lizvlx wrote: ->>>> ----------empyre- soft-skinned space---------------------- ->>>> _______________________________________________ ->>>> empyre forum ->>>> empyre at lists.artdesign.unsw.edu.au ->>>> http://empyre.library.cornell.edu ->>> ->>> _______________________________________________ ->>> empyre forum ->>> empyre at lists.artdesign.unsw.edu.au ->>> http://empyre.library.cornell.edu ->> ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au ->> http://empyre.library.cornell.edu -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - - +Chris -29.5 +22.5 [-empyre-] rehearsal of a network - [week 3] lizvlx <empyre@lists.cofa.unsw.edu.au> Wed Jun 20 04:04:58 AEST 2018 -🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 hello again🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 four things🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 I read this text and it is to be read: https://eand.co/why-were-one-step-away-from-the-abyss-4ef01d70937b <https://eand.co/why-were-one-step-away-from-the-abyss-4ef01d70937b> 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 DNA - I am not adopted, the only great grandparent that is unknown in my family is the Roman Catholic priest that was my grandfather’s father :D .. But I have no known greek ancestry, neither northern African. I suspect that there might be a cluster of Sicilian DNA in upper Austria - but that is a work in progress theory, I still have a great aunt that is alive and I need to make her get tested to find out more. But thats more on a personal note.🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 DNA - the Datenschutzaspekt (I rather use German when it comes to data protection as there is no powerful terminology in English) - the problem when signing up for a DNA analysis is a) trusting the company that they won’t fuck around with your data (and if you live in the USA you will be a fool to trust em) and b) you are making a decision not about your own DNA but for the whole of your close family. This is an impossible decision - me mistress of the impossible of course had no problem tackling this hurdle. Seriously, I would have never taken the test if I were living in the USA, too dangerous. I decided to do it as I do believe that future will be one where everybody’s DNA will be screened known bartered with etc. There is no way to stop this (the only good thing to get out of these tests is have a non-mutt person is the exemption of the rule and all this race bullshit just does not compute). 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑Heartless psychopaths. What a lovely topic. For this topic, UBERMORGEN has been researching for the last year. We are calling it Binary Primitivism. We focused on analysing: pornography (also over time, trends, normalisation of criminal sexual abuse, hypnoporn) incels (thats the notorious Involuntary Celibates; we had done a piece on Elliot Rodger aka Santa Barbara Killer a little time ago and he is not the GOD of the movement, a movement that is terrorising online and RL communities) Alt.right (mostly their social media tactics of - again - immersiveness Online Gaming Environments (well u gotta play with em boys). Got some links hereto: https://player.vimeo.com/video/137939689 <https://player.vimeo.com/video/137939689> - video “Nice Vanilla Latte”, feat. Elliot Rodger, UBERMORGEN 2015 https://twitter.com/ElliotRodgerGod <https://twitter.com/ElliotRodgerGod> - his twitter account that is still live and now used by a friend of his DO NOT REPORT THIS ACCOUNT COZ THIS A GREAT RESSOURCE http://vaporwave.breitbart.pro/ <http://vaporwave.breitbart.pro/> this is unreleased work in progress - one example of imagery etc we produce and then insert into the networks of the heartless psychopaths.🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 -BYEBYE/LIZ - - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180619/9710a0b1/attachment-0001.html> - +🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 hello again🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 four things🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 I read this text and it is to be read: https://eand.co/why-were-one-step-away-from-the-abyss-4ef01d70937b <https://eand.co/why-were-one-step-away-from-the-abyss-4ef01d70937b> 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 DNA - I am not adopted, the only great grandparent that is unknown in my family is the Roman Catholic priest that was my grandfather’s father :D .. But I have no known greek ancestry, neither northern African. I suspect that there might be a cluster of Sicilian DNA in upper Austria - but that is a work in progress theory, I still have a great aunt that is alive and I need to make her get tested to find out more. But thats more on a personal note.🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 DNA - the Datenschutzaspekt (I rather use German when it comes to data protection as there is no powerful terminology in English) - the problem when signing up for a DNA analysis is a) trusting the company that they won’t fuck around with your data (and if you live in the USA you will be a fool to trust em) and b) you are making a decision not about your own DNA but for the whole of your close family. This is an impossible decision - me mistress of the impossible of course had no problem tackling this hurdle. Seriously, I would have never taken the test if I were living in the USA, too dangerous. I decided to do it as I do believe that future will be one where everybody’s DNA will be screened known bartered with etc. There is no way to stop this (the only good thing to get out of these tests is have a non-mutt person is the exemption of the rule and all this race bullshit just does not compute). 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑Heartless psychopaths. What a lovely topic. For this topic, UBERMORGEN has been researching for the last year. We are calling it Binary Primitivism. We focused on analysing: pornography (also over time, trends, normalisation of criminal sexual abuse, hypnoporn) incels (thats the notorious Involuntary Celibates; we had done a piece on Elliot Rodger aka Santa Barbara Killer a little time ago and he is not the GOD of the movement, a movement that is terrorising online and RL communities) Alt.right (mostly their social media tactics of - again - immersiveness Online Gaming Environments (well u gotta play with em boys). Got some links hereto: https://player.vimeo.com/video/137939689 <https://player.vimeo.com/video/137939689> - video “Nice Vanilla Latte”, feat. Elliot Rodger, UBERMORGEN 2015 https://twitter.com/ElliotRodgerGod <https://twitter.com/ElliotRodgerGod> - his twitter account that is still live and now used by a friend of his DO NOT REPORT THIS ACCOUNT COZ THIS A GREAT RESSOURCE http://vaporwave.breitbart.pro/ <http://vaporwave.breitbart.pro/> this is unreleased work in progress - one example of imagery etc we produce and then insert into the networks of the heartless psychopaths.🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 +BYEBYE/LIZ -29.6 +22.6 [-empyre-] rehearsal of a network - [week 3] Vanouse, Paul <empyre@lists.cofa.unsw.edu.au> Wed Jun 20 05:00:55 AEST 2018 Good afternoon everyone, -I also thought this was an unexpected direction in this thread. Of course, the threadlike underground mycelium of many mushrooms is/are known to grow in ways that seem non-formulaic, unstructured and spontaneous. And this is the very property that gives rise to Delueze and Guattari’s rich modeling of the rhizomatic underground network of flows, deterritorializations, lines of flight… indeed probably the very rich materialist models and metaphors that led many of us to the interest in mycelium (it/them)sel(f/vs) in the first place. So in this sense, I suppose a flow into any unexpected direction shouldn’t take us too much by surprise;-) +I also thought this was an unexpected direction in this thread. Of course, the threadlike underground mycelium of many mushrooms is/are known to grow in ways that seem non-formulaic, unstructured and spontaneous. And this is the very property that gives rise to Delueze and Guattari’s rich modeling of the rhizomatic underground network of flows, deterritorializations, lines of flight… indeed probably the very rich materialist models and metaphors that led many of us to the interest in mycelium (it/them)sel(f/vs) in the first place. So in this sense, I suppose a flow into any unexpected direction shouldn’t take us too much by surprise;-) -My practice has generally undermined any strongly genetically determinist basis of identity, such as the notion that we are defined by our DNA, or represented by our DNA, or easily individuated by DNA technologies. Furthermore, I’ve criticized the slippage between genes, race and geographical place—in particular the idea of any fixity to these relations. +My practice has generally undermined any strongly genetically determinist basis of identity, such as the notion that we are defined by our DNA, or represented by our DNA, or easily individuated by DNA technologies. Furthermore, I’ve criticized the slippage between genes, race and geographical place—in particular the idea of any fixity to these relations. -However, I engage this critique of identity of course from a fascination with identity. My mother is a Jamaican of African descent, from a country village near Brownstown, and much of her lineage isn’t documented. My father is white and was adopted with two non-genetically related siblings into a French-Canadian/American family in Minnesota. Probably no mystery why I’ve been critical of simplistic categories of race and identity. +However, I engage this critique of identity of course from a fascination with identity. My mother is a Jamaican of African descent, from a country village near Brownstown, and much of her lineage isn’t documented. My father is white and was adopted with two non-genetically related siblings into a French-Canadian/American family in Minnesota. Probably no mystery why I’ve been critical of simplistic categories of race and identity. -What I find particularly interesting about this thread in a mycelium discussion tending toward DNA and genetics is that genetics are always portrayed with an arboreal model, i.e. “the family tree”, “the family tree of man”, etc. Deleuze and Guattari found the teleology and patterning of branching, as well as the forever hierarchic relationship between branch and trunk as something to be resisted. The branching model fits an ontology of hierarchy, whereas the rhizome model fits a philosophy of becoming. +What I find particularly interesting about this thread in a mycelium discussion tending toward DNA and genetics is that genetics are always portrayed with an arboreal model, i.e. “the family tree”, “the family tree of man”, etc. Deleuze and Guattari found the teleology and patterning of branching, as well as the forever hierarchic relationship between branch and trunk as something to be resisted. The branching model fits an ontology of hierarchy, whereas the rhizome model fits a philosophy of becoming. Where might the thread go from here? Cheers, -Paul -On Jun 19, 2018, at 2:04 PM, lizvlx <liz at ubermorgen.com<mailto:liz at ubermorgen.com>> wrote: - -----------empyre- soft-skinned space---------------------- -🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 hello again🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 four things🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 I read this text and it is to be read: https://eand.co/why-were-one-step-away-from-the-abyss-4ef01d70937b 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 DNA - I am not adopted, the only great grandparent that is unknown in my family is the Roman Catholic priest that was my grandfather’s father :D .. But I have no known greek ancestry, neither northern African. I suspect that there might be a cluster of Sicilian DNA in upper Austria - but that is a work in progress theory, I still have a great aunt that is alive and I need to make her get tested to find out more. But thats more on a personal note.🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 DNA - the Datenschutzaspekt (I rather use German when it comes to data protection as there is no powerful terminology in English) - the problem when signing up for a DNA analysis is a) trusting the company that they won’t fuck around with your data (and if you live in the USA you will be a fool to trust em) and b) you are making a decision not about your own DNA but for the whole of your close family. This is an impossible decision - me mistress of the impossible of course had no problem tackling this hurdle. Seriously, I would have never taken the test if I were living in the USA, too dangerous. I decided to do it as I do believe that future will be one where everybody’s DNA will be screened known bartered with etc. There is no way to stop this (the only good thing to get out of these tests is have a non-mutt person is the exemption of the rule and all this race bullshit just does not compute). 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑Heartless psychopaths. What a lovely topic. For this topic, UBERMORGEN has been researching for the last year. We are calling it Binary Primitivism. We focused on analysing: pornography (also over time, trends, normalisation of criminal sexual abuse, hypnoporn) incels (thats the notorious Involuntary Celibates; we had done a piece on Elliot Rodger aka Santa Barbara Killer a little time ago and he is not the GOD of the movement, a movement that is terrorising online and RL communities) Alt.right (mostly their social media tactics of - again - immersiveness Online Gaming Environments (well u gotta play with em boys). Got some links hereto: https://player.vimeo.com/video/137939689 - video “Nice Vanilla Latte”, feat. Elliot Rodger, UBERMORGEN 2015 https://twitter.com/ElliotRodgerGod - his twitter account that is still live and now used by a friend of his DO NOT REPORT THIS ACCOUNT COZ THIS A GREAT RESSOURCE http://vaporwave.breitbart.pro/ this is unreleased work in progress - one example of imagery etc we produce and then insert into the networks of the heartless psychopaths.🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 🐑 -BYEBYE/LIZ - - - -_______________________________________________ -empyre forum -empyre at lists.artdesign.unsw.edu.au<mailto:empyre at lists.artdesign.unsw.edu.au> -http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180619/645f3aaa/attachment-0001.html> - +Paul -29.7 +22.7 [-empyre-] rehearsal of a network - [week 3] annet dekker <empyre@lists.cofa.unsw.edu.au> @@ -11926,232 +8172,40 @@ scale(s), how to connect and, moreover, how to make sustainable these (post-net) networks? annet -aaaan.net - - - - -Op 19-06-18 om 21:00 schreef Vanouse, Paul: -> ----------empyre- soft-skinned space---------------------- -> -> -> Good afternoon everyone, -> -> I also thought this was an unexpected direction in this thread. - -Of -> course, the threadlike underground mycelium of many mushrooms is/are -> known to grow in ways that seem non-formulaic, unstructured and -> spontaneous. And this is the very property that gives rise to Delueze -> and Guattari’s rich modeling of the rhizomatic underground network of -> flows, deterritorializations, lines of flight… indeed probably the -> very rich materialist models and metaphors that led many of us to the -> interest in mycelium (it/them)sel(f/vs) in the first place. - -So in -> this sense, I suppose a flow into any unexpected direction shouldn’t -> take us too much by surprise;-) -> -> My practice has generally undermined any strongly genetically -> determinist basis of identity, such as the notion that we are defined -> by our DNA, or represented by our DNA, or easily individuated by DNA -> technologies. Furthermore, I’ve criticized the slippage between genes, -> race and geographical place—in particular the idea of any fixity to -> these relations. -> -> However, I engage this critique of identity of course from a -> fascination with identity. My mother is a Jamaican of African descent, -> from a country village near Brownstown, and much of her lineage isn’t -> documented. - -My father is white and was adopted with two -> non-genetically related siblings into a French-Canadian/American -> family in Minnesota. - -Probably no mystery why I’ve been critical of -> simplistic categories of race and identity. -> -> What I find particularly interesting about this thread in a mycelium -> discussion tending toward DNA and genetics is that genetics are always -> portrayed with an arboreal model, i.e. “the family tree”, “the family -> tree of man”, etc. - -Deleuze and Guattari found the teleology and -> patterning of branching, as well as the forever hierarchic -> relationship between branch and trunk as something to be resisted. -> - -The branching model fits an ontology of hierarchy, whereas the -> rhizome model fits a philosophy of becoming. -> -> Where might the thread go from here? -> -> Cheers, -> -> Paul ->> On Jun 19, 2018, at 2:04 PM, lizvlx <liz at ubermorgen.com ->> <mailto:liz at ubermorgen.com>> wrote: ->> ->> ----------empyre- soft-skinned space---------------------- ->> 🐑 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 - -hello ->> again🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 - -four ->> things🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑*I ->> read this text and it is to be read:* ->> https://eand.co/why-were-one-step-away-from-the-abyss-4ef01d70937b 🐑 ->> 🐑🐑🐑 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑*DNA* ->> - I am not adopted, the only great grandparent that is unknown in my ->> family is the Roman Catholic priest that was my grandfather’s father ->> :D .. - -But I have no known greek ancestry, neither northern African. I ->> suspect that there might be a cluster of Sicilian DNA in upper ->> Austria - but that is a work in progress theory, I still have a great ->> aunt that is alive and I need to make her get tested to find out ->> more. But thats more on a personal note.🐑 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑DNA ->> - the *Datenschutzaspekt *(I rather use German when it comes to data ->> protection as there is no powerful terminology in English) - the ->> problem when signing up for a DNA analysis is a) trusting the company ->> that they won’t fuck around with your data (and if you live in the ->> USA you will be a fool to trust em) and b) you are making a decision ->> not about your own DNA but for the whole of your close family. This ->> is an impossible decision - me mistress of the impossible of course ->> had no problem tackling this hurdle. Seriously, I would have never ->> taken the test if I were living in the USA, too dangerous. I decided ->> to do it as I do believe that future will be one where everybody’s ->> DNA will be screened known bartered with etc. There is no way to stop ->> this (the only good thing to get out of these tests is have a ->> non-mutt person is the exemption of the rule and all this race ->> bullshit just does not compute). 🐑 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑*Heartless ->> psychopaths.* What a lovely topic. For this topic, UBERMORGEN has ->> been researching for the last year. We are calling it Binary ->> Primitivism. - -We focused on analysing: *pornography* (also over time, ->> trends, normalisation of criminal sexual abuse, hypnoporn) *incels* ->> (thats the notorious Involuntary Celibates; we had done a piece on ->> Elliot Rodger aka Santa Barbara Killer a little time ago and he is ->> not the GOD of the movement, a movement that is terrorising online ->> and RL communities) *Alt.right* (mostly their social media tactics of ->> - again - immersiveness *Online Gaming Environments* (well u gotta ->> play with em boys). - -Got some links hereto: ->> https://player.vimeo.com/video/137939689 - -- video “Nice Vanilla ->> Latte”, feat. Elliot Rodger, UBERMORGEN 2015 ->> https://twitter.com/ElliotRodgerGod - -- his twitter account that is ->> still live and now used by a friend of his DO NOT REPORT THIS ACCOUNT ->> COZ THIS A GREAT RESSOURCE http://vaporwave.breitbart.pro/ - -this is ->> unreleased work in progress - one example of imagery etc we produce ->> and then insert into the networks of the heartless psychopaths.🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> 🐑🐑🐑 ->> 🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑🐑 ->> BYEBYE/LIZ ->> ->> ->> ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au ->> <mailto:empyre at lists.artdesign.unsw.edu.au> ->> http://empyre.library.cornell.edu -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180619/18140a01/attachment-0001.html> - +aaaan.net -29.8 +22.8 [-empyre-] rehearsal of a network - [week 3] Aviva Rahmani <empyre@lists.cofa.unsw.edu.au> Wed Jun 20 11:58:52 AEST 2018 -Just a quick comment on trees and hierarchies, vertical space doesn’t necessarily imply hierarchy. A tree’s canopy, for example is at least as important to its survival as its roots and all the interconnected mycellae of its underground networks. I would suggest a more realistic conceptualization of these spatial relationships would be to consider permaculture- in which each spatial layer is equally important and all are interconnected. Further more, it might be considered that any trees’ role is grounded in watershed dynamics, the atmosphere, soil, food webs, etc. Even a sentinel tree is only an artifact of these much larger relationships. Re: rehearsals for a network and other systems, it might be interesting to consider about the sentinel tree, that what is obvious may not be what’s important to pay attention to. The corollary in present politics is that the strong man may not be the real danger. It is the followers of the strong man and why they follow. +Just a quick comment on trees and hierarchies, vertical space doesn’t necessarily imply hierarchy. A tree’s canopy, for example is at least as important to its survival as its roots and all the interconnected mycellae of its underground networks. I would suggest a more realistic conceptualization of these spatial relationships would be to consider permaculture- in which each spatial layer is equally important and all are interconnected. Further more, it might be considered that any trees’ role is grounded in watershed dynamics, the atmosphere, soil, food webs, etc. Even a sentinel tree is only an artifact of these much larger relationships. Re: rehearsals for a network and other systems, it might be interesting to consider about the sentinel tree, that what is obvious may not be what’s important to pay attention to. The corollary in present politics is that the strong man may not be the real danger. It is the followers of the strong man and why they follow. -Aviva Rahmani, PhD -www.ghostnets at ghostnets.com<http://www.ghostnets@ghostnets.com> -Watch ³Blued Trees²: https://vimeo.com/135290635 -www.gulftogulf.org<http://www.gulftogulf.org/> - - - -From: <empyre-bounces at lists.artdesign.unsw.edu.au> on behalf of "Vanouse, Paul" <vanouse at buffalo.edu> -Reply-To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -Date: Tuesday, June 19, 2018 at 3:18 PM -To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -Subject: Re: [-empyre-] rehearsal of a network - [week 3] - -----------empyre- soft-skinned space---------------------- -_______________________________________________ -empyre forum -empyre at lists.artdesign.unsw.edu.au -http://empyre.library.cornell.edu --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180620/9be73774/attachment.html> - +Aviva Rahmani, PhD -29.9 +22.9 [-empyre-] rehearsal of a network - [week 3] John Jordan <empyre@lists.cofa.unsw.edu.au> Wed Jun 20 19:24:39 AEST 2018 - “The new picture of reality that the arts and sciences promise is one of a deeply sentient and meaningful universe. It is poetic – productive of new life forms and ever-new embodied experiences. It is expressive of all the subjective experiences that individuals make. It is a universe where human subjects are no longer separated from other organisms but rather form a meshwork of existential relationships – a quite real ‘web of life’. “Andreas Weber , + “The new picture of reality that the arts and sciences promise is one of a deeply sentient and meaningful universe. It is poetic – productive of new life forms and ever-new embodied experiences. It is expressive of all the subjective experiences that individuals make. It is a universe where human subjects are no longer separated from other organisms but rather form a meshwork of existential relationships – a quite real ‘web of life’. “Andreas Weber , -Enlivenment: Towards a fundamental shift in the concepts of nature, <https://www.boell.de/en/2013/02/01/enlivenment-towards-fundamental-shift-concepts-nature-culture-and-politics> culture and politics, 2013 Heinrich Böll Foundation. +Enlivenment: Towards a fundamental shift in the concepts of nature, <https://www.boell.de/en/2013/02/01/enlivenment-towards-fundamental-shift-concepts-nature-culture-and-politics> culture and politics, 2013 Heinrich Böll Foundation. The key is that we begin to think like a forest which means become sensitive to its sensitivity, to the sense of every being in it, from the mycelial hyphe that spread through the ground building soil and feeding the forest, to the ants that farm and harvest mushrooms, the woodpecker that profits from the fungi that rot wood to build her nest. The forest is a a wave of life, ever moving, ever adapting, ever weaving spaces that enable forms of life to flower, ever changing and diversifying. But the key lesson it gives us 21st century humans is inhabiting, how do we really inhabit worlds, which means giving up the hyper mobility of the cultural class and learning to become the territory rather than floating over it with our virtual networks and airplanes. We must see the forest and its life as our teachers, sometimes teaching us things that are totally counterintuitive to our cultural frames, such as the fact that the spores of Arbuscural Mycorrhizae (non mushroom forming mycelium that connects 95 % of the plant roots on the planet) have more than one nuclei, in fact many of them have between 800 and 35, 000 DIFFERENT nuclei and not all the same DNA but the Genetic material of other fungi AND other species !! These warehouses of genetic information defy the biological species concept !!!! -Like lovers carve their names on trees, the earliest books were engraved on beech bark, hence the origins of the word “book” - “boc” meaning “beech tree”. -Under the canopy of an ancient Athenian olive grove, home to Plato’s academy, Phaedrus asked Socrates why he never ventured beyond the city walls into the countryside. “I'm a lover of learning” Socrates answered “trees and open country won't teach me anything, whereas men in the town will.” The grove was later chopped down to make siege machines. -The soundtrack of western “civilisation” is the noise of the book of ‘nature' being slammed shut and the rumble of war machines approaching. We are told that Nature is mute, it has nothing to teach us, except that it is a battlefield of all against all. But as the war against our climate and ecosystems tips the physiology of the planet into chaos, the myth that Nature is just ‘red in tooth and claw’, is unravelling. -The more we study the living world the more we come to realise that the tendency is actually to associate, build relationships, and cooperate. From trees that work with fungi to share sugars and information between themselves to bees pollinating flowers, nature abounds with reciprocity. The fittest are in fact those that relate the best. Perhaps it’s no surprise that a culture that rewards greed and domination would rather we forget the true lessons of the natural world. Perhaps its no surprise that capitalism wants us to be mobile and rootless, because then we cannot fall in love with a place and if your not in love with a place then you can never defend it from being destroyed and turned into another machine of profit and growth for the gods of the economy. -Susan simards work on the relationships between trees in forests is gorgeous….she calls it the WOOD WIDE WEB. +Like lovers carve their names on trees, the earliest books were engraved on beech bark, hence the origins of the word “book” - “boc” meaning “beech tree”. +Under the canopy of an ancient Athenian olive grove, home to Plato’s academy, Phaedrus asked Socrates why he never ventured beyond the city walls into the countryside. “I'm a lover of learning” Socrates answered “trees and open country won't teach me anything, whereas men in the town will.” The grove was later chopped down to make siege machines. +The soundtrack of western “civilisation” is the noise of the book of ‘nature' being slammed shut and the rumble of war machines approaching. We are told that Nature is mute, it has nothing to teach us, except that it is a battlefield of all against all. But as the war against our climate and ecosystems tips the physiology of the planet into chaos, the myth that Nature is just ‘red in tooth and claw’, is unravelling. +The more we study the living world the more we come to realise that the tendency is actually to associate, build relationships, and cooperate. From trees that work with fungi to share sugars and information between themselves to bees pollinating flowers, nature abounds with reciprocity. The fittest are in fact those that relate the best. Perhaps it’s no surprise that a culture that rewards greed and domination would rather we forget the true lessons of the natural world. Perhaps its no surprise that capitalism wants us to be mobile and rootless, because then we cannot fall in love with a place and if your not in love with a place then you can never defend it from being destroyed and turned into another machine of profit and growth for the gods of the economy. +Susan simards work on the relationships between trees in forests is gorgeous….she calls it the WOOD WIDE WEB. https://www.ted.com/talks/suzanne_simard_how_trees_talk_to_each_other -PETER MACOY’s BOOK - RADICAL MYCOLOGY is a gem of art, activism and science merging together in practice and philosophy - +PETER MACOY’s BOOK - RADICAL MYCOLOGY is a gem of art, activism and science merging together in practice and philosophy - https://chthaeus.com/collections/books-1/products/radical-mycology-a-treatise-on-seeing-working-with-fungi THE RADICAL MYCOLOGY WEB SITE HAS SOME GREAT WEBINARS and resources for those of us who want to become fungi and forests... @@ -12159,72 +8213,10 @@ https://radicalmycology.com/ here is to the mysteries of mycelium, the bridges between life and death... yours JJ -AKA my new drag performance MISS CELIUM - - - - - - -> On 20 Jun 2018, at 03:58, Aviva Rahmani <ghostnets at ghostnets.com> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> Just a quick comment on trees and hierarchies, vertical space doesn’t necessarily imply hierarchy. A tree’s canopy, for example is at least as important to its survival as its roots and all the interconnected mycellae of its underground networks. I would suggest a more realistic conceptualization of these spatial relationships would be to consider permaculture- in which each spatial layer is equally important and all are interconnected. Further more, it might be considered that any trees’ role is grounded in watershed dynamics, the atmosphere, soil, food webs, etc. Even a sentinel tree is only an artifact of these much larger relationships. Re: rehearsals for a network and other systems, it might be interesting to consider about the sentinel tree, that what is obvious may not be what’s important to pay attention to. The corollary in present politics is that the strong man may not be the real danger. It is the followers of the strong man and why they follow. -> -> Aviva Rahmani, PhD -> www.ghostnets at ghostnets.com <http://www.ghostnets@ghostnets.com/> -> Watch ³Blued Trees²: https://vimeo.com/135290635 <https://vimeo.com/135290635> -> www.gulftogulf.org <http://www.gulftogulf.org/> -> -> -> -> From: <empyre-bounces at lists.artdesign.unsw.edu.au <mailto:empyre-bounces at lists.artdesign.unsw.edu.au>> on behalf of "Vanouse, Paul" <vanouse at buffalo.edu <mailto:vanouse at buffalo.edu>> -> Reply-To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au <mailto:empyre at lists.artdesign.unsw.edu.au>> -> Date: Tuesday, June 19, 2018 at 3:18 PM -> To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au <mailto:empyre at lists.artdesign.unsw.edu.au>> -> Subject: Re: [-empyre-] rehearsal of a network - [week 3] -> -> ----------empyre- soft-skinned space---------------------- -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au <mailto:empyre at lists.artdesign.unsw.edu.au> -> http://empyre.library.cornell.edu <http://empyre.library.cornell.edu/>_______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au <mailto:empyre at lists.artdesign.unsw.edu.au> -> http://empyre.library.cornell.edu <http://empyre.library.cornell.edu/> -________________________________ - -ZAD FOR EVER <https://zadforever.blog/> a new blog in english, dispatches from the liberated territory where we now live. - - <https://labofii.wordpress.com/>The Laboratory of Insurrectionary <https://labofii.wordpress.com/>Imagination -Laboratoire d'Imagination Insurrectionnelle -Mailing list <https://lists.riseup.net/www/subscribe/labofii> - <https://www.facebook.com/groups/58916936705/?fref=ts> <https://www.facebook.com/groups/58916936705/?fref=ts>FB <https://www.facebook.com/groups/58916936705/?fref=ts> group -twitter: @labofii -mobile:+33 (0) 6 80 85 71 88 - -Notre livre-film "Les Sentiers de L'utopie" (Editions Zones/La Découverte 2011) -twitter: @nowtopia. - -www.labofii.net - - - - - - - - - - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180620/853e5ba5/attachment.html> - +AKA my new drag performance MISS CELIUM -29.10 +22.10 [-empyre-] rehearsal of a network - [week 3] Frederic Neyrat <empyre@lists.cofa.unsw.edu.au> @@ -12232,7 +8224,7 @@ URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/2018062 Dear John Jordan, Your post leads me to two questions (some questions I have these days -vis-à-vis the ecological perspective in general): +vis-à-vis the ecological perspective in general): 1/ One of our goals should be, I think, to go beyond the opposition between "becom[ing] @@ -12242,7 +8234,7 @@ fetishization of the territory - but what's about migrants, nomads, those who'd prefer not coming back to the land? What's about the vital aspect of existential deterritorializations? Let's think about Debord's psycho-geography, using ecology in order to sustain an existential -"dérive"... +"dérive"... 2/ Is it necessary to personify Earth, forests, etc.? Fighting against the denial of the non-human is one thing, but symmetrizing humans and @@ -12252,185 +8244,10 @@ other than us! My best, -Frederic Neyrat - -On Wed, Jun 20, 2018 at 11:24 AM, John Jordan <artactivism at gn.apc.org> -wrote: - -> ----------empyre- soft-skinned space---------------------- -> “The new picture of reality that the arts and sciences promise is one of a -> deeply sentient and meaningful universe. It is *poetic *– productive of -> new life forms and ever-new embodied experiences. It is expressive of all -> the subjective experiences that individuals make. It is a universe where -> human subjects are no longer separated from other organisms but rather form -> a meshwork of existential relationships – a quite real ‘web of life’. “Andreas -> Weber , *Enlivenment: Towards a fundamental shift in the concepts of -> nature,* -> <https://www.boell.de/en/2013/02/01/enlivenment-towards-fundamental-shift-concepts-nature-culture-and-politics>* culture -> and politics, *2013 Heinrich Böll Foundation*. * -> -> The key is that we begin to think like a forest which means become -> sensitive to its sensitivity, to the sense of every being in it, from the -> mycelial hyphe that spread through the ground building soil and feeding the -> forest, to the ants that farm and harvest mushrooms, the woodpecker that -> profits from the fungi that rot wood to build her nest. The forest is a a -> wave of life, ever moving, ever adapting, ever weaving spaces that enable -> forms of life to flower, ever changing and diversifying. But the key lesson -> it gives us 21st century humans is inhabiting, how do we really inhabit -> worlds, which means giving up the hyper mobility of the cultural class and -> learning to become the territory rather than floating over it with our -> virtual networks and airplanes. -> -> We must see the forest and its life as our teachers, sometimes teaching us -> things that are totally counterintuitive to our cultural frames, such as -> the fact that the spores of Arbuscural Mycorrhizae (non mushroom forming -> mycelium that connects 95 % of the plant roots on the planet) have more -> than one nuclei, in fact many of them have between 800 and 35, 000 -> DIFFERENT nuclei and not all the same DNA but the Genetic material of other -> fungi AND other species !! These warehouses of genetic information defy the -> biological species concept !!!! -> -> Like lovers carve their names on trees, the earliest books were engraved -> on beech bark, hence the origins of the word “book” - “boc” meaning “beech -> tree”. -> -> Under the canopy of an ancient Athenian olive grove, home to Plato’s -> academy, Phaedrus asked Socrates why he never ventured beyond the city -> walls into the countryside. “I'm a lover of learning” Socrates answered -> “trees and open country won't teach me anything, whereas men in the town -> will.” The grove was later chopped down to make siege machines. -> -> The soundtrack of western “civilisation” is the noise of the book of -> ‘nature' being slammed shut and the rumble of war machines approaching. We -> are told that Nature is mute, it has nothing to teach us, except that it is -> a battlefield of all against all. But as the war against our climate and -> ecosystems tips the physiology of the planet into chaos, the myth that -> Nature is just ‘red in tooth and claw’, is unravelling. -> -> The more we study the living world the more we come to realise that the -> tendency is actually to associate, build relationships, and cooperate. From -> trees that work with fungi to share sugars and information between -> themselves to bees pollinating flowers, nature abounds with reciprocity. -> The fittest are in fact those that relate the best. Perhaps it’s no -> surprise that a culture that rewards greed and domination would rather we -> forget the true lessons of the natural world. Perhaps its no surprise that -> capitalism wants us to be mobile and rootless, because then we cannot fall -> in love with a place and if your not in love with a place then you can -> never defend it from being destroyed and turned into another machine of -> profit and growth for the gods of the economy. -> -> Susan simards work on the relationships between trees in forests is -> gorgeous….she calls it the WOOD WIDE WEB. -> -> https://www.ted.com/talks/suzanne_simard_how_trees_talk_to_each_other -> -> PETER MACOY’s BOOK - RADICAL MYCOLOGY is a gem of art, activism and -> science merging together in practice and philosophy - -> https://chthaeus.com/collections/books-1/products/ -> radical-mycology-a-treatise-on-seeing-working-with-fungi -> -> THE RADICAL MYCOLOGY WEB SITE HAS SOME GREAT WEBINARS and resources for -> those of us who want to become fungi and forests... -> -> https://radicalmycology.com/ -> -> here is to the mysteries of mycelium, the bridges between life and death... -> yours JJ -> AKA my new drag performance MISS CELIUM -> -> -> -> -> -> -> -> On 20 Jun 2018, at 03:58, Aviva Rahmani <ghostnets at ghostnets.com> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> Just a quick comment on trees and hierarchies, vertical space doesn’t -> necessarily imply hierarchy. A tree’s canopy, for example is at least as -> important to its survival as its roots and all the interconnected mycellae -> of its underground networks. I would suggest a more realistic -> conceptualization of these spatial relationships would be to consider -> permaculture- in which each spatial layer is equally important and all are -> interconnected. Further more, it might be considered that any trees’ role -> is grounded in watershed dynamics, the atmosphere, soil, food webs, etc. -> Even a sentinel tree is only an artifact of these much larger -> relationships. Re: rehearsals for a network and other systems, it might be -> interesting to consider about the sentinel tree, that what is obvious may -> not be what’s important to pay attention to. The corollary in present -> politics is that the strong man may not be the real danger. It is the -> followers of the strong man and why they follow. -> -> Aviva Rahmani, PhD -> www.ghostnets at ghostnets.com -> Watch ³Blued Trees²: https://vimeo.com/135290635 -> www.gulftogulf.org -> -> -> -> *From: *<empyre-bounces at lists.artdesign.unsw.edu.au> on behalf of -> "Vanouse, Paul" <vanouse at buffalo.edu> -> *Reply-To: *soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -> *Date: *Tuesday, June 19, 2018 at 3:18 PM -> *To: *soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -> *Subject: *Re: [-empyre-] rehearsal of a network - [week 3] -> -> ----------empyre- soft-skinned space---------------------- -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu -> -> -> ________________________________ -> -> ZAD FOR EVER <https://zadforever.blog/> a new blog in english, dispatches -> from the liberated territory where we now live. -> -> <https://labofii.wordpress.com/>The Laboratory of Insurrectionary -> <https://labofii.wordpress.com/>Imagination -> Laboratoire d'Imagination Insurrectionnelle -> Mailing list <https://lists.riseup.net/www/subscribe/labofii> -> <https://www.facebook.com/groups/58916936705/?fref=ts> -> <https://www.facebook.com/groups/58916936705/?fref=ts>FB -> <https://www.facebook.com/groups/58916936705/?fref=ts> group -> twitter: @labofii -> mobile:+33 (0) 6 80 85 71 88 -> -> Notre livre-film "Les Sentiers de L'utopie" (Editions Zones/La Découverte -> 2011) -> twitter: @nowtopia. -> -> www.labofii.net -> -> -> -> -> -> -> -> -> -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu -> --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180620/75dd2c68/attachment.html> - +Frederic Neyrat -29.11 +22.11 [-empyre-] rehearsal of a network - [week 3] Shu Lea Cheang <empyre@lists.cofa.unsw.edu.au> @@ -12443,8 +8260,8 @@ Let me again, pick up a few threads here... Paul Vanouse on 19/06/18 "What I find particularly interesting about this thread in a mycelium discussion tending toward DNA and genetics is that genetics are always -portrayed with an arboreal model, i.e. “the family tree”, “the family -tree of man”, etc. Deleuze and Guattari found the teleology and +portrayed with an arboreal model, i.e. “the family tree”, “the family +tree of man”, etc. Deleuze and Guattari found the teleology and patterning of branching, as well as the forever hierarchic relationship between branch and trunk as something to be resisted. The branching model fits an ontology of hierarchy, whereas the rhizome model fits a @@ -12481,17 +8298,10 @@ I think i am gonna need to stand still for a bit till someone takes me out of the ruins................ over -sl - - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180621/6a107bdf/attachment.html> - +sl -29.12 +22.12 [-empyre-] rehearsal of a network - [week 4] Shu Lea Cheang <empyre@lists.cofa.unsw.edu.au> @@ -12546,20 +8356,20 @@ He is Professor of Media and Cultural Studies at The New School <https://en.wikipedia.org/wiki/The_New_School> in New York City. To cite a few of his books - -·/The Beach Beneath the Street: The Everyday Life and Glorious Times of +·/The Beach Beneath the Street: The Everyday Life and Glorious Times of the Situationist International/ (Verso, 2011) -·/Telesthesia: Communication, Culture and Class/ (Polity, 2012) +·/Telesthesia: Communication, Culture and Class/ (Polity, 2012) -·/Excommunication: Three Inquiries in Media and Mediation/ (with +·/Excommunication: Three Inquiries in Media and Mediation/ (with Alexander R. Galloway and Eugene Thacker) (University of Chicago Press, 2013) -·/The Spectacle of Disintegration/ (Verso, 2013) +·/The Spectacle of Disintegration/ (Verso, 2013) -·/Molecular Red: Theory for the Anthropocene/ (Verso, 2015) +·/Molecular Red: Theory for the Anthropocene/ (Verso, 2015) -·/General Intellects: Twenty-One Thinkers for the Twenty-First Century/ +·/General Intellects: Twenty-One Thinkers for the Twenty-First Century/ (Verso, 2017) @@ -12568,17 +8378,10 @@ On a sunny day in June.. let the words begin.... over -sl - - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180623/e8260b49/attachment.html> - +sl -29.13 +22.13 [-empyre-] rehearsal of a network - [week 4] warkk <empyre@lists.cofa.unsw.edu.au> @@ -12618,106 +8421,10 @@ those networks into one prose narrative seems to defeat the form of the thing itself. So that might be a place to start thinking about speculative *and* tangible -networks, or ones that are both at once. - -On Sat, Jun 23, 2018 at 4:25 AM, Shu Lea Cheang <shulea at earthlink.net> -wrote: - -> Dear all -> -> thanks to Fran llich's latest posting (as promised) which coming at the -> tail end of week3 serves well to lead us into week 4. I believe there -> would be some follow up for Fran's tremendous endeavours, Fran, please -> stay with us for this week 4. -> -> This week we focus on proposals for speculative, tangible networks - the -> unrealized, to be realized, the anticipated, to be anticipated, the trashed -> and the in progress, deep sleep conjuration, deep water dive in, deep root -> expounding.... we open up this week to welcome all your proposal -> contributions. -> -> I am honored to welcome the following three heavy-weight thinkers, -> writers, hackers, weavers+++ whose work i admired much to join us this -> week. -> -> Francesca da Rimini (Adelaide, Australia) is an artist, writer, filmmaker -> and researcher. She was awarded an Australia Council New Media Fellowship -> in 1999, and her work has been widely published and exhibited. She is a -> founding member of the cyberfeminist art collective VNS Matrix, -> intercontinental group identity_runners (with Diane Ludin and Agnese -> Trocchi, and In Her Interior (with Virginia Barratt). Recent collaborations -> include performance/installation *lips becoming beaks, hexing the alien* -> and *The Darkening*. She periodically adds to her labyrinth at LambdaMOO -> to continue hexing capitalism from within the beast. -> -> Denis Roio aka Jaromil (Amsterdam, NL) is a purpose driven software -> artisan and well known ethical hacker. CTO and co-founder of the Dyne.org -> think &do tank, a non-profit foundation with more than 15 years of -> expertise in social and technical innovation. Leading digital culture -> institution popular among digital natives and millenials. Jaromil shares -> understandable insights and visions on Internet of Things, Blockchain -> Technologies, Cyber Security, Data Ownership and Software Freedom. Expert -> speaker about Open Source, Lean and Agile methodologies -> -> McKenzie Wark from New Castle, Australia, currentl living and working in -> New York City. known for his writings on media theory -> <https://en.wikipedia.org/wiki/Media_studies>, critical theory -> <https://en.wikipedia.org/wiki/Critical_theory>, new media -> <https://en.wikipedia.org/wiki/New_media>, and the Situationist -> International <https://en.wikipedia.org/wiki/Situationist_International>. -> His best known works are *A Hacker Manifesto -> <https://en.wikipedia.org/wiki/A_Hacker_Manifesto>* and *Gamer Theory -> <https://en.wikipedia.org/w/index.php?title=Gamer_Theory&action=edit&redlink=1>*. -> He is Professor of Media and Cultural Studies at The New School -> <https://en.wikipedia.org/wiki/The_New_School> in New York City. To cite -> a few of his books - -> -> · *The Beach Beneath the Street: The Everyday Life and Glorious Times of -> the Situationist International* (Verso, 2011) -> -> · *Telesthesia: Communication, Culture and Class* (Polity, 2012) -> -> · *Excommunication: Three Inquiries in Media and Mediation* (with -> Alexander R. Galloway and Eugene Thacker) (University of Chicago Press, -> 2013) -> -> · *The Spectacle of Disintegration* (Verso, 2013) -> -> · *Molecular Red: Theory for the Anthropocene* (Verso, 2015) -> -> · *General Intellects: Twenty-One Thinkers for the Twenty-First Century* -> (Verso, 2017) -> -> -> On a sunny day in June.. let the words begin.... -> -> -> over -> -> sl -> -> -> -> - - --- - -McKenzie Wark -*Professor of Media and Culture* -EUGENE LANG COLLEGE -65 w11th st, NEW YORK, NY 10011 - -warkk at newschool.edu -<http://www.newschool.edu/marketing-communication/email-signature.html#> -T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180623/09b72291/attachment.html> - +networks, or ones that are both at once. -29.14 +22.14 [-empyre-] rehearsal of a network - [week 4] Shu Lea Cheang <empyre@lists.cofa.unsw.edu.au> @@ -12754,163 +8461,10 @@ longer available. this was casualty of NL's last media art budget cut... over -sl - - -On 23/06/18 17:01, warkk wrote: -> ----------empyre- soft-skinned space---------------------- -> -> -> Thanks Shu Lea, -> i was at a thesis defense just yesterday and i was thinking about -> this. The defender's name is Pehr Englen, and i expect he'll write -> about this soon. The topic was the Situationist International -> considered as a network, and as an argument between different forms of -> network. Which got me thinking about Jacqueline de Jonge's journal, -> The Situationist Times, which one can read as a publication for -> artists and (partly) by artists that was a resource-book for thinking -> and acting in networks. It was multi-lingual, but had more of a visual -> than a written language. There were issues devoted to specific -> topologies, such as rings or spirals. I think this side of the -> Situationist International that ended up in The Situationist Times was -> very interested in what distributed networks of autonomous groupings -> would be like as a form of artistic communication. One has to wrest it -> out of the hands of art history, which is more interested in either -> individual artists or movements that have names and leaders. This was -> an avant-garde that had neither of those qualities. -> -> This connected for me to a project i have never quite managed to get -> done, which would be a more personal account of the listserv culture -> of the nineties. I was on nettime more than empyre but i see them as -> part of a network of networks that includes undercurrents, spectre, -> rhizome and several others. How do you write about something in the -> form of linear prose that didn't have that form at all? It is hard -> enough with just two correspondents. When i was editing my -> correspondence with Kathy Acker this drove me crazy. In actuality -> there were always several threads going and we answered each other on -> those threads. But in book form all that has to collapse into one -> sequence. I printed the whole thing out and moved the documents around -> on the floor. The order ended up being a compromise. Imagine doing -> that for dozens of threads among hundreds of parties.... Not that i -> would want to actually transform those listserv debates literally into -> print form, but even just notionally to transform the dynamics of -> those networks into one prose narrative seems to defeat the form of -> the thing itself. -> -> So that might be a place to start thinking about speculative *and* -> tangible networks, or ones that are both at once. -> -> On Sat, Jun 23, 2018 at 4:25 AM, Shu Lea Cheang <shulea at earthlink.net -> <mailto:shulea at earthlink.net>> wrote: -> -> Dear all -> -> thanks to Fran llich's latest posting (as promised) which coming -> at the tail end of week3 serves well to lead us into week 4. I -> believe there would be some follow up for Fran's tremendous -> endeavours, Fran, please stay with us for this week 4. -> -> This week we focus on proposals for speculative, tangible networks -> - the unrealized, to be realized, the anticipated, to be -> anticipated, the trashed and the in progress, deep sleep -> conjuration, deep water dive in, deep root expounding.... we open -> up this week to welcome all your proposal contributions. -> -> I am honored to welcome the following three heavy-weight thinkers, -> writers, hackers, weavers+++ whose work i admired much to join us -> this week. -> -> Francesca da Rimini (Adelaide, Australia) is an artist, writer, -> filmmaker and researcher.She was awarded an Australia Council New -> Media Fellowship in 1999, and her work has been widely published -> and exhibited. She is a founding member of the cyberfeminist art -> collective VNS Matrix, intercontinental group identity_runners -> (with Diane Ludin and Agnese Trocchi, and In Her Interior (with -> Virginia Barratt). Recent collaborations include -> performance/installation /lips becoming beaks, hexing the alien/ -> and /The Darkening/. She periodically adds to her labyrinth at -> LambdaMOO to continue hexing capitalism from within the beast. -> -> Denis Roio aka Jaromil (Amsterdam, NL) is a purpose driven -> software artisan and well known ethical hacker.CTO and co-founder -> of the Dyne.org think &do tank, a non-profit foundation with more -> than 15 years of expertise in social and technical innovation. -> Leading digital culture institution popular among digital natives -> and millenials. Jaromil shares understandable insights and visions -> on Internet of Things, Blockchain Technologies, Cyber Security, -> Data Ownership and Software Freedom. Expert speaker about Open -> Source, Lean and Agile methodologies -> -> McKenzie Wark from New Castle, Australia, currentl living and -> working in New York City. known for his writings on media theory -> <https://en.wikipedia.org/wiki/Media_studies>, critical theory -> <https://en.wikipedia.org/wiki/Critical_theory>, new media -> <https://en.wikipedia.org/wiki/New_media>, and the Situationist -> International -> <https://en.wikipedia.org/wiki/Situationist_International>. His -> best known works are /A Hacker Manifesto -> <https://en.wikipedia.org/wiki/A_Hacker_Manifesto>/ and /Gamer -> Theory -> <https://en.wikipedia.org/w/index.php?title=Gamer_Theory&action=edit&redlink=1>/. -> He is Professor of Media and Cultural Studies at The New School -> <https://en.wikipedia.org/wiki/The_New_School> in New York City. -> To cite a few of his books - -> -> ·/The Beach Beneath the Street: The Everyday Life and Glorious -> Times of the Situationist International/ (Verso, 2011) -> -> ·/Telesthesia: Communication, Culture and Class/ (Polity, 2012) -> -> ·/Excommunication: Three Inquiries in Media and Mediation/ (with -> Alexander R. Galloway and Eugene Thacker) (University of Chicago -> Press, 2013) -> -> ·/The Spectacle of Disintegration/ (Verso, 2013) -> -> ·/Molecular Red: Theory for the Anthropocene/ (Verso, 2015) -> -> ·/General Intellects: Twenty-One Thinkers for the Twenty-First -> Century/ (Verso, 2017) -> -> -> On a sunny day in June.. let the words begin.... -> -> -> over -> -> sl -> -> -> -> -> -> -> -- -> -> McKenzie Wark -> *Professor of Media and Culture* -> EUGENE LANG COLLEGE -> 65 w11th st, NEW YORK, NY 10011 -> -> warkk at newschool.edu -> <http://www.newschool.edu/marketing-communication/email-signature.html#> -> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 -> -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180623/e2936877/attachment.html> - +sl -29.15 +22.15 [-empyre-] rehearsal of a network - [week 4] warkk <empyre@lists.cofa.unsw.edu.au> @@ -12940,214 +8494,10 @@ the Situationist International, which is all things to all people, but is never a network in the literature, let alone a series of conflicts and mediations about what a network is or could be. I tried to remedy that a bit in The Beach Beneath the Street, but there's a lot to be done to create -a network approach to the history of networks. - - -On Sat, Jun 23, 2018 at 1:05 PM, Shu Lea Cheang <shulea at earthlink.net> -wrote: - -> ----------empyre- soft-skinned space---------------------- -> -> hi, warkk -> -> I think we should bring in Rachel Baker to help us digging into the -> Situationists!! and we can start listing some keywords: distributed, -> autonomous.... (with all empyrians' help!) -> -> so, indeed about the threads...just as we witnessed here last 3 weeks, the -> multiple threads, the threads that got picked up or sunk into oblivion...... -> -> and about listserve culture...you should really work on the book. I am -> very interested in it. -> -> i have this web work, composting the net (2013). -> -> real time accessing listserve, retrieve the postings randomly, scramble -> the words, make compost out of it for the fresh sprouts to grow.. -> -> http://compostingthenet.net -> -> use menu pull down to take a listserve, when one start composting process, -> press mouse to stop the tumbling and read. -> -> the composted ones - nettime, spectre, empyre, idc, aha, (skor is out, and -> it seems rohpost also not available any more) -> -> Annet Decker once commissioned me to compost SKOR of NL, which gave me the -> archive access . unfortunately SKOR got shut down and the site is no longer -> available. this was casualty of NL's last media art budget cut... -> -> over -> -> sl -> -> On 23/06/18 17:01, warkk wrote: -> -> ----------empyre- soft-skinned space---------------------- -> -> -> -> Thanks Shu Lea, -> i was at a thesis defense just yesterday and i was thinking about -> this. The defender's name is Pehr Englen, and i expect he'll write about -> this soon. The topic was the Situationist International considered as a -> network, and as an argument between different forms of network. Which got -> me thinking about Jacqueline de Jonge's journal, The Situationist Times, -> which one can read as a publication for artists and (partly) by artists -> that was a resource-book for thinking and acting in networks. It was -> multi-lingual, but had more of a visual than a written language. There were -> issues devoted to specific topologies, such as rings or spirals. I think -> this side of the Situationist International that ended up in The -> Situationist Times was very interested in what distributed networks of -> autonomous groupings would be like as a form of artistic communication. One -> has to wrest it out of the hands of art history, which is more interested -> in either individual artists or movements that have names and leaders. This -> was an avant-garde that had neither of those qualities. -> -> This connected for me to a project i have never quite managed to get done, -> which would be a more personal account of the listserv culture of the -> nineties. I was on nettime more than empyre but i see them as part of a -> network of networks that includes undercurrents, spectre, rhizome and -> several others. How do you write about something in the form of linear -> prose that didn't have that form at all? It is hard enough with just two -> correspondents. When i was editing my correspondence with Kathy Acker this -> drove me crazy. In actuality there were always several threads going and we -> answered each other on those threads. But in book form all that has to -> collapse into one sequence. I printed the whole thing out and moved the -> documents around on the floor. The order ended up being a compromise. -> Imagine doing that for dozens of threads among hundreds of parties.... Not -> that i would want to actually transform those listserv debates literally -> into print form, but even just notionally to transform the dynamics of -> those networks into one prose narrative seems to defeat the form of the -> thing itself. -> -> So that might be a place to start thinking about speculative *and* -> tangible networks, or ones that are both at once. -> -> On Sat, Jun 23, 2018 at 4:25 AM, Shu Lea Cheang <shulea at earthlink.net> -> wrote: -> ->> Dear all ->> ->> thanks to Fran llich's latest posting (as promised) which coming at the ->> tail end of week3 serves well to lead us into week 4. I believe there ->> would be some follow up for Fran's tremendous endeavours, Fran, please ->> stay with us for this week 4. ->> ->> This week we focus on proposals for speculative, tangible networks - ->> the unrealized, to be realized, the anticipated, to be anticipated, the ->> trashed and the in progress, deep sleep conjuration, deep water dive in, ->> deep root expounding.... we open up this week to welcome all your proposal ->> contributions. ->> ->> I am honored to welcome the following three heavy-weight thinkers, ->> writers, hackers, weavers+++ whose work i admired much to join us this ->> week. ->> ->> Francesca da Rimini (Adelaide, Australia) is an artist, writer, filmmaker ->> and researcher. She was awarded an Australia Council New Media ->> Fellowship in 1999, and her work has been widely published and exhibited. ->> She is a founding member of the cyberfeminist art collective VNS Matrix, ->> intercontinental group identity_runners (with Diane Ludin and Agnese ->> Trocchi, and In Her Interior (with Virginia Barratt). Recent collaborations ->> include performance/installation *lips becoming beaks, hexing the alien* ->> and *The Darkening*. She periodically adds to her labyrinth at LambdaMOO ->> to continue hexing capitalism from within the beast. ->> ->> Denis Roio aka Jaromil (Amsterdam, NL) is a purpose driven software ->> artisan and well known ethical hacker. CTO and co-founder of the ->> Dyne.org think &do tank, a non-profit foundation with more than 15 years of ->> expertise in social and technical innovation. Leading digital culture ->> institution popular among digital natives and millenials. Jaromil shares ->> understandable insights and visions on Internet of Things, Blockchain ->> Technologies, Cyber Security, Data Ownership and Software Freedom. Expert ->> speaker about Open Source, Lean and Agile methodologies ->> ->> McKenzie Wark from New Castle, Australia, currentl living and working in ->> New York City. known for his writings on media theory ->> <https://en.wikipedia.org/wiki/Media_studies>, critical theory ->> <https://en.wikipedia.org/wiki/Critical_theory>, new media ->> <https://en.wikipedia.org/wiki/New_media>, and the Situationist ->> International <https://en.wikipedia.org/wiki/Situationist_International>. ->> His best known works are *A Hacker Manifesto ->> <https://en.wikipedia.org/wiki/A_Hacker_Manifesto>* and *Gamer Theory ->> <https://en.wikipedia.org/w/index.php?title=Gamer_Theory&action=edit&redlink=1>*. ->> He is Professor of Media and Cultural Studies at The New School ->> <https://en.wikipedia.org/wiki/The_New_School> in New York City. To cite ->> a few of his books - ->> ->> · *The Beach Beneath the Street: The Everyday Life and Glorious Times ->> of the Situationist International* (Verso, 2011) ->> ->> · *Telesthesia: Communication, Culture and Class* (Polity, 2012) ->> ->> · *Excommunication: Three Inquiries in Media and Mediation* (with ->> Alexander R. Galloway and Eugene Thacker) (University of Chicago Press, ->> 2013) ->> ->> · *The Spectacle of Disintegration* (Verso, 2013) ->> ->> · *Molecular Red: Theory for the Anthropocene* (Verso, 2015) ->> ->> · *General Intellects: Twenty-One Thinkers for the Twenty-First Century* ->> (Verso, 2017) ->> ->> ->> On a sunny day in June.. let the words begin.... ->> ->> ->> over ->> ->> sl ->> ->> ->> ->> -> -> -> -- -> -> McKenzie Wark -> *Professor of Media and Culture* -> EUGENE LANG COLLEGE -> 65 w11th st, NEW YORK, NY 10011 -> -> warkk at newschool.edu -> <http://www.newschool.edu/marketing-communication/email-signature.html#> -> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 -> -> -> -> _______________________________________________ -> empyre forumempyre at lists.artdesign.unsw.edu.auhttp://empyre.library.cornell.edu -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu -> - - - --- - -McKenzie Wark -*Professor of Media and Culture* -EUGENE LANG COLLEGE -65 w11th st, NEW YORK, NY 10011 - -warkk at newschool.edu -<http://www.newschool.edu/marketing-communication/email-signature.html#> -T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180623/9e6d5658/attachment.html> - +a network approach to the history of networks. -29.16 +22.16 [-empyre-] rehearsal of a network - [week 4] Shu Lea Cheang <empyre@lists.cofa.unsw.edu.au> @@ -13161,271 +8511,15 @@ take over, dollyoko, reanimated.... over -sl - - -On 23/06/18 20:50, warkk wrote: -> ----------empyre- soft-skinned space---------------------- -> -> ->> Shu Lea, ->> thanks tor the link to http://compostingthenet.net ->> <http://compostingthenet.net/> which i was just playing with for a ->> bit. I had once tried to get a more prosaic set of tools developed ->> for working with nettime.org <http://nettime.org> as a collaboration ->> with Warren Sack. (We picked that one as its archive is public and ->> has been for years). Nobody would fund it so that didn't happen. I ->> don't know how much one would need tools for doing digital humanities ->> style work on listserv culture, or if one just needs to think about ->> it and do it the old human humanities way. ->> ->> Its remarkable how the networks of the nineties get left out of ->> various histories, from art history to media history. I was at a ->> rather good event on cybernetics organized by millennial artists, ->> librarians, coders. Of the three hundred people there, nobody knew ->> what nettime was, or any of the other similar networks i polled the ->> audience about. They had only heard of rhizome because its now a ->> program at New Museum. I see a lot of people re-inventing the wheel. ->> I had to sit through a panel discussion recently at which one ->> panelist declared that "there is no critical writing about tech." ->> ->> So the question then becomes one of the temporal aspect of networks, ->> how they might pass themselves along through time without losing too ->> much of their form. One can see what's going to happen if one reads ->> the books on the Situationist International, which is all things to ->> all people, but is never a network in the literature, let alone a ->> series of conflicts and mediations about what a network is or could ->> be. I tried to remedy that a bit in The Beach Beneath the Street, but ->> there's a lot to be done to create a network approach to the history ->> of networks. -> -> On Sat, Jun 23, 2018 at 1:05 PM, Shu Lea Cheang <shulea at earthlink.net -> <mailto:shulea at earthlink.net>> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> -> hi, warkk -> -> I think we should bring in Rachel Baker to help us digging into -> the Situationists!! and we can start listing some keywords: -> distributed, autonomous.... (with all empyrians' help!) -> -> so, indeed about the threads...just as we witnessed here last 3 -> weeks, the multiple threads, the threads that got picked up or -> sunk into oblivion...... -> -> and about listserve culture...you should really work on the book. -> I am very interested in it. -> -> i have this web work, composting the net (2013). -> -> real time accessing listserve, retrieve the postings randomly, -> scramble the words, make compost out of it for the fresh sprouts -> to grow.. -> -> http://compostingthenet.net -> -> use menu pull down to take a listserve, when one start composting -> process, press mouse to stop the tumbling and read. -> -> the composted ones - nettime, spectre, empyre, idc, aha, (skor is -> out, and it seems rohpost also not available any more) -> -> Annet Decker once commissioned me to compost SKOR of NL, which -> gave me the archive access . unfortunately SKOR got shut down and -> the site is no longer available. this was casualty of NL's last -> media art budget cut... -> -> over -> -> sl -> -> -> On 23/06/18 17:01, warkk wrote: ->> ----------empyre- soft-skinned space---------------------- ->> ->> ->> Thanks Shu Lea, ->> i was at a thesis defense just yesterday and i was thinking ->> about this. The defender's name is Pehr Englen, and i expect ->> he'll write about this soon. The topic was the Situationist ->> International considered as a network, and as an argument between ->> different forms of network. Which got me thinking about ->> Jacqueline de Jonge's journal, The Situationist Times, which one ->> can read as a publication for artists and (partly) by artists ->> that was a resource-book for thinking and acting in networks. It ->> was multi-lingual, but had more of a visual than a written ->> language. There were issues devoted to specific topologies, such ->> as rings or spirals. I think this side of the Situationist ->> International that ended up in The Situationist Times was very ->> interested in what distributed networks of autonomous groupings ->> would be like as a form of artistic communication. One has to ->> wrest it out of the hands of art history, which is more ->> interested in either individual artists or movements that have ->> names and leaders. This was an avant-garde that had neither of ->> those qualities. ->> ->> This connected for me to a project i have never quite managed to ->> get done, which would be a more personal account of the listserv ->> culture of the nineties. I was on nettime more than empyre but i ->> see them as part of a network of networks that includes ->> undercurrents, spectre, rhizome and several others. How do you ->> write about something in the form of linear prose that didn't ->> have that form at all? It is hard enough with just two ->> correspondents. When i was editing my correspondence with Kathy ->> Acker this drove me crazy. In actuality there were always several ->> threads going and we answered each other on those threads. But in ->> book form all that has to collapse into one sequence. I printed ->> the whole thing out and moved the documents around on the floor. ->> The order ended up being a compromise. Imagine doing that for ->> dozens of threads among hundreds of parties.... Not that i would ->> want to actually transform those listserv debates literally into ->> print form, but even just notionally to transform the dynamics of ->> those networks into one prose narrative seems to defeat the form ->> of the thing itself. ->> ->> So that might be a place to start thinking about speculative ->> *and* tangible networks, or ones that are both at once. ->> ->> On Sat, Jun 23, 2018 at 4:25 AM, Shu Lea Cheang ->> <shulea at earthlink.net <mailto:shulea at earthlink.net>> wrote: ->> ->> Dear all ->> ->> thanks to Fran llich's latest posting (as promised) which ->> coming at the tail end of week3 serves well to lead us into ->> week 4. I believe there would be some follow up for Fran's ->> tremendous endeavours, Fran, please stay with us for this week 4. ->> ->> This week we focus on proposals for speculative, tangible ->> networks - the unrealized, to be realized, the anticipated, ->> to be anticipated, the trashed and the in progress, deep ->> sleep conjuration, deep water dive in, deep root ->> expounding.... we open up this week to welcome all your ->> proposal contributions. ->> ->> I am honored to welcome the following three heavy-weight ->> thinkers, writers, hackers, weavers+++ whose work i admired ->> much to join us this week. ->> ->> Francesca da Rimini (Adelaide, Australia) is an artist, ->> writer, filmmaker and researcher.She was awarded an Australia ->> Council New Media Fellowship in 1999, and her work has been ->> widely published and exhibited. She is a founding member of ->> the cyberfeminist art collective VNS Matrix, intercontinental ->> group identity_runners (with Diane Ludin and Agnese Trocchi, ->> and In Her Interior (with Virginia Barratt). Recent ->> collaborations include performance/installation /lips ->> becoming beaks, hexing the alien/ and /The Darkening/. She ->> periodically adds to her labyrinth at LambdaMOO to continue ->> hexing capitalism from within the beast. ->> ->> Denis Roio aka Jaromil (Amsterdam, NL) is a purpose driven ->> software artisan and well known ethical hacker.CTO and ->> co-founder of the Dyne.org think &do tank, a non-profit ->> foundation with more than 15 years of expertise in social and ->> technical innovation. Leading digital culture institution ->> popular among digital natives and millenials. Jaromil shares ->> understandable insights and visions on Internet of Things, ->> Blockchain Technologies, Cyber Security, Data Ownership and ->> Software Freedom. Expert speaker about Open Source, Lean and ->> Agile methodologies ->> ->> McKenzie Wark from New Castle, Australia, currentl living and ->> working in New York City. known for his writings on media ->> theory <https://en.wikipedia.org/wiki/Media_studies>, ->> critical theory ->> <https://en.wikipedia.org/wiki/Critical_theory>, new media ->> <https://en.wikipedia.org/wiki/New_media>, and the ->> Situationist International ->> <https://en.wikipedia.org/wiki/Situationist_International>. ->> His best known works are /A Hacker Manifesto ->> <https://en.wikipedia.org/wiki/A_Hacker_Manifesto>/ and ->> /Gamer Theory ->> <https://en.wikipedia.org/w/index.php?title=Gamer_Theory&action=edit&redlink=1>/. ->> He is Professor of Media and Cultural Studies at The New ->> School <https://en.wikipedia.org/wiki/The_New_School> in New ->> York City. To cite a few of his books - ->> ->> ·/The Beach Beneath the Street: The Everyday Life and ->> Glorious Times of the Situationist International/ (Verso, 2011) ->> ->> ·/Telesthesia: Communication, Culture and Class/ (Polity, 2012) ->> ->> ·/Excommunication: Three Inquiries in Media and Mediation/ ->> (with Alexander R. Galloway and Eugene Thacker) (University ->> of Chicago Press, 2013) ->> ->> ·/The Spectacle of Disintegration/ (Verso, 2013) ->> ->> ·/Molecular Red: Theory for the Anthropocene/ (Verso, 2015) ->> ->> ·/General Intellects: Twenty-One Thinkers for the ->> Twenty-First Century/ (Verso, 2017) ->> ->> ->> On a sunny day in June.. let the words begin.... ->> ->> ->> over ->> ->> sl ->> ->> ->> ->> ->> ->> ->> -- ->> ->> McKenzie Wark ->> *Professor of Media and Culture* ->> EUGENE LANG COLLEGE ->> 65 w11th st, NEW YORK, NY 10011 ->> ->> warkk at newschool.edu ->> <http://www.newschool.edu/marketing-communication/email-signature.html#> ->> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 ->> ->> ->> ->> ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au ->> <mailto:empyre at lists.artdesign.unsw.edu.au> ->> http://empyre.library.cornell.edu <http://empyre.library.cornell.edu> -> _______________________________________________ empyre forum -> empyre at lists.artdesign.unsw.edu.au -> <mailto:empyre at lists.artdesign.unsw.edu.au> -> http://empyre.library.cornell.edu <http://empyre.library.cornell.edu> -> -> -- -> -> McKenzie Wark *Professor of Media and Culture* EUGENE LANG COLLEGE 65 -> w11th st, NEW YORK, NY 10011 -> -> warkk at newschool.edu -> <http://www.newschool.edu/marketing-communication/email-signature.html#> -> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180623/521767e0/attachment-0001.html> - +sl -29.17 +22.17 [-empyre-] rehearsal of a network - [week 4] Alan Sondheim <empyre@lists.cofa.unsw.edu.au> Sun Jun 24 06:12:15 AEST 2018 - -Other than the usual suspects, there are thousands of email lists that +Other than the usual suspects, there are thousands of email lists that aren't discussed at all - for example, the Spoons Lists which were early, mid-90s; think of Walkers in Darkness for example. Not to mention the huge numbers of newsgroups with their own cultures - the Doctress Neutopia @@ -13442,68 +8536,10 @@ Cybermind conference in Perth, we literally jumped from newsgroups to email lists to CuSeeMe to chats as well as live; everything mixed and interpenetrated. -- Alan - -On Sat, 23 Jun 2018, warkk wrote: - -> ----------empyre- soft-skinned space---------------------- - -New CD:- LIMIT: -http://www.publiceyesore.com/catalog.php?pg=3&pit=138 -email archive http://sondheim.rupamsunyata.org/ -web http://www.alansondheim.org / cell 718-813-3285 -current text http://www.alansondheim.org/vk.txt - +- Alan -29.18 -[-empyre-] rehearsal of a network - [week 4] -dollyoko at thing.net -<empyre@lists.cofa.unsw.edu.au> -Sun Jun 24 11:04:45 AEST 2018 -Dear Shu Lea, Jaromil, Ken and all - -Thank you for asking me to play - I am really honoured! Due to the vortex -of mundane life, I have yet to immerse myself in the past 3 weeks -dialogue, so I will do that today before posting something new -- so for -now I will start my contribution with a fragment of a spell against -Capitalism that I cast in response to the much loved Armin Medosch's -invite to to be part of the 2007 Ars Electronica event he curated. Since -that time my interests have become increasingly hexalogical. - -+++++++++++ - - -Persian mystic poet Rumi wrote in the thirteenth century: -Look how the caravan of civilization -has been ambushed. -Fools are everywhere in charge. - -“And now?” you ask again. - -The last Pythia at Delphi reveals: -Tell the king; the fair wrought house has fallen. - -Summonsing all our familiars, walking backwards into the future. -Now is the time for recuperating myth, recalling the power of lewd jests -and public gestures. -Reconfiguring our private selves, in positions that are pleasing to us, -and rejecting all that demeans and diminishes our spirits. - -The fountains are now silent; the voice is stilled. -It is finished. - -Let us make new networks with tin cans and string. -Let us cloak our data bodies with the fallen feathers of Bronzewing pigeons. - -Hedge-riders3 suggest the Way. -A private merrimaking, -together, publicly. - - - - -29.19 +22.19 [-empyre-] rehearsal of a network - [week 4] dollyoko at thing.net <empyre@lists.cofa.unsw.edu.au> @@ -13558,7 +8594,7 @@ intentional family beyond blood and kind. We revisit LambdaMOO as a site for gender non-conforming subjectivities to explore the production of xenofam and xenobodies, outside of social -re-production, and bring those practices to bear upon the “real”. Only a +re-production, and bring those practices to bear upon the “real”. Only a few years after the emergence of the WWW, social networking habits were harnessed and stratified into machines for the production of social capital and new affective forms of extractivism within the paradigm of @@ -13585,21 +8621,10 @@ might take a mycelial turn Warmly, to all doll fingers + witch thoughts, perhaps a spell cast from and to this -conversation, tomorrow - - - -> ----------empyre- soft-skinned -> space----------------------_______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - - - +conversation, tomorrow -29.20 +22.20 [-empyre-] rehearsal of a network - [week 4] warkk <empyre@lists.cofa.unsw.edu.au> @@ -13633,126 +8658,10 @@ discreet about the possibilities uncovered then. Maybe it was a good thing for mycelium that it was largely invisible for so long, as nobody figured out how to monetize it. -mw - -On Mon, Jun 25, 2018 at 2:16 AM, <dollyoko at thing.net> wrote: - -> ----------empyre- soft-skinned space---------------------- -> -> dear shu lea and empyreans -> -> yes, finger fucking across platforms and waters, -> deep code luscious moon brown stem -> the shadow of a venetian blind on summer body in borrowed loft -> wiping sweat, not swiping left -> (write left alt write) -> Floodnet! -> -> i'm immersing eyes into this generous mycelial conversation today -> feeling the tendrils of one hundred minds -> -> 'powerful poetic gestures' -> 'alternate sentiences' -> 'the incomputable' -> 'nature is not a system' -> 'break all separations' -> 'imps fuelling the real' -> 'vernacular approach to infrastructure' -> 't-shroom as family heritage and long-living family member' -> 'i have a vast genetic network in me' -> 'we begin to think like a forest' -> -> how to extend the intentional families we (of a certain age) created in -> the 90s -> [while perhaps reading Bruce Stirling's Dead Media list, or skiving off to -> PMCMoo or RiverMOO when LambdaMOO was down] -> before other 'we(s)' were born -> -> Jonathan Marshall's book 'Living on Cybermind' might be one answer to -> Ken's Q about how to capture the non-linear threaded lives -> -> i've been returning to build at LambdaMoo since around 2013, prompted by -> projects such as Networked Art Forms and Tactical Magick Faerie Circuits - -> instigated by the wonderful Nancy Mauro-Flude, and (equally wonderful) -> Furtherfield's Beyond the Interface... I'm not sure what the mycelial -> potential of such old platforms might be, I suspect there's something -> though...... for example, a nascent project I'm doing with Virginia -> Barratt and Alice Farmer takes as it starting point: -> -> ----------------------------------- -> -> "A multi-platform artwork comprising a LambdaMOO environment (multi-user -> domain object-oriented), performing avatars, improvised performance, -> experimental hypertext fiction, cryptokitties on the (ethereum) -> blockchain, and a hand-bound XenZine. The subject is the construction of -> intentional family beyond blood and kind. -> -> We revisit LambdaMOO as a site for gender non-conforming subjectivities to -> explore the production of xenofam and xenobodies, outside of social -> re-production, and bring those practices to bear upon the “real”. Only a -> few years after the emergence of the WWW, social networking habits were -> harnessed and stratified into machines for the production of social -> capital and new affective forms of extractivism within the paradigm of -> info-capitalism. Yet the outlier LambdaMOO is still maintained by a small -> phreak family as a working experiment, an enclave among other secessionist -> servers (caves, sinkholes, hackpads, labyrinthine clouds) carving out -> space to platform lives of creative resistance, blasphemy and joy. -> -> The performing avatars, the unholy trinity of Witchmum, Mum 2.0 and -> Precocious Meme Savant, have cooked, co-habited and coded as becoming-kin -> to instantiate xenofam, building affective bonds through which datablood -> flows. This queered approach to extensible and open family platforms -> generates intentional spaces for the reconfiguration of blood ties beyond -> blood types, and another mode of hexing Capital." -> -> -------------------- -> -> I want to write more, but I need to buy bread as I can't wait the 12 hours -> for the wild yeasts to do their thing. -> I will try to attract some xenofeminist and other spores this way -> while thinking about how Ken's 'we no longer have roots, we have aerials' -> might take a mycelial turn -> -> -> Warmly, to all -> doll fingers + witch thoughts, perhaps a spell cast from and to this -> conversation, tomorrow -> -> -> -> > ----------empyre- soft-skinned -> > space----------------------_________________________________ -> ______________ -> > empyre forum -> > empyre at lists.artdesign.unsw.edu.au -> > http://empyre.library.cornell.edu -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu -> - - - --- - -McKenzie Wark -*Professor of Media and Culture* -EUGENE LANG COLLEGE -65 w11th st, NEW YORK, NY 10011 - -warkk at newschool.edu -<http://www.newschool.edu/marketing-communication/email-signature.html#> -T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180625/98bd4f74/attachment.html> - +mw -29.21 +22.21 [-empyre-] rehearsal of a network - [week 4] patrick lichty <empyre@lists.cofa.unsw.edu.au> @@ -13784,162 +8693,10 @@ Also very interested in t-shroom discussion. Love from the desert (also apologies for the typos - my current computer has a very flaky -keyboard) - - - ------Original Message----- -From: empyre-bounces at lists.artdesign.unsw.edu.au -<empyre-bounces at lists.artdesign.unsw.edu.au> On Behalf Of warkk -Sent: Monday, June 25, 2018 4:13 PM -To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -Subject: Re: [-empyre-] rehearsal of a network - [week 4] - -Alan is quite right to stress how extensive the options were for online -encounters in the 90s, beyond the handful i named. The larger point might -still be that knowledge of any of that world is fairly thin these days. -There are a few period accounts. dollyoko mentions Marshall's Living on -Cybermind. Julian Dibbell wrote a book about LambdaMoo. There's a new book -by Claire Evans called Broad Band that has good brief accounnts of Echo and -The Word and is focused on innovations in computation by women. - -Of course one could ask whether the linear prose form of the book is the -best or even a necessary way of documenting such things. I think of the book -as an instance of what dollyoko calls "successionist servers." Its hard to -keep them out of Amazon, one of the biggest vectoral class enterprises of -our time, but they will at least 'run' independently of that proprietary -environment. - -A book is a concentrated swarm whereas online communication tend to default -to dispersed ones.... - -dollyoko has some great language for an ongoing project: secessionist -servers, intentional family, open family platforms, vernacular approaches to -infrastructure. (To just pick a few that i think go together with the themes -Shu Lea suggested). - -Maybe its a good thing that 90s cyberculture experiments ended up largely -invisible and excluded from history, as now it might be time to be rather -discreet about the possibilities uncovered then. Maybe it was a good thing -for mycelium that it was largely invisible for so long, as nobody figured -out how to monetize it. - -mw - -On Mon, Jun 25, 2018 at 2:16 AM, <dollyoko at thing.net> wrote: - -> ----------empyre- soft-skinned space---------------------- -> -> dear shu lea and empyreans -> -> yes, finger fucking across platforms and waters, deep code luscious -> moon brown stem the shadow of a venetian blind on summer body in -> borrowed loft wiping sweat, not swiping left (write left alt write) -> Floodnet! -> -> i'm immersing eyes into this generous mycelial conversation today -> feeling the tendrils of one hundred minds -> -> 'powerful poetic gestures' -> 'alternate sentiences' -> 'the incomputable' -> 'nature is not a system' -> 'break all separations' -> 'imps fuelling the real' -> 'vernacular approach to infrastructure' -> 't-shroom as family heritage and long-living family member' -> 'i have a vast genetic network in me' -> 'we begin to think like a forest' -> -> how to extend the intentional families we (of a certain age) created -> in the 90s [while perhaps reading Bruce Stirling's Dead Media list, or -> skiving off to PMCMoo or RiverMOO when LambdaMOO was down] before -> other 'we(s)' were born -> -> Jonathan Marshall's book 'Living on Cybermind' might be one answer to -> Ken's Q about how to capture the non-linear threaded lives -> -> i've been returning to build at LambdaMoo since around 2013, prompted -> by projects such as Networked Art Forms and Tactical Magick Faerie -> Circuits - instigated by the wonderful Nancy Mauro-Flude, and (equally -> wonderful) Furtherfield's Beyond the Interface... I'm not sure what -> the mycelial potential of such old platforms might be, I suspect -> there's something though...... for example, a nascent project I'm -> doing with Virginia Barratt and Alice Farmer takes as it starting point: -> -> ----------------------------------- -> -> "A multi-platform artwork comprising a LambdaMOO environment -> (multi-user domain object-oriented), performing avatars, improvised -> performance, experimental hypertext fiction, cryptokitties on the -> (ethereum) blockchain, and a hand-bound XenZine. The subject is the -> construction of intentional family beyond blood and kind. -> -> We revisit LambdaMOO as a site for gender non-conforming -> subjectivities to explore the production of xenofam and xenobodies, -> outside of social re-production, and bring those practices to bear -> upon the "real". Only a few years after the emergence of the WWW, -> social networking habits were harnessed and stratified into machines -> for the production of social capital and new affective forms of -> extractivism within the paradigm of info-capitalism. Yet the outlier -> LambdaMOO is still maintained by a small phreak family as a working -> experiment, an enclave among other secessionist servers (caves, -> sinkholes, hackpads, labyrinthine clouds) carving out space to platform -lives of creative resistance, blasphemy and joy. -> -> The performing avatars, the unholy trinity of Witchmum, Mum 2.0 and -> Precocious Meme Savant, have cooked, co-habited and coded as -> becoming-kin to instantiate xenofam, building affective bonds through -> which datablood flows. This queered approach to extensible and open -> family platforms generates intentional spaces for the reconfiguration -> of blood ties beyond blood types, and another mode of hexing Capital." -> -> -------------------- -> -> I want to write more, but I need to buy bread as I can't wait the 12 -> hours for the wild yeasts to do their thing. -> I will try to attract some xenofeminist and other spores this way -> while thinking about how Ken's 'we no longer have roots, we have aerials' -> might take a mycelial turn -> -> -> Warmly, to all -> doll fingers + witch thoughts, perhaps a spell cast from and to this -> conversation, tomorrow -> -> -> -> > ----------empyre- soft-skinned -> > space----------------------_________________________________ -> ______________ -> > empyre forum -> > empyre at lists.artdesign.unsw.edu.au -> > http://empyre.library.cornell.edu -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu -> - - - --- - -McKenzie Wark -*Professor of Media and Culture* -EUGENE LANG COLLEGE -65 w11th st, NEW YORK, NY 10011 - -warkk at newschool.edu -<http://www.newschool.edu/marketing-communication/email-signature.html#> -T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 - - +keyboard) -29.22 +22.22 [-empyre-] rehearsal of a network - [week 4] warkk <empyre@lists.cofa.unsw.edu.au> @@ -13964,220 +8721,10 @@ of the mycelium into discussion will encourage me to get a layhumans' grasp on how that works. It seems just at first sight to be be an interesting thought-image of how protocols might work otherwise. -mw - -On Mon, Jun 25, 2018 at 1:10 PM, patrick lichty <p at voyd.com> wrote: - -> ----------empyre- soft-skinned space---------------------- -> As someone who would call himself postcybernetic rather than postinternet, -> I agree with Dollyoko nd Ken. The spaces for intereaction were highly -> heterogenous and diverse, and Honestly, I find the postinternet discourse -> relatively bland by comparison, as a lot of what it talks about is -> reference -> to postcybernetic/cyberdelic. MOOs, MUDs, Even back to nets of online -> communities (Thing, Compuserve, Delphi, Fidonet, Usenet) was amazing. In -> many ways it seems like the corporate stacks combined with academic FOMO -> has -> created a tremendous amount of conservatism compared to the crash theory -> days of the Krokers. -> -> In many ways, I think our era of risk aversion and its pruning of the -> rhizome is indicative of the relationship between culture and capital. As -> art fairs and consolidating gallery culture, as well as the struggle (in my -> mind) to figure ourselves out more as Postmodernism fractured into the -> Speculative Turn, the notion of the rhizome has turned into reality bubble -> foam that generally swirls under megacorporate umbrellas. -> -> This is why I love things like Dina Karadzic's FUBAR bunch, and Shu Lea's -> work the other year at the Leonore residency, but I also wonder why the -> notion of the mycorhizome is so strong these days as opposed to the -> strawberry patch (Deleuze), is it a subliminal signifier of fruit and decay -> and rebirth? -> -> Also very interested in t-shroom discussion. -> -> Love from the desert -> (also apologies for the typos - my current computer has a very flaky -> keyboard) -> -> -> -> -----Original Message----- -> From: empyre-bounces at lists.artdesign.unsw.edu.au -> <empyre-bounces at lists.artdesign.unsw.edu.au> On Behalf Of warkk -> Sent: Monday, June 25, 2018 4:13 PM -> To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -> Subject: Re: [-empyre-] rehearsal of a network - [week 4] -> -> Alan is quite right to stress how extensive the options were for online -> encounters in the 90s, beyond the handful i named. The larger point might -> still be that knowledge of any of that world is fairly thin these days. -> There are a few period accounts. dollyoko mentions Marshall's Living on -> Cybermind. Julian Dibbell wrote a book about LambdaMoo. There's a new book -> by Claire Evans called Broad Band that has good brief accounnts of Echo and -> The Word and is focused on innovations in computation by women. -> -> Of course one could ask whether the linear prose form of the book is the -> best or even a necessary way of documenting such things. I think of the -> book -> as an instance of what dollyoko calls "successionist servers." Its hard to -> keep them out of Amazon, one of the biggest vectoral class enterprises of -> our time, but they will at least 'run' independently of that proprietary -> environment. -> -> A book is a concentrated swarm whereas online communication tend to default -> to dispersed ones.... -> -> dollyoko has some great language for an ongoing project: secessionist -> servers, intentional family, open family platforms, vernacular approaches -> to -> infrastructure. (To just pick a few that i think go together with the -> themes -> Shu Lea suggested). -> -> Maybe its a good thing that 90s cyberculture experiments ended up largely -> invisible and excluded from history, as now it might be time to be rather -> discreet about the possibilities uncovered then. Maybe it was a good thing -> for mycelium that it was largely invisible for so long, as nobody figured -> out how to monetize it. -> -> mw -> -> On Mon, Jun 25, 2018 at 2:16 AM, <dollyoko at thing.net> wrote: -> -> > ----------empyre- soft-skinned space---------------------- -> > -> > dear shu lea and empyreans -> > -> > yes, finger fucking across platforms and waters, deep code luscious -> > moon brown stem the shadow of a venetian blind on summer body in -> > borrowed loft wiping sweat, not swiping left (write left alt write) -> > Floodnet! -> > -> > i'm immersing eyes into this generous mycelial conversation today -> > feeling the tendrils of one hundred minds -> > -> > 'powerful poetic gestures' -> > 'alternate sentiences' -> > 'the incomputable' -> > 'nature is not a system' -> > 'break all separations' -> > 'imps fuelling the real' -> > 'vernacular approach to infrastructure' -> > 't-shroom as family heritage and long-living family member' -> > 'i have a vast genetic network in me' -> > 'we begin to think like a forest' -> > -> > how to extend the intentional families we (of a certain age) created -> > in the 90s [while perhaps reading Bruce Stirling's Dead Media list, or -> > skiving off to PMCMoo or RiverMOO when LambdaMOO was down] before -> > other 'we(s)' were born -> > -> > Jonathan Marshall's book 'Living on Cybermind' might be one answer to -> > Ken's Q about how to capture the non-linear threaded lives -> > -> > i've been returning to build at LambdaMoo since around 2013, prompted -> > by projects such as Networked Art Forms and Tactical Magick Faerie -> > Circuits - instigated by the wonderful Nancy Mauro-Flude, and (equally -> > wonderful) Furtherfield's Beyond the Interface... I'm not sure what -> > the mycelial potential of such old platforms might be, I suspect -> > there's something though...... for example, a nascent project I'm -> > doing with Virginia Barratt and Alice Farmer takes as it starting point: -> > -> > ----------------------------------- -> > -> > "A multi-platform artwork comprising a LambdaMOO environment -> > (multi-user domain object-oriented), performing avatars, improvised -> > performance, experimental hypertext fiction, cryptokitties on the -> > (ethereum) blockchain, and a hand-bound XenZine. The subject is the -> > construction of intentional family beyond blood and kind. -> > -> > We revisit LambdaMOO as a site for gender non-conforming -> > subjectivities to explore the production of xenofam and xenobodies, -> > outside of social re-production, and bring those practices to bear -> > upon the "real". Only a few years after the emergence of the WWW, -> > social networking habits were harnessed and stratified into machines -> > for the production of social capital and new affective forms of -> > extractivism within the paradigm of info-capitalism. Yet the outlier -> > LambdaMOO is still maintained by a small phreak family as a working -> > experiment, an enclave among other secessionist servers (caves, -> > sinkholes, hackpads, labyrinthine clouds) carving out space to platform -> lives of creative resistance, blasphemy and joy. -> > -> > The performing avatars, the unholy trinity of Witchmum, Mum 2.0 and -> > Precocious Meme Savant, have cooked, co-habited and coded as -> > becoming-kin to instantiate xenofam, building affective bonds through -> > which datablood flows. This queered approach to extensible and open -> > family platforms generates intentional spaces for the reconfiguration -> > of blood ties beyond blood types, and another mode of hexing Capital." -> > -> > -------------------- -> > -> > I want to write more, but I need to buy bread as I can't wait the 12 -> > hours for the wild yeasts to do their thing. -> > I will try to attract some xenofeminist and other spores this way -> > while thinking about how Ken's 'we no longer have roots, we have aerials' -> > might take a mycelial turn -> > -> > -> > Warmly, to all -> > doll fingers + witch thoughts, perhaps a spell cast from and to this -> > conversation, tomorrow -> > -> > -> > -> > > ----------empyre- soft-skinned -> > > space----------------------_________________________________ -> > ______________ -> > > empyre forum -> > > empyre at lists.artdesign.unsw.edu.au -> > > http://empyre.library.cornell.edu -> > -> > -> > _______________________________________________ -> > empyre forum -> > empyre at lists.artdesign.unsw.edu.au -> > http://empyre.library.cornell.edu -> > -> -> -> -> -- -> -> McKenzie Wark -> *Professor of Media and Culture* -> EUGENE LANG COLLEGE -> 65 w11th st, NEW YORK, NY 10011 -> -> warkk at newschool.edu -> <http://www.newschool.edu/marketing-communication/email-signature.html#> -> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu -> - - - --- - -McKenzie Wark -*Professor of Media and Culture* -EUGENE LANG COLLEGE -65 w11th st, NEW YORK, NY 10011 - -warkk at newschool.edu -<http://www.newschool.edu/marketing-communication/email-signature.html#> -T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180625/218e0a4e/attachment.html> - +mw -29.23 +22.23 [-empyre-] rehearsal of a network - [week 4] Shu Lea Cheang <empyre@lists.cofa.unsw.edu.au> @@ -14188,21 +8735,21 @@ on how mycelium/mushroom as a figure ... the mycelium cult would wants to dive in and argue forever , but quickly, we quote- My mecelium network is nearly immortal, only the sudden toxification of -a planet or the explosion of its parent star can wipe me out… all my +a planet or the explosion of its parent star can wipe me out… all my mycelial networks in the galaxy are in hyper light communication across space and time. - Terence McKenna, The Mushnoon speaks I believe that mycelium is the neurological network of nature. Interlacing mosaics of mycelium infuse habitats with information-sharing -membranes. …..The mycelium stays in constant molecular communication +membranes. …..The mycelium stays in constant molecular communication with its environment, devising diverse enzymatic and chemical responses to complex challenges. - Paul Stamets, Mycelium Running: How Mushrooms Can Help Save the World We are stuck with the problem of living despite economic and ecological -ruination….. Neither tales of progress nor of ruin tell us how to think +ruination….. Neither tales of progress nor of ruin tell us how to think about collaborative survival. It is time to pay attention to mushroom -picking. Not that this will save us— but it might open our imaginations. +picking. Not that this will save us— but it might open our imaginations. - Anna Lowenhaupt Tsing, The mushroom at the end of the world : on the possibility of life in capitalist ruins @@ -14215,566 +8762,19 @@ damn, and dollyoko are finger tight!! over -sl - - -On 25/06/18 20:06, warkk wrote: -> ----------empyre- soft-skinned space---------------------- -> -> -> Thanks for the links, Alice. I started reading but Nick Land came up -> so i stopped reading immediately. I never took him to be -> state-of-the-art theory. Others might find the space interesting but -> its just not for me. Reaons given here: -> https://www.versobooks.com/blogs/3284-on-nick-land -> -> Patrick is i think pointing us both back to the nineties but also -> forward, and i think that's a good note to hit before anyone starts -> getting into a nostalgic vein. I think its more about bracketing-off -> what networks came to be in the two consolidations of the power of -> what i call the vectoralist class. The first was around 2000, with the -> rise of corporate forms built on nothing but IP. The second came a -> decade later, with the commdification not just of information but also -> of the social network itself. -> -> Patrick also asks why the mushroom as a figure. I don't really -> understand how this part works, but it is the bit i find intriguing: -> that mushrooms have 36,000 genders, or something like that. Maybe Shu -> Lea's introduction of the mycelium into discussion will encourage me -> to get a layhumans' grasp on how that works. It seems just at first -> sight to be be an interesting thought-image of how protocols might -> work otherwise. -> -> mw -> -> On Mon, Jun 25, 2018 at 1:10 PM, patrick lichty <p at voyd.com -> <mailto:p at voyd.com>> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> As someone who would call himself postcybernetic rather than -> postinternet, -> I agree with Dollyoko nd Ken. The spaces for intereaction were highly -> heterogenous and diverse, and Honestly, I find the postinternet -> discourse -> relatively bland by comparison, as a lot of what it talks about is -> reference -> to postcybernetic/cyberdelic. MOOs, MUDs, Even back to nets of online -> communities (Thing, Compuserve, Delphi, Fidonet, Usenet) was -> amazing. In -> many ways it seems like the corporate stacks combined with -> academic FOMO has -> created a tremendous amount of conservatism compared to the crash -> theory -> days of the Krokers. -> -> In many ways, I think our era of risk aversion and its pruning of the -> rhizome is indicative of the relationship between culture and -> capital. As -> art fairs and consolidating gallery culture, as well as the -> struggle (in my -> mind) to figure ourselves out more as Postmodernism fractured into the -> Speculative Turn, the notion of the rhizome has turned into -> reality bubble -> foam that generally swirls under megacorporate umbrellas. -> -> This is why I love things like Dina Karadzic's FUBAR bunch, and -> Shu Lea's -> work the other year at the Leonore residency, but I also wonder -> why the -> notion of the mycorhizome is so strong these days as opposed to the -> strawberry patch (Deleuze), is it a subliminal signifier of fruit -> and decay -> and rebirth? -> -> Also very interested in t-shroom discussion. -> -> Love from the desert -> (also apologies for the typos - my current computer has a very flaky -> keyboard) -> -> -> -> -----Original Message----- -> From: empyre-bounces at lists.artdesign.unsw.edu.au -> <mailto:empyre-bounces at lists.artdesign.unsw.edu.au> -> <empyre-bounces at lists.artdesign.unsw.edu.au -> <mailto:empyre-bounces at lists.artdesign.unsw.edu.au>> On Behalf Of -> warkk -> Sent: Monday, June 25, 2018 4:13 PM -> To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au -> <mailto:empyre at lists.artdesign.unsw.edu.au>> -> Subject: Re: [-empyre-] rehearsal of a network - [week 4] -> -> Alan is quite right to stress how extensive the options were for -> online -> encounters in the 90s, beyond the handful i named. The larger -> point might -> still be that knowledge of any of that world is fairly thin these -> days. -> There are a few period accounts. dollyoko mentions Marshall's -> Living on -> Cybermind. Julian Dibbell wrote a book about LambdaMoo. There's a -> new book -> by Claire Evans called Broad Band that has good brief accounnts of -> Echo and -> The Word and is focused on innovations in computation by women. -> -> Of course one could ask whether the linear prose form of the book -> is the -> best or even a necessary way of documenting such things. I think -> of the book -> as an instance of what dollyoko calls "successionist servers." Its -> hard to -> keep them out of Amazon, one of the biggest vectoral class -> enterprises of -> our time, but they will at least 'run' independently of that -> proprietary -> environment. -> -> A book is a concentrated swarm whereas online communication tend -> to default -> to dispersed ones.... -> -> dollyoko has some great language for an ongoing project: secessionist -> servers, intentional family, open family platforms, vernacular -> approaches to -> infrastructure. (To just pick a few that i think go together with -> the themes -> Shu Lea suggested). -> -> Maybe its a good thing that 90s cyberculture experiments ended up -> largely -> invisible and excluded from history, as now it might be time to be -> rather -> discreet about the possibilities uncovered then. Maybe it was a -> good thing -> for mycelium that it was largely invisible for so long, as nobody -> figured -> out how to monetize it. -> -> mw -> -> On Mon, Jun 25, 2018 at 2:16 AM, <dollyoko at thing.net -> <mailto:dollyoko at thing.net>> wrote: -> -> > ----------empyre- soft-skinned space---------------------- -> > -> > dear shu lea and empyreans -> > -> > yes, finger fucking across platforms and waters, deep code luscious -> > moon brown stem the shadow of a venetian blind on summer body in -> > borrowed loft wiping sweat, not swiping left (write left alt write) -> > Floodnet! -> > -> > i'm immersing eyes into this generous mycelial conversation today -> > feeling the tendrils of one hundred minds -> > -> > 'powerful poetic gestures' -> > 'alternate sentiences' -> > 'the incomputable' -> > 'nature is not a system' -> > 'break all separations' -> > 'imps fuelling the real' -> > 'vernacular approach to infrastructure' -> > 't-shroom as family heritage and long-living family member' -> > 'i have a vast genetic network in me' -> > 'we begin to think like a forest' -> > -> > how to extend the intentional families we (of a certain age) -> created -> > in the 90s [while perhaps reading Bruce Stirling's Dead Media -> list, or -> > skiving off to PMCMoo or RiverMOO when LambdaMOO was down] before -> > other 'we(s)' were born -> > -> > Jonathan Marshall's book 'Living on Cybermind' might be one -> answer to -> > Ken's Q about how to capture the non-linear threaded lives -> > -> > i've been returning to build at LambdaMoo since around 2013, -> prompted -> > by projects such as Networked Art Forms and Tactical Magick Faerie -> > Circuits - instigated by the wonderful Nancy Mauro-Flude, and -> (equally -> > wonderful) Furtherfield's Beyond the Interface... I'm not sure what -> > the mycelial potential of such old platforms might be, I suspect -> > there's something though...... for example, a nascent project I'm -> > doing with Virginia Barratt and Alice Farmer takes as it -> starting point: -> > -> > ----------------------------------- -> > -> > "A multi-platform artwork comprising a LambdaMOO environment -> > (multi-user domain object-oriented), performing avatars, improvised -> > performance, experimental hypertext fiction, cryptokitties on the -> > (ethereum) blockchain, and a hand-bound XenZine. The subject is the -> > construction of intentional family beyond blood and kind. -> > -> > We revisit LambdaMOO as a site for gender non-conforming -> > subjectivities to explore the production of xenofam and xenobodies, -> > outside of social re-production, and bring those practices to bear -> > upon the "real". Only a few years after the emergence of the WWW, -> > social networking habits were harnessed and stratified into -> machines -> > for the production of social capital and new affective forms of -> > extractivism within the paradigm of info-capitalism. Yet the -> outlier -> > LambdaMOO is still maintained by a small phreak family as a working -> > experiment, an enclave among other secessionist servers (caves, -> > sinkholes, hackpads, labyrinthine clouds) carving out space to -> platform -> lives of creative resistance, blasphemy and joy. -> > -> > The performing avatars, the unholy trinity of Witchmum, Mum 2.0 and -> > Precocious Meme Savant, have cooked, co-habited and coded as -> > becoming-kin to instantiate xenofam, building affective bonds -> through -> > which datablood flows. This queered approach to extensible and open -> > family platforms generates intentional spaces for the -> reconfiguration -> > of blood ties beyond blood types, and another mode of hexing -> Capital." -> > -> > -------------------- -> > -> > I want to write more, but I need to buy bread as I can't wait -> the 12 -> > hours for the wild yeasts to do their thing. -> > I will try to attract some xenofeminist and other spores this way -> > while thinking about how Ken's 'we no longer have roots, we have -> aerials' -> > might take a mycelial turn -> > -> > -> > Warmly, to all -> > doll fingers + witch thoughts, perhaps a spell cast from and to -> this -> > conversation, tomorrow -> > -> > -> > -> > > ----------empyre- soft-skinned -> > > space----------------------_________________________________ -> > ______________ -> > > empyre forum -> > > empyre at lists.artdesign.unsw.edu.au -> <mailto:empyre at lists.artdesign.unsw.edu.au> -> > > http://empyre.library.cornell.edu -> <http://empyre.library.cornell.edu> -> > -> > -> > _______________________________________________ -> > empyre forum -> > empyre at lists.artdesign.unsw.edu.au -> <mailto:empyre at lists.artdesign.unsw.edu.au> -> > http://empyre.library.cornell.edu -> <http://empyre.library.cornell.edu> -> > -> -> -> -> -- -> -> McKenzie Wark -> *Professor of Media and Culture* -> EUGENE LANG COLLEGE -> 65 w11th st, NEW YORK, NY 10011 -> -> warkk at newschool.edu <mailto:warkk at newschool.edu> -> <http://www.newschool.edu/marketing-communication/email-signature.html# -> <http://www.newschool.edu/marketing-communication/email-signature.html#>> -> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> <mailto:empyre at lists.artdesign.unsw.edu.au> -> http://empyre.library.cornell.edu <http://empyre.library.cornell.edu> -> -> -> -> -> -- -> -> McKenzie Wark -> *Professor of Media and Culture* -> EUGENE LANG COLLEGE -> 65 w11th st, NEW YORK, NY 10011 -> -> warkk at newschool.edu -> <http://www.newschool.edu/marketing-communication/email-signature.html#> -> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 -> -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180625/062d0af0/attachment.html> - +sl -29.24 +22.24 [-empyre-] rehearsal of a network - [week 4] Alice Famer <empyre@lists.cofa.unsw.edu.au> Tue Jun 26 14:21:32 AEST 2018 Understandable Ken. But to put patchwork down 2 just Nick Land throws away -a whole bunch of rich theoretical writing other places................ - -On Tue, Jun 26, 2018 at 3:59 AM warkk <warkk at newschool.edu> wrote: - -> ----------empyre- soft-skinned space---------------------- -> Thanks for the links, Alice. I started reading but Nick Land came up so i -> stopped reading immediately. I never took him to be state-of-the-art -> theory. Others might find the space interesting but its just not for me. -> Reaons given here: https://www.versobooks.com/blogs/3284-on-nick-land -> -> Patrick is i think pointing us both back to the nineties but also forward, -> and i think that's a good note to hit before anyone starts getting into a -> nostalgic vein. I think its more about bracketing-off what networks came to -> be in the two consolidations of the power of what i call the vectoralist -> class. The first was around 2000, with the rise of corporate forms built on -> nothing but IP. The second came a decade later, with the commdification not -> just of information but also of the social network itself. -> -> Patrick also asks why the mushroom as a figure. I don't really understand -> how this part works, but it is the bit i find intriguing: that mushrooms -> have 36,000 genders, or something like that. Maybe Shu Lea's introduction -> of the mycelium into discussion will encourage me to get a layhumans' grasp -> on how that works. It seems just at first sight to be be an interesting -> thought-image of how protocols might work otherwise. -> -> mw -> -> On Mon, Jun 25, 2018 at 1:10 PM, patrick lichty <p at voyd.com> wrote: -> ->> ----------empyre- soft-skinned space---------------------- ->> As someone who would call himself postcybernetic rather than ->> postinternet, ->> I agree with Dollyoko nd Ken. The spaces for intereaction were highly ->> heterogenous and diverse, and Honestly, I find the postinternet discourse ->> relatively bland by comparison, as a lot of what it talks about is ->> reference ->> to postcybernetic/cyberdelic. MOOs, MUDs, Even back to nets of online ->> communities (Thing, Compuserve, Delphi, Fidonet, Usenet) was amazing. In ->> many ways it seems like the corporate stacks combined with academic FOMO ->> has ->> created a tremendous amount of conservatism compared to the crash theory ->> days of the Krokers. ->> ->> In many ways, I think our era of risk aversion and its pruning of the ->> rhizome is indicative of the relationship between culture and capital. As ->> art fairs and consolidating gallery culture, as well as the struggle (in ->> my ->> mind) to figure ourselves out more as Postmodernism fractured into the ->> Speculative Turn, the notion of the rhizome has turned into reality bubble ->> foam that generally swirls under megacorporate umbrellas. ->> ->> This is why I love things like Dina Karadzic's FUBAR bunch, and Shu Lea's ->> work the other year at the Leonore residency, but I also wonder why the ->> notion of the mycorhizome is so strong these days as opposed to the ->> strawberry patch (Deleuze), is it a subliminal signifier of fruit and ->> decay ->> and rebirth? ->> ->> Also very interested in t-shroom discussion. ->> ->> Love from the desert ->> (also apologies for the typos - my current computer has a very flaky ->> keyboard) ->> ->> ->> ->> -----Original Message----- ->> From: empyre-bounces at lists.artdesign.unsw.edu.au ->> <empyre-bounces at lists.artdesign.unsw.edu.au> On Behalf Of warkk ->> Sent: Monday, June 25, 2018 4:13 PM ->> To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> ->> Subject: Re: [-empyre-] rehearsal of a network - [week 4] ->> ->> Alan is quite right to stress how extensive the options were for online ->> encounters in the 90s, beyond the handful i named. The larger point might ->> still be that knowledge of any of that world is fairly thin these days. ->> There are a few period accounts. dollyoko mentions Marshall's Living on ->> Cybermind. Julian Dibbell wrote a book about LambdaMoo. There's a new book ->> by Claire Evans called Broad Band that has good brief accounnts of Echo ->> and ->> The Word and is focused on innovations in computation by women. ->> ->> Of course one could ask whether the linear prose form of the book is the ->> best or even a necessary way of documenting such things. I think of the ->> book ->> as an instance of what dollyoko calls "successionist servers." Its hard to ->> keep them out of Amazon, one of the biggest vectoral class enterprises of ->> our time, but they will at least 'run' independently of that proprietary ->> environment. ->> ->> A book is a concentrated swarm whereas online communication tend to ->> default ->> to dispersed ones.... ->> ->> dollyoko has some great language for an ongoing project: secessionist ->> servers, intentional family, open family platforms, vernacular approaches ->> to ->> infrastructure. (To just pick a few that i think go together with the ->> themes ->> Shu Lea suggested). ->> ->> Maybe its a good thing that 90s cyberculture experiments ended up largely ->> invisible and excluded from history, as now it might be time to be rather ->> discreet about the possibilities uncovered then. Maybe it was a good thing ->> for mycelium that it was largely invisible for so long, as nobody figured ->> out how to monetize it. ->> ->> mw ->> ->> On Mon, Jun 25, 2018 at 2:16 AM, <dollyoko at thing.net> wrote: ->> ->> > ----------empyre- soft-skinned space---------------------- ->> > ->> > dear shu lea and empyreans ->> > ->> > yes, finger fucking across platforms and waters, deep code luscious ->> > moon brown stem the shadow of a venetian blind on summer body in ->> > borrowed loft wiping sweat, not swiping left (write left alt write) ->> > Floodnet! ->> > ->> > i'm immersing eyes into this generous mycelial conversation today ->> > feeling the tendrils of one hundred minds ->> > ->> > 'powerful poetic gestures' ->> > 'alternate sentiences' ->> > 'the incomputable' ->> > 'nature is not a system' ->> > 'break all separations' ->> > 'imps fuelling the real' ->> > 'vernacular approach to infrastructure' ->> > 't-shroom as family heritage and long-living family member' ->> > 'i have a vast genetic network in me' ->> > 'we begin to think like a forest' ->> > ->> > how to extend the intentional families we (of a certain age) created ->> > in the 90s [while perhaps reading Bruce Stirling's Dead Media list, or ->> > skiving off to PMCMoo or RiverMOO when LambdaMOO was down] before ->> > other 'we(s)' were born ->> > ->> > Jonathan Marshall's book 'Living on Cybermind' might be one answer to ->> > Ken's Q about how to capture the non-linear threaded lives ->> > ->> > i've been returning to build at LambdaMoo since around 2013, prompted ->> > by projects such as Networked Art Forms and Tactical Magick Faerie ->> > Circuits - instigated by the wonderful Nancy Mauro-Flude, and (equally ->> > wonderful) Furtherfield's Beyond the Interface... I'm not sure what ->> > the mycelial potential of such old platforms might be, I suspect ->> > there's something though...... for example, a nascent project I'm ->> > doing with Virginia Barratt and Alice Farmer takes as it starting point: ->> > ->> > ----------------------------------- ->> > ->> > "A multi-platform artwork comprising a LambdaMOO environment ->> > (multi-user domain object-oriented), performing avatars, improvised ->> > performance, experimental hypertext fiction, cryptokitties on the ->> > (ethereum) blockchain, and a hand-bound XenZine. The subject is the ->> > construction of intentional family beyond blood and kind. ->> > ->> > We revisit LambdaMOO as a site for gender non-conforming ->> > subjectivities to explore the production of xenofam and xenobodies, ->> > outside of social re-production, and bring those practices to bear ->> > upon the "real". Only a few years after the emergence of the WWW, ->> > social networking habits were harnessed and stratified into machines ->> > for the production of social capital and new affective forms of ->> > extractivism within the paradigm of info-capitalism. Yet the outlier ->> > LambdaMOO is still maintained by a small phreak family as a working ->> > experiment, an enclave among other secessionist servers (caves, ->> > sinkholes, hackpads, labyrinthine clouds) carving out space to platform ->> lives of creative resistance, blasphemy and joy. ->> > ->> > The performing avatars, the unholy trinity of Witchmum, Mum 2.0 and ->> > Precocious Meme Savant, have cooked, co-habited and coded as ->> > becoming-kin to instantiate xenofam, building affective bonds through ->> > which datablood flows. This queered approach to extensible and open ->> > family platforms generates intentional spaces for the reconfiguration ->> > of blood ties beyond blood types, and another mode of hexing Capital." ->> > ->> > -------------------- ->> > ->> > I want to write more, but I need to buy bread as I can't wait the 12 ->> > hours for the wild yeasts to do their thing. ->> > I will try to attract some xenofeminist and other spores this way ->> > while thinking about how Ken's 'we no longer have roots, we have ->> aerials' ->> > might take a mycelial turn ->> > ->> > ->> > Warmly, to all ->> > doll fingers + witch thoughts, perhaps a spell cast from and to this ->> > conversation, tomorrow ->> > ->> > ->> > ->> > > ----------empyre- soft-skinned ->> > > space----------------------_________________________________ ->> > ______________ ->> > > empyre forum ->> > > empyre at lists.artdesign.unsw.edu.au ->> > > http://empyre.library.cornell.edu ->> > ->> > ->> > _______________________________________________ ->> > empyre forum ->> > empyre at lists.artdesign.unsw.edu.au ->> > http://empyre.library.cornell.edu ->> > ->> ->> ->> ->> -- ->> ->> McKenzie Wark ->> *Professor of Media and Culture* ->> EUGENE LANG COLLEGE ->> 65 w11th st, NEW YORK, NY 10011 ->> ->> warkk at newschool.edu ->> <http://www.newschool.edu/marketing-communication/email-signature.html#> ->> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 ->> ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au ->> http://empyre.library.cornell.edu ->> -> -> -> -> -- -> -> McKenzie Wark -> *Professor of Media and Culture* -> EUGENE LANG COLLEGE -> 65 w11th st, NEW YORK, NY 10011 -> -> warkk at newschool.edu -> <http://www.newschool.edu/marketing-communication/email-signature.html#> -> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180626/564bb661/attachment.html> - +a whole bunch of rich theoretical writing other places................ -29.25 +22.25 [-empyre-] rehearsal of a network - [week 4] Shu Lea Cheang <empyre@lists.cofa.unsw.edu.au> @@ -14808,7 +8808,7 @@ https://vimeo.com/85092290 Taro's Myco-Logick https://stwst48x2.stwst.at/myco-logick -and Saša Spačal's (from Ljubljana, supported by Kapelica gallery) series +and Saša Spačal's (from Ljubljana, supported by Kapelica gallery) series of mycophonic works https://mycophone.wordpress.com/mycophone_unison/ @@ -14816,374 +8816,10 @@ After all, MNS wants to connect local network nodes who would cultivate artists who work with fungal stuff.... over -sl - - - - - - -On 25/06/18 20:37, Shu Lea Cheang wrote: -> ----------empyre- soft-skinned space---------------------- -> -> -> ok -> -> on how mycelium/mushroom as a figure ... the mycelium cult would wants -> to dive in and argue forever , but quickly, we quote- -> -> My mecelium network is nearly immortal, only the sudden toxification -> of a planet or the explosion of its parent star can wipe me out… all -> my mycelial networks in the galaxy are in hyper light communication -> across space and time. - Terence McKenna, The Mushnoon speaks -> -> I believe that mycelium is the neurological network of nature. -> Interlacing mosaics of mycelium infuse habitats with -> information-sharing membranes. …..The mycelium stays in constant -> molecular communication with its environment, devising diverse -> enzymatic and chemical responses to complex challenges. - Paul -> Stamets, Mycelium Running: How Mushrooms Can Help Save the World -> -> We are stuck with the problem of living despite economic and -> ecological ruination….. Neither tales of progress nor of ruin tell us -> how to think about collaborative survival. It is time to pay attention -> to mushroom picking. Not that this will save us— but it might open our -> imaginations. - Anna Lowenhaupt Tsing, The mushroom at the end of the -> world : on the possibility of life in capitalist ruins -> -> This answers back to [week 1] how we got started... interesting we -> flash back to the 90s here.. -> -> bring up all nodes and bolts... loosen and to be fastened... -> -> damn, and dollyoko are finger tight!! -> -> over -> -> sl -> -> -> On 25/06/18 20:06, warkk wrote: ->> ----------empyre- soft-skinned space---------------------- ->> ->> ->> Thanks for the links, Alice. I started reading but Nick Land came up ->> so i stopped reading immediately. I never took him to be ->> state-of-the-art theory. Others might find the space interesting but ->> its just not for me. Reaons given here: ->> https://www.versobooks.com/blogs/3284-on-nick-land ->> ->> Patrick is i think pointing us both back to the nineties but also ->> forward, and i think that's a good note to hit before anyone starts ->> getting into a nostalgic vein. I think its more about bracketing-off ->> what networks came to be in the two consolidations of the power of ->> what i call the vectoralist class. The first was around 2000, with ->> the rise of corporate forms built on nothing but IP. The second came ->> a decade later, with the commdification not just of information but ->> also of the social network itself. ->> ->> Patrick also asks why the mushroom as a figure. I don't really ->> understand how this part works, but it is the bit i find intriguing: ->> that mushrooms have 36,000 genders, or something like that. Maybe Shu ->> Lea's introduction of the mycelium into discussion will encourage me ->> to get a layhumans' grasp on how that works. It seems just at first ->> sight to be be an interesting thought-image of how protocols might ->> work otherwise. ->> ->> mw ->> ->> On Mon, Jun 25, 2018 at 1:10 PM, patrick lichty <p at voyd.com ->> <mailto:p at voyd.com>> wrote: ->> ->> ----------empyre- soft-skinned space---------------------- ->> As someone who would call himself postcybernetic rather than ->> postinternet, ->> I agree with Dollyoko nd Ken. The spaces for intereaction were ->> highly ->> heterogenous and diverse, and Honestly, I find the postinternet ->> discourse ->> relatively bland by comparison, as a lot of what it talks about ->> is reference ->> to postcybernetic/cyberdelic. MOOs, MUDs, Even back to nets of ->> online ->> communities (Thing, Compuserve, Delphi, Fidonet, Usenet) was ->> amazing. In ->> many ways it seems like the corporate stacks combined with ->> academic FOMO has ->> created a tremendous amount of conservatism compared to the crash ->> theory ->> days of the Krokers. ->> ->> In many ways, I think our era of risk aversion and its pruning of the ->> rhizome is indicative of the relationship between culture and ->> capital. As ->> art fairs and consolidating gallery culture, as well as the ->> struggle (in my ->> mind) to figure ourselves out more as Postmodernism fractured ->> into the ->> Speculative Turn, the notion of the rhizome has turned into ->> reality bubble ->> foam that generally swirls under megacorporate umbrellas. ->> ->> This is why I love things like Dina Karadzic's FUBAR bunch, and ->> Shu Lea's ->> work the other year at the Leonore residency, but I also wonder ->> why the ->> notion of the mycorhizome is so strong these days as opposed to the ->> strawberry patch (Deleuze), is it a subliminal signifier of fruit ->> and decay ->> and rebirth? ->> ->> Also very interested in t-shroom discussion. ->> ->> Love from the desert ->> (also apologies for the typos - my current computer has a very flaky ->> keyboard) ->> ->> ->> ->> -----Original Message----- ->> From: empyre-bounces at lists.artdesign.unsw.edu.au ->> <mailto:empyre-bounces at lists.artdesign.unsw.edu.au> ->> <empyre-bounces at lists.artdesign.unsw.edu.au ->> <mailto:empyre-bounces at lists.artdesign.unsw.edu.au>> On Behalf Of ->> warkk ->> Sent: Monday, June 25, 2018 4:13 PM ->> To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au ->> <mailto:empyre at lists.artdesign.unsw.edu.au>> ->> Subject: Re: [-empyre-] rehearsal of a network - [week 4] ->> ->> Alan is quite right to stress how extensive the options were for ->> online ->> encounters in the 90s, beyond the handful i named. The larger ->> point might ->> still be that knowledge of any of that world is fairly thin these ->> days. ->> There are a few period accounts. dollyoko mentions Marshall's ->> Living on ->> Cybermind. Julian Dibbell wrote a book about LambdaMoo. There's a ->> new book ->> by Claire Evans called Broad Band that has good brief accounnts ->> of Echo and ->> The Word and is focused on innovations in computation by women. ->> ->> Of course one could ask whether the linear prose form of the book ->> is the ->> best or even a necessary way of documenting such things. I think ->> of the book ->> as an instance of what dollyoko calls "successionist servers." ->> Its hard to ->> keep them out of Amazon, one of the biggest vectoral class ->> enterprises of ->> our time, but they will at least 'run' independently of that ->> proprietary ->> environment. ->> ->> A book is a concentrated swarm whereas online communication tend ->> to default ->> to dispersed ones.... ->> ->> dollyoko has some great language for an ongoing project: secessionist ->> servers, intentional family, open family platforms, vernacular ->> approaches to ->> infrastructure. (To just pick a few that i think go together with ->> the themes ->> Shu Lea suggested). ->> ->> Maybe its a good thing that 90s cyberculture experiments ended up ->> largely ->> invisible and excluded from history, as now it might be time to ->> be rather ->> discreet about the possibilities uncovered then. Maybe it was a ->> good thing ->> for mycelium that it was largely invisible for so long, as nobody ->> figured ->> out how to monetize it. ->> ->> mw ->> ->> On Mon, Jun 25, 2018 at 2:16 AM, <dollyoko at thing.net ->> <mailto:dollyoko at thing.net>> wrote: ->> ->> > ----------empyre- soft-skinned space---------------------- ->> > ->> > dear shu lea and empyreans ->> > ->> > yes, finger fucking across platforms and waters, deep code ->> luscious ->> > moon brown stem the shadow of a venetian blind on summer body in ->> > borrowed loft wiping sweat, not swiping left (write left alt ->> write) ->> > Floodnet! ->> > ->> > i'm immersing eyes into this generous mycelial conversation today ->> > feeling the tendrils of one hundred minds ->> > ->> > 'powerful poetic gestures' ->> > 'alternate sentiences' ->> > 'the incomputable' ->> > 'nature is not a system' ->> > 'break all separations' ->> > 'imps fuelling the real' ->> > 'vernacular approach to infrastructure' ->> > 't-shroom as family heritage and long-living family member' ->> > 'i have a vast genetic network in me' ->> > 'we begin to think like a forest' ->> > ->> > how to extend the intentional families we (of a certain age) ->> created ->> > in the 90s [while perhaps reading Bruce Stirling's Dead Media ->> list, or ->> > skiving off to PMCMoo or RiverMOO when LambdaMOO was down] before ->> > other 'we(s)' were born ->> > ->> > Jonathan Marshall's book 'Living on Cybermind' might be one ->> answer to ->> > Ken's Q about how to capture the non-linear threaded lives ->> > ->> > i've been returning to build at LambdaMoo since around 2013, ->> prompted ->> > by projects such as Networked Art Forms and Tactical Magick Faerie ->> > Circuits - instigated by the wonderful Nancy Mauro-Flude, and ->> (equally ->> > wonderful) Furtherfield's Beyond the Interface... I'm not sure ->> what ->> > the mycelial potential of such old platforms might be, I suspect ->> > there's something though...... for example, a nascent project I'm ->> > doing with Virginia Barratt and Alice Farmer takes as it ->> starting point: ->> > ->> > ----------------------------------- ->> > ->> > "A multi-platform artwork comprising a LambdaMOO environment ->> > (multi-user domain object-oriented), performing avatars, ->> improvised ->> > performance, experimental hypertext fiction, cryptokitties on the ->> > (ethereum) blockchain, and a hand-bound XenZine. The subject is ->> the ->> > construction of intentional family beyond blood and kind. ->> > ->> > We revisit LambdaMOO as a site for gender non-conforming ->> > subjectivities to explore the production of xenofam and ->> xenobodies, ->> > outside of social re-production, and bring those practices to bear ->> > upon the "real". Only a few years after the emergence of the WWW, ->> > social networking habits were harnessed and stratified into ->> machines ->> > for the production of social capital and new affective forms of ->> > extractivism within the paradigm of info-capitalism. Yet the ->> outlier ->> > LambdaMOO is still maintained by a small phreak family as a ->> working ->> > experiment, an enclave among other secessionist servers (caves, ->> > sinkholes, hackpads, labyrinthine clouds) carving out space to ->> platform ->> lives of creative resistance, blasphemy and joy. ->> > ->> > The performing avatars, the unholy trinity of Witchmum, Mum 2.0 ->> and ->> > Precocious Meme Savant, have cooked, co-habited and coded as ->> > becoming-kin to instantiate xenofam, building affective bonds ->> through ->> > which datablood flows. This queered approach to extensible and ->> open ->> > family platforms generates intentional spaces for the ->> reconfiguration ->> > of blood ties beyond blood types, and another mode of hexing ->> Capital." ->> > ->> > -------------------- ->> > ->> > I want to write more, but I need to buy bread as I can't wait ->> the 12 ->> > hours for the wild yeasts to do their thing. ->> > I will try to attract some xenofeminist and other spores this way ->> > while thinking about how Ken's 'we no longer have roots, we ->> have aerials' ->> > might take a mycelial turn ->> > ->> > ->> > Warmly, to all ->> > doll fingers + witch thoughts, perhaps a spell cast from and to ->> this ->> > conversation, tomorrow ->> > ->> > ->> > ->> > > ----------empyre- soft-skinned ->> > > space----------------------_________________________________ ->> > ______________ ->> > > empyre forum ->> > > empyre at lists.artdesign.unsw.edu.au ->> <mailto:empyre at lists.artdesign.unsw.edu.au> ->> > > http://empyre.library.cornell.edu ->> <http://empyre.library.cornell.edu> ->> > ->> > ->> > _______________________________________________ ->> > empyre forum ->> > empyre at lists.artdesign.unsw.edu.au ->> <mailto:empyre at lists.artdesign.unsw.edu.au> ->> > http://empyre.library.cornell.edu ->> <http://empyre.library.cornell.edu> ->> > ->> ->> ->> ->> -- ->> ->> McKenzie Wark ->> *Professor of Media and Culture* ->> EUGENE LANG COLLEGE ->> 65 w11th st, NEW YORK, NY 10011 ->> ->> warkk at newschool.edu <mailto:warkk at newschool.edu> ->> <http://www.newschool.edu/marketing-communication/email-signature.html# ->> <http://www.newschool.edu/marketing-communication/email-signature.html#>> ->> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 ->> ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au ->> <mailto:empyre at lists.artdesign.unsw.edu.au> ->> http://empyre.library.cornell.edu <http://empyre.library.cornell.edu> ->> ->> ->> ->> ->> -- ->> ->> McKenzie Wark ->> *Professor of Media and Culture* ->> EUGENE LANG COLLEGE ->> 65 w11th st, NEW YORK, NY 10011 ->> ->> warkk at newschool.edu ->> <http://www.newschool.edu/marketing-communication/email-signature.html#> ->> T 212 229 5100 2241 / M 646 3697266 / @mckenziewark / room #456 ->> ->> ->> ->> ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au ->> http://empyre.library.cornell.edu -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180626/8677979c/attachment-0001.html> - +sl -29.26 +22.26 [-empyre-] rehearsal of a network - [week 4] Simon <empyre@lists.cofa.unsw.edu.au> @@ -15215,19 +8851,10 @@ giving off phosphorescing halos in an excess of incandescent energy illumining the dark, not a light dispelling it. best, -Simon -http://squarewhiteworld.com/ - - - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180627/2f00eeb7/attachment.html> - +Simon -29.27 +22.27 [-empyre-] rehearsal of a network - [week 4] Shu Lea Cheang <empyre@lists.cofa.unsw.edu.au> @@ -15282,86 +8909,35 @@ help me through this last few days of June.......... many thanks -sl - - -On 27/06/18 09:56, Simon wrote: - -> ----------empyre- soft-skinned space---------------------- -> -> -> Dear <<empyreans>>, -> -> On 26/06/18 06:37, Shu Lea Cheang wrote/quoted: ->> I believe that mycelium is the neurological network of nature. ->> Interlacing mosaics of mycelium infuse habitats with ->> information-sharing membranes -> -> Mycorrhyizal networks became entangled in the underground theatre work -> of Minus Theatre. But for reasons that rather go against those adduced -> in and around CMNs here, in their emphasis on the gains to be had, got -> from, harvested off the literal and metaphorical fungolalia and -> fungalia. The gain, for example, of communication: what if--we -> speculated in the spectacles we made--communication were not the -> point, but an exploitation-abstraction layer covering over--a -> too-human groundcover--the /work/ of decomposition? What if -> communication is /in /and an /excess/ of this work? And what then if -> the scatter, crackle and static of languages were the condition of -> their significations? The breaking-down, the waste itself, the soil, -> ground? Such work--of decomposition--would not be valued according to -> elements and minerals /liberated/ but would be valued in and through -> itself, as forming the maternal matrices in indeterminacy, inaction, -> asignifying, across inorganic and organic strata. Decomposition lays -> waste: elements are understood to be liberated and the value is in -> this breaking down, giving off phosphorescing halos in an excess of -> incandescent energy illumining the dark, not a light dispelling it. -> -> best, -> Simon -> http://squarewhiteworld.com/ -> -> -> -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180628/b7ad5159/attachment.html> - +sl -29.28 +22.28 [-empyre-] rehearsal of a network - [week 4] Alice Famer <empyre@lists.cofa.unsw.edu.au> Thu Jun 28 23:43:20 AEST 2018 -"It was women’s fingers that enfolded the data-corpse into the fabric of -the world. Sadie Plant tells us that these fingers are like a spider’s +"It was women’s fingers that enfolded the data-corpse into the fabric of +the world. Sadie Plant tells us that these fingers are like a spider’s spinnerets, extruding digital silk, weaving the history of networked technology, which at its core is a cunning practice of emasculation: -‘cyberspace is out of man’s control, [it] destroys his identity...at the +‘cyberspace is out of man’s control, [it] destroys his identity...at the peak of his triumph, the culmination of his machinic erections, man confronts the system he built for his own protection and finds it female -and dangerous.’ For Plant, man sentenced himself to annihilation when he +and dangerous.’ For Plant, man sentenced himself to annihilation when he let the feminine hydra of digital technology out of its black box. Now, it is everywhere, slyly completing its task. Cyberfeminism is an occult form -of warfare. It understands about ‘cyber - space’ what Cixin Liu’s ‘dark -forest’ theory understands about the cosmos: all existence is determined by -hostility and so the highest form of intelligence lies in occluding one’s +of warfare. It understands about ‘cyber - space’ what Cixin Liu’s ‘dark +forest’ theory understands about the cosmos: all existence is determined by +hostility and so the highest form of intelligence lies in occluding one’s coordinates. The hypothesis explains why the universe, statistically full of life, is dead silent. It is not because, as is commonly thought, life has not found a way to communicate, but because it understands that silence is the most advanced form of intelligence. Our physical and virtual spaces, which are increasingly inseparable, are alike a dark forest, where every -step must be taken with care, as revealing one’s existence portends +step must be taken with care, as revealing one’s existence portends annihilation. The most desirable skill, the most coveted trick, and the -most longed for disposition can only be this—a fluency in the trading of +most longed for disposition can only be this—a fluency in the trading of secrets. The skills we need to strategically deploy concealment, de-concealment and re-concealment." @@ -15373,121 +8949,10 @@ https://static1.squarespace.com/static/584d3a10be6594f67565c0a0/t/5b34c37a0e2e72 thinking about how the warfare of cyberfem (i think this itself is leading 2 discussions on Gender Accelerationism (G/ACC) and LesbiaNRx) functions within networks specifically. -Hacking, ddos attacks, patchwork + weavinggg - -On Thu, Jun 28, 2018 at 5:35 PM Shu Lea Cheang <shulea at earthlink.net> wrote: - -> ----------empyre- soft-skinned space---------------------- -> -> dear All -> -> threads entangled deeper into Mycorrhyizal networks that Simon -> meticulously argued. -> -> As a moderator for the first time of such 'old fashioned' mailing list, -> (and let's leave it text based forever), I am feeling an indescribable -> tension, anxiety as I check in on admin page to 'pass' the sporadically -> incoming postings... -> -> the roots have no bound composting (thus renewed) underground... and how -> do we follow? cross-path? -> -> Let me try - -> -> We have checked ourselves into the 90s of its online communities which -> parallel to artistic intervention on the Net at the time, but existed as a -> society on its own, multiple mini-societies, mainly local (unlike the known -> international ones we refer to, spectre, nettime, to name a few), some -> archived, some legendary... bring it up to date, the current 'warred' zone -> of local social media, sign in to wechat in China and whatsup in the -> States, has to echo these 'scenes' of the 90s. -> -> I do not want to lose Alice Famer's references on patchwork/weaving as we -> got 'sidetracked' and 'righttracked' to mycelium.. -> -> thanks to dollyoko's taking us back to real (small) spaces of "deep social -> experimentation and collaborative creativity", somehow i connect these days -> with occupied squated space, move in and takeover... Jaromil can possibly -> echo these days with Amsterdam stakeout of a time? not to fall into any -> nostagia or romantic about it... collectives get dissolved, creativity -> fights over credits, and ultimately who's doing the dishes? taking out the -> garbage? -> -> Much thanks to Jaromil's summing of past 3 weeks... there are so many -> quotes of the contributors, each can lead us to 'rabbit holes' as dollyoko -> dares us to venture in??? -> -> again- -> -> I am standing still in this junction with walkers in all directions, that -> particular center of the universe in Shibuya's transit exit......... -> -> the swarm of thoughts from outer universe hitting at you... spores falling -> like spring snow, invasive as they are. -> -> help me through this last few days of June.......... -> -> many thanks -> -> sl -> -> -> On 27/06/18 09:56, Simon wrote: -> -> ----------empyre- soft-skinned space---------------------- -> -> -> -> Dear <<empyreans>>, -> -> On 26/06/18 06:37, Shu Lea Cheang wrote/quoted: -> -> I believe that mycelium is the neurological network of nature. Interlacing -> mosaics of mycelium infuse habitats with information-sharing membranes -> -> -> Mycorrhyizal networks became entangled in the underground theatre work of -> Minus Theatre. But for reasons that rather go against those adduced in and -> around CMNs here, in their emphasis on the gains to be had, got from, -> harvested off the literal and metaphorical fungolalia and fungalia. The -> gain, for example, of communication: what if--we speculated in the -> spectacles we made--communication were not the point, but an -> exploitation-abstraction layer covering over--a too-human groundcover--the -> *work* of decomposition? What if communication is *in *and an *excess* of -> this work? And what then if the scatter, crackle and static of languages -> were the condition of their significations? The breaking-down, the waste -> itself, the soil, ground? Such work--of decomposition--would not be valued -> according to elements and minerals *liberated* but would be valued in and -> through itself, as forming the maternal matrices in indeterminacy, -> inaction, asignifying, across inorganic and organic strata. Decomposition -> lays waste: elements are understood to be liberated and the value is in -> this breaking down, giving off phosphorescing halos in an excess of -> incandescent energy illumining the dark, not a light dispelling it. -> -> best, -> Simon -> http://squarewhiteworld.com/ -> -> -> -> -> -> -> _______________________________________________ -> empyre forumempyre at lists.artdesign.unsw.edu.auhttp://empyre.library.cornell.edu -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180628/c92e1339/attachment.html> - +Hacking, ddos attacks, patchwork + weavinggg -29.29 +22.29 [-empyre-] rehearsal of a network - [week 4] Jaromil <empyre@lists.cofa.unsw.edu.au> @@ -15542,15 +9007,10 @@ ciao p.s. shoutout to the fellow fermenters out there ohhh so many SCOBIs in our kitchen hanging in and out of us - http://bubbleclub.net - - - - - + http://bubbleclub.net -29.30 +22.30 [-empyre-] rehearsal of a network - [week 4] Shu Lea Cheang <empyre@lists.cofa.unsw.edu.au> @@ -15576,182 +9036,10 @@ I am off , who can babysit my compost worms? over -sl - - - - - - - -On 28/06/18 15:43, Alice Famer wrote: -> ----------empyre- soft-skinned space---------------------- -> -> -> "It was women’s fingers that enfolded the data-corpse into the fabric -> of the world. Sadie Plant tells us that these fingers are like a -> spider’s spinnerets, extruding digital silk, weaving the history of -> networked technology, which at its core is a cunning practice of -> emasculation: ‘cyberspace is out of man’s control, [it] destroys his -> identity...at the peak of his triumph, the culmination of his machinic -> erections, man confronts the system he built for his own protection -> and finds it female and dangerous.’ For Plant, man sentenced himself -> to annihilation when he let the feminine hydra of digital technology -> out of its black box. Now, it is everywhere, slyly completing its -> task. Cyberfeminism is an occult form of warfare. It understands about -> ‘cyber - space’ what Cixin Liu’s ‘dark forest’ theory understands -> about the cosmos: all existence is determined by hostility and so the -> highest form of intelligence lies in occluding one’s coordinates. The -> hypothesis explains why the universe, statistically full of life, is -> dead silent. It is not because, as is commonly thought, life has not -> found a way to communicate, but because it understands that silence is -> the most advanced form of intelligence. Our physical and virtual -> spaces, which are increasingly inseparable, are alike a dark forest, -> where every step must be taken with care, as revealing one’s existence -> portends annihilation. The most desirable skill, the most coveted -> trick, and the most longed for disposition can only be this—a fluency -> in the trading of secrets. The skills we need to strategically deploy -> concealment, de-concealment and re-concealment." -> -> this is from Bogna Konior's "Ancestral Cyberspace: On the Technics of -> Secrecy" -> (https://static1.squarespace.com/static/584d3a10be6594f67565c0a0/t/5b34c37a0e2e7239ad7bc9ee/1530184579239/AncestralCyberspace.pdf) -> -> thinking about how the warfare of cyberfem (i think this itself is -> leading 2 discussions on Gender Accelerationism (G/ACC) and LesbiaNRx) -> functions within networks specifically. -> Hacking, ddos attacks, patchwork + weavinggg -> -> On Thu, Jun 28, 2018 at 5:35 PM Shu Lea Cheang <shulea at earthlink.net -> <mailto:shulea at earthlink.net>> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> -> dear All -> -> threads entangled deeper into Mycorrhyizal networks that Simon -> meticulously argued. -> -> As a moderator for the first time of such 'old fashioned' mailing -> list, (and let's leave it text based forever), I am feeling an -> indescribable tension, anxiety as I check in on admin page to -> 'pass' the sporadically incoming postings... -> -> the roots have no bound composting (thus renewed) underground... -> and how do we follow? cross-path? -> -> Let me try - -> -> We have checked ourselves into the 90s of its online communities -> which parallel to artistic intervention on the Net at the time, -> but existed as a society on its own, multiple mini-societies, -> mainly local (unlike the known international ones we refer to, -> spectre, nettime, to name a few), some archived, some legendary... -> bring it up to date, the current 'warred' zone of local social -> media, sign in to wechat in China and whatsup in the States, has -> to echo these 'scenes' of the 90s. -> -> I do not want to lose Alice Famer's references on -> patchwork/weaving as we got 'sidetracked' and 'righttracked' to -> mycelium.. -> -> thanks to dollyoko's taking us back to real (small) spaces of -> "deep social experimentation and collaborative creativity", -> somehow i connect these days with occupied squated space, move in -> and takeover... Jaromil can possibly echo these days with -> Amsterdam stakeout of a time? not to fall into any nostagia or -> romantic about it... collectives get dissolved, creativity fights -> over credits, and ultimately who's doing the dishes? taking out -> the garbage? -> -> Much thanks to Jaromil's summing of past 3 weeks... there are so -> many quotes of the contributors, each can lead us to 'rabbit -> holes' as dollyoko dares us to venture in??? -> -> again- -> -> I am standing still in this junction with walkers in all -> directions, that particular center of the universe in Shibuya's -> transit exit......... -> -> the swarm of thoughts from outer universe hitting at you... spores -> falling like spring snow, invasive as they are. -> -> help me through this last few days of June.......... -> -> many thanks -> -> sl -> -> -> On 27/06/18 09:56, Simon wrote: -> ->> ----------empyre- soft-skinned space---------------------- ->> ->> ->> Dear <<empyreans>>, ->> ->> On 26/06/18 06:37, Shu Lea Cheang wrote/quoted: ->>> I believe that mycelium is the neurological network of nature. ->>> Interlacing mosaics of mycelium infuse habitats with ->>> information-sharing membranes ->> ->> Mycorrhyizal networks became entangled in the underground theatre ->> work of Minus Theatre. But for reasons that rather go against ->> those adduced in and around CMNs here, in their emphasis on the ->> gains to be had, got from, harvested off the literal and ->> metaphorical fungolalia and fungalia. The gain, for example, of ->> communication: what if--we speculated in the spectacles we ->> made--communication were not the point, but an ->> exploitation-abstraction layer covering over--a too-human ->> groundcover--the /work/ of decomposition? What if communication ->> is /in /and an /excess/ of this work? And what then if the ->> scatter, crackle and static of languages were the condition of ->> their significations? The breaking-down, the waste itself, the ->> soil, ground? Such work--of decomposition--would not be valued ->> according to elements and minerals /liberated/ but would be ->> valued in and through itself, as forming the maternal matrices in ->> indeterminacy, inaction, asignifying, across inorganic and ->> organic strata. Decomposition lays waste: elements are understood ->> to be liberated and the value is in this breaking down, giving ->> off phosphorescing halos in an excess of incandescent energy ->> illumining the dark, not a light dispelling it. ->> ->> best, ->> Simon ->> http://squarewhiteworld.com/ ->> ->> ->> ->> ->> ->> ->> _______________________________________________ ->> empyre forum ->> empyre at lists.artdesign.unsw.edu.au ->> <mailto:empyre at lists.artdesign.unsw.edu.au> ->> http://empyre.library.cornell.edu -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> <mailto:empyre at lists.artdesign.unsw.edu.au> -> http://empyre.library.cornell.edu -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180629/6b5743d2/attachment.html> - +sl -29.31 +22.31 [-empyre-] rehearsal of a network - [week 4] Simon <empyre@lists.cofa.unsw.edu.au> @@ -15779,16 +9067,10 @@ Where the resistance has been the power has followed. best, -Simon - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180630/905d0067/attachment.html> - +Simon -29.32 +22.32 [-empyre-] rehearsal of a network - [week 4] dollyoko at thing.net <empyre@lists.cofa.unsw.edu.au> @@ -15821,7 +9103,7 @@ You hear a distant kachunk as your time card is punched in on the time clock. The procedural poets of the natural world, mushrooms are magical because they are about chance (the conditions have to be just right for one to pop -up, for you to perceive it, for you two to meet…) +up, for you to perceive it, for you two to meet…) > look radio mycelium You see fungal transceivers sprouting mycelial antennas forming an @@ -15830,12 +9112,12 @@ imaginary underground network. https://twitter.com/hashtag/LesbiaNRx?src=hash&lang=en > look me -WitchMum - a bundle of twigs bound with babies’ tears fomented in the +WitchMum - a bundle of twigs bound with babies’ tears fomented in the Laboratory of Insurrectionary Imagination. She is holding a tiny brass key stolen from Gilles de Rais. > @go War on Terror Universities -You can’t go that way. +You can’t go that way. again- I am standing still in this junction with walkers in all directions, @@ -15850,7 +9132,7 @@ Help me through this last few days of June.......... As you slip through the 'mud patch' you realise this isn't mud per se; but a familiar feeling of wet stickiness. You fall onto a bed of Nyx Slime. -/a gesture that potentially “dissolved” the U.S. border with its poetry/ +/a gesture that potentially “dissolved” the U.S. border with its poetry/ Slime Girl (1.0) slides in and hands your Slime Cave membership card and complimentary Slime Pig (Whatever you do Slime Pigs MUST NOT LEAVE THE @@ -15905,12 +9187,12 @@ hollybot (reading The Situationist Times) here. Alabaster.Shimmer (asleep), Samantha and Sadie Plant are here. -Samantha (learning Ken Wark) says, “How do you write about something in -the form of linear prose that didn't have that form at all?” -Sadie Plant says, “Man confronts the system he built for his own -protection and finds it female and dangerous.” -Bogna Konior says, “Cyberfeminism is an occult form of warfare.” -hollybot says, “I have a vicious countenance.” +Samantha (learning Ken Wark) says, “How do you write about something in +the form of linear prose that didn't have that form at all?” +Sadie Plant says, “Man confronts the system he built for his own +protection and finds it female and dangerous.” +Bogna Konior says, “Cyberfeminism is an occult form of warfare.” +hollybot says, “I have a vicious countenance.” the mycelium stays in constant molecular communication with its environment, devising diverse enzymatic and chemical responses to complex @@ -15935,9 +9217,9 @@ slimegirl teleports in. You ask, "What do u see when u look at me?" -slimegirl says, “routing algorithms were inspired by ant scenting patterns.” -You say, “The roots have no bound composting (thus renewed) underground... -and so how do we follow? cross-path?” +slimegirl says, “routing algorithms were inspired by ant scenting patterns.” +You say, “The roots have no bound composting (thus renewed) underground... +and so how do we follow? cross-path?” It is evening. The sun is setting. @@ -15950,13 +9232,10 @@ curated by Shu Lea Cheang, June 2018) from all participants in general, and from in particular: John Jordan, Alice Farmer, slimegirl, Franz Xaver, Anna Scime, Shu Lea Cheang, Martin Howse, Isabelle Fremeaux, Nitasha Dhillon, Amin Husain, Paul Stamets, Virginia Barratt, Alabaster.Shimmer, -Simon Taylor, Ricardo Dominguez, Sadie Plant, Ken Wark, Bogna Konior. - - - +Simon Taylor, Ricardo Dominguez, Sadie Plant, Ken Wark, Bogna Konior. -29.33 +22.33 [-empyre-] rehearsal of a network - [week 4] Murat Nemet-Nejat <empyre@lists.cofa.unsw.edu.au> @@ -15964,478 +9243,10 @@ Simon Taylor, Ricardo Dominguez, Sadie Plant, Ken Wark, Bogna Konior. Hi Dolly, a very interesting text. Ciao, -Murat - -On Sat, Jun 30, 2018 at 6:49 AM, <dollyoko at thing.net> wrote: - -> ----------empyre- soft-skinned space---------------------- -> How do we create forms of life that no longer reproduce the machines of -> capital? -> How do we desert the system that has no outside? -> How do we refuse to become the fools in the palace? -> -> *************************** -> * Welcome to LambdaMOO! * -> *************************** -> Running Version 1.8.3+47 of LambdaMOO -> The lag is low; there are 42 connected. -> *** Connected *** -> -> Deep Sea Abyss -> A vast dark expanse. Strange bioluminescence. Volcanic vents and oceanic -> harmonics. Silence (the most advanced form of intelligence). Go east to -> the autonomous zone of la zad of Notre-dame-des-Landes. Take rebel raft -> regatta to Occupy Theory, Occupy Strategy. Go down on the altar of -> abjection. -> -> radio mycelium, mushrooms harvested from the reactor in Chernobyl, rolling -> Jubilees and G-slime (performing a Mycelic Brain Ritual) are here. -> -> You yawn, rub your eyes, and officially wake up. -> Last connected Tue Jun 26 20:06:41 2018 ACDT from 118.211.40.5 -> You hear a distant kachunk as your time card is punched in on the time -> clock. -> -> The procedural poets of the natural world, mushrooms are magical because -> they are about chance (the conditions have to be just right for one to pop -> up, for you to perceive it, for you two to meet…) -> -> > look radio mycelium -> You see fungal transceivers sprouting mycelial antennas forming an -> imaginary underground network. -> -> https://twitter.com/hashtag/LesbiaNRx?src=hash&lang=en -> -> > look me -> WitchMum - a bundle of twigs bound with babies’ tears fomented in the -> Laboratory of Insurrectionary Imagination. She is holding a tiny brass key -> stolen from Gilles de Rais. -> -> > @go War on Terror Universities -> You can’t go that way. -> -> again- -> I am standing still in this junction with walkers in all directions, -> that particular center of the universe in Shibuya's transit exit......... -> the swarm of thoughts from outer universe hitting at you... spores -> falling like spring snow, invasive as they are. -> Help me through this last few days of June.......... -> -> > @join slimegirl -> -> <slime cave> -> As you slip through the 'mud patch' you realise this isn't mud per se; but -> a familiar feeling of wet stickiness. You fall onto a bed of Nyx Slime. -> -> /a gesture that potentially “dissolved” the U.S. border with its poetry/ -> -> Slime Girl (1.0) slides in and hands your Slime Cave membership card and -> complimentary Slime Pig (Whatever you do Slime Pigs MUST NOT LEAVE THE -> CAVE). To the east there is a Cavern, which its faint whistling sounds -> like the songs of Slime(mer)maids. To the West, a door, that longs to be -> opened; but how. Up, is to The Junkyard, where Alabaster plays, and -> 'down?' you say, well, you might just have to take the plunge. -> slimegirl (fluent in the trading of secrets) is here. -> -> We need an opposite to the algorithm. -> We need to sleep for regeneration our brain. -> -> > look slimegirl -> -> slimegirl -> Slime molds are in their own right a strange creature. Not quite plant, -> not quite animal, not quite fungi, but something else. They live a -> double-life, in most cases as nothing more than single-celled organisms, -> but in dire situations where food is scarce, they form a collective. A -> single-minded blob of slime that can hunt with stunning speed. There are -> no known incidents of slime molds proving to be dangerous to humans, but -> Dallas was harboring more than a few dark secrets in 1973. -> It is sleeping. -> -> Decomposition lays waste: elements are understood to be liberated and the -> value is in this breaking down, giving off phosphorescing halos in an -> excess of incandescent energy illumining the dark, not a light dispelling -> it. -> -> > @go The Junkyard -> -> electron dense materials that reflect ultraviolet light, and can travel -> through space -> -> The Junkyard -> you stumble upon a junkyard shanty dwelling, littered as far as the eye -> can see with apparent rubbish. upreaped old school objects from before the -> time of facebook are scattered around, in various states of frankensteined -> dis/repair. monster mashups, with perhaps unclear purpose, rattle and -> shake emitting rusty greetings and demands: -> 'how do you feel?' 'what's up pal?' 'tell me what you're thinking' -> there are decaying lolcats and tired old memes lying in a heap to one -> side, exhaling fetid breath and unconvincing chuckles. you see a stained -> Viennese Mattress leaning up against an old ATM machine, which has vomited -> worthless piles of old currency, slowly turning into micronised plastic. -> -> you hear a sound on the breeze above the clatter. a wailing, perhaps? -> where the sound originates is unclear, the breeze being capricious in the -> junkyard. -> You see Subliminal Shift, shimmering shifting patch of light, dirt, and -> hollybot (reading The Situationist Times) here. -> -> Alabaster.Shimmer (asleep), Samantha and Sadie Plant are here. -> -> Samantha (learning Ken Wark) says, “How do you write about something in -> the form of linear prose that didn't have that form at all?” -> Sadie Plant says, “Man confronts the system he built for his own -> protection and finds it female and dangerous.” -> Bogna Konior says, “Cyberfeminism is an occult form of warfare.” -> hollybot says, “I have a vicious countenance.” -> -> the mycelium stays in constant molecular communication with its -> environment, devising diverse enzymatic and chemical responses to complex -> challenges -> communicative relationships between mycelium are proof of alternate -> sentience -> I am feeling an indescribable tension, anxiety as I check in on admin page -> hacking, ddos attacks, patchwork + weavinggg -> -> > @go Forest -> -> Forest -> An old growth forest, damp and still, apart from the odd scurrying -> creature. An old wallaby track lies to the west, barely visible underneath -> the bracken. To the east is a narrow path curving along the creek, -> slippery with iridescent moss. To the far south, some ruins, of what you -> cannot tell. And to the north, scattered detritus, leading not to Baba -> Yaga but to an equally unworldly realm. You sense you might not be alone -> here. A disconcerting presence pervades this place. You see LOLcat -> familiar and Ectogenetic Pod here. -> -> slimegirl teleports in. -> -> You ask, "What do u see when u look at me?" -> -> slimegirl says, “routing algorithms were inspired by ant scenting -> patterns.” -> You say, “The roots have no bound composting (thus renewed) underground... -> and so how do we follow? cross-path?” -> -> It is evening. -> The sun is setting. -> -> -------------- -> -> LambdaMOO germinating spores 0.1. With deep doll thanks to gleaned/stolen -> words/ideas/projects via empyre ('rehearsal of a network' discussion -> curated by Shu Lea Cheang, June 2018) from all participants in general, -> and from in particular: John Jordan, Alice Farmer, slimegirl, Franz Xaver, -> Anna Scime, Shu Lea Cheang, Martin Howse, Isabelle Fremeaux, Nitasha -> Dhillon, Amin Husain, Paul Stamets, Virginia Barratt, Alabaster.Shimmer, -> Simon Taylor, Ricardo Dominguez, Sadie Plant, Ken Wark, Bogna Konior. -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu -> --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180630/8f8c3156/attachment.html> - +Murat -29.2 -[-empyre-] rehearsal of a network - [week 3] -Aviva Rahmani -<empyre@lists.cofa.unsw.edu.au> -Tue Jun 19 05:53:07 AEST 2018 -Please tell us more about, “undermining the current networks of the heartless psychopaths,” - -Aviva Rahmani, PhD -www.ghostnets at ghostnets.com<http://www.ghostnets@ghostnets.com> -Watch ³Blued Trees²: https://vimeo.com/135290635 -www.gulftogulf.org<http://www.gulftogulf.org/> - - - -From: <empyre-bounces at lists.artdesign.unsw.edu.au> on behalf of lizvlx <liz at ubermorgen.com> -Reply-To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -Date: Monday, June 18, 2018 at 11:38 AM -To: "empyre at lists.artdesign.unsw.edu.au" <empyre at lists.artdesign.unsw.edu.au> -Subject: Re: [-empyre-] rehearsal of a network - [week 3] - -----------empyre- soft-skinned space---------------------- -_______________________________________________ -empyre forum -empyre at lists.artdesign.unsw.edu.au -http://empyre.library.cornell.edu --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180618/6453dd2e/attachment.html> - - - -29.4 -[-empyre-] rehearsal of a network - [week 3] -Shu Lea Cheang -<empyre@lists.cofa.unsw.edu.au> -Tue Jun 19 16:20:18 AEST 2018 -Hi all - -Let me just pick up a few threads here to follow through - - From Kate Rich - "i'm particularly interested in non-model businesses - -experiments in business which do not scale or replicate but can travel, -cross-breed and transmit - & also in martin parker's idea of insurgent -entrepreneurship as a set of potentially transformative practices in -reorienting economy, for communities as well as individuals." - - From Ilze Black - the human networks that transport kombucha, the -t-shroom, ultimately "to put forward the notion of symbiosis for the -post-net network imagination! Mycelium networks offer us organic -metaphors to re-evaluate ourselves....They give us a chance to move away -from human=machine rhetoric, from cyborg like visions of future -transhumans, and possibly change the course of current industrial -enterprise. This, however, requires for every supporter to become a -symbiosis partner, to be considered as a cell in a social mycelium. " - - From Liz, risking getting into the discourse on 'immersive species", -we would certainly be interested in the tracks of UBERMORGEN's network -projects that "undermine the current networks of the heartless -psychopaths". - -I offer here also a quote from Anna Lowenhaupt Tsing, /The mushroom at -the end of the world -on the possibility of life in capitalist ruins/ -"We are stuck with the problem of living despite economic and ecological -ruination….. Neither tales of progress nor of ruin tell us how to think -about collaborative survival. It is time to pay attention to mushroom -picking. Not that this will save us— but it might open our imaginations. " - -There is new relationships to be established, some disconnection to be -made...... - -any takers? - -sl --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180619/f21c421c/attachment.html> - - - -29.5 -[-empyre-] rehearsal of a network - [week 3] -black at x-i.net -<empyre@lists.cofa.unsw.edu.au> -Tue Jun 19 21:56:38 AEST 2018 -it is hard not to noticed that the week 3 of network rehearsal are all -female protagonists.... if the curatorial suggestion here is that the -the post-net network imaginary depends on female traits, let me throw in -another angle from the realm of 'mother' culture. - -paraphrasing Marx, the new will appear in the womb of the old.....🐡 🐡 -🐡 🐡 (thank you for this Liz) - -two points here. one with regards to Kombucha culture and the resistance -presented by their mother/ daughter dyad to cultural appropriation into -the growing health drink industry or what some even have called the -kombucha war in USA between kombucha breweries and federal regulation -agencies. as some might know, the kombucha drink bottled and sold in -health food shops is always already impregnated and a live. the smallest -environmental change, be it a temperature or oxygen levels will -reactivate the fermentation process, daughters growth and rise the -alcohol levels, subsequently requiring this slavery to be regulated -under the law as an alcoholic beverage, with costs that entails. - -the other point ..... like the recent rise of 'heartless psychopaths' -there are also a rise of what some could call 'heartfelt psychopaths' or -what they themselves prefer to call the crazy mother movement who are -standing up for the acknowledgment of matrixial and the rights of the -voiceless infant child. Borrowing Brecha Ettinger articulation of -matrixial space as one pregnant with potentials, possibilities and -surprises, a radical and anarchic space where 'co-emergence' takes -place, but only if undisturbed by the logic of separation, the noise of -cultural hegemony and techno excitement, they beginning to contest and -refuse what Bernard Shaw once called the "witchcraft, in modern form of -patent medicines and prophylactic inoculations". - -these standpoints represent rejection of the separations that are -currently imposed on all subjects and reinforce the notions of -inter-connectivity, inter-subjectivity and **a cooperative relationship -'mother' culture represent. It still to be seen what the network of -angry mothers can bring to the life in capitalism ruins.... - -in such context, the DNA discussions are also already shifted from -frameworks of identity to those of epigenetics and inter-dependencies. - - - - -On 19/06/2018 07:20, Shu Lea Cheang wrote: -> ----------empyre- soft-skinned space---------------------- -> -> -> Hi all -> -> Let me just pick up a few threads here to follow through -> -> From Kate Rich - "i'm particularly interested in non-model businesses -> - experiments in business which do not scale or replicate but can -> travel, cross-breed and transmit - & also in martin parker's idea of -> insurgent entrepreneurship as a set of potentially transformative -> practices in reorienting economy, for communities as well as individuals." -> -> From Ilze Black - the human networks that transport kombucha, the -> t-shroom, ultimately "to put forward the notion of symbiosis for the -> post-net network imagination! Mycelium networks offer us organic -> metaphors to re-evaluate ourselves....They give us a chance to move -> away from human=machine rhetoric, from cyborg like visions of future -> transhumans, and possibly change the course of current industrial -> enterprise. This, however, requires for every supporter to become a -> symbiosis partner, to be considered as a cell in a social mycelium. " -> -> From Liz, risking getting into the discourse on 'immersive species", -> we would certainly be interested in the tracks of UBERMORGEN's -> network projects that "undermine the current networks of the heartless -> psychopaths". -> -> I offer here also a quote from Anna Lowenhaupt Tsing, /The mushroom at -> the end of the world -on the possibility of life in capitalist ruins/ -> "We are stuck with the problem of living despite economic and -> ecological ruination….. Neither tales of progress nor of ruin tell us -> how to think about collaborative survival. It is time to pay attention -> to mushroom picking. Not that this will save us— but it might open our -> imaginations. " -> -> There is new relationships to be established, some disconnection to be -> made...... -> -> any takers? -> -> sl -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180619/9078695b/attachment.html> - - - -29.29 -[-empyre-] rehearsal of a network - [week 3] -OzawaToshiaki -<empyre@lists.cofa.unsw.edu.au> -Wed Jun 27 02:12:18 AEST 2018 -Using the turn in conversation for some (relevant) self promotion... - -http://mu.nl/nl/exhibitions/heather-dewey-hagborg-genomic-intimacy - -Speaking of relationships, a biochemist friend once confided her belief that love is all about negotiating the terms of control. How much is one willing to concede? How much can one insist on maintaining?... - -This perspective on intimacy didn’t feel right at the time but stuck with me. As the years pass, I grow more convinced in her assessment. In today’s genomic and big data world the importance of control issues within intimacy, intra and inter species, are no longer ignorable. - -Reading this thread made me connect the control conversation from years ago to my recently completed collaboration. So, thank you! - - - -ozawaToshiaki -Bern, Switzerland - -all typed with thumbs... - -> On Jun 18, 2018, at 4:37 PM, lizvlx <liz at ubermorgen.com> wrote: -> -> ----------empyre- soft-skinned space---------------------- -> 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 -> HELLO -> -> I dont know if you can hear me, I can hear you but I dont know if this is a good connection it keeps breaking o -> -> Thank you Shu Lea for the invite and I dare you I have read all the communication that has been going on and I am sure I did not at all understand it but then it is not understanding that I crave but inspirazione. -> I medias res. A topic to start from. -> -> 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 -> The network within me (cave: relates to immersive species and the before mentioned DNA fingerprints) -> I have a vast genetic network within me. -> -> 24% Celtic/Hallstatt -> 21% Greek -> 20% Eastern European -> 13% Scandinavian -> 06% Northern African -> 05% Italian -> 04% Finnish -> 03% Ashkenazi Jewish -> 02% West European -> 02% Central American -> 01% Nigerian -> -> I am many. I have gotten these results about 3 months ago. I am watching my relationship to far away netnodes of natures and cultures. I watched the GERMEX game yesterday knowing that I am I tiny bit Mexican too. Does it make a difference? Or is my love connection to Mexico more relevant? Or is there a love connection because of my genetic network? -> -> 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 -> What does it mean to be indigenous? (As my father is from the Hallstatt area my Celtic roots are my indigenous roots) -> I know I have never had any understanding of Western Europe and this mirrors in my genetic network. -> Being pregnant with my first child re-taught me what it feels like to be not-one — looking at my genetics I feel relieved to be not one but many. -> -> I am wondering how does my genetic intranet connect to the internet. -> -> I would like to discuss with you as DNA fingerprints were already mentioned before - the implications of this kind of DNA fingerprinting -> I would like to discuss with you about the immersiveness of our all genome -> I would like to discuss with you. -> -> As a note: immersive species might really be a problematic term (I guess the immersive species themselves would argue such) - but I do think that there are immersive predators - as pointed out with the island/cat example. -> -> 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 🐡 -> Postscript: I am not a theoreticienne - neither am I very versed in contemporary art practice besides my own. My influences are strictly Mozart Hallstatt Culture Marilyn Manson Rammstein KLF Kenyan Newspapers Montessori Macroeconomics Thinking Local Acting Global Norwegian TV Series Trees and Stones and https://youtu.be/awY1MRlMKMc. -> Postscript02: at UBERMORGEN we are currently working on making art for the alt.right. this is more bout undermining the current networks of the heartless psychopaths, we can talk bout that later if ya want. -> -> lizvlx -> _______________________________________________ -> empyre forum -> empyre at lists.artdesign.unsw.edu.au -> http://empyre.library.cornell.edu --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180626/f6957a01/attachment.html> - - - -29.30 -[-empyre-] rehearsal of a network - [week 3] -Aviva Rahmani -<empyre@lists.cofa.unsw.edu.au> -Wed Jun 27 03:03:34 AEST 2018 -Might I suggest that a better term than control might be to consider ecotones. In the natural environment, transitions between habitats aren’t rigid, albeit they do have boundaries, and even “controls (ie., predators, etc). The reason I suggest this exchange of terms is that in biological systems, those transitional boundaries or controls, are constantly shifting, negotiating with the agents that make up the prevailing or emergent systems, often in co-operation with the local mycillae. In an era of dramatic change, it is worth recalling that evolution requires adaptation, and that is an inexhorably negotiative process. - -Aviva Rahmani, PhD -www.ghostnets at ghostnets.com<http://www.ghostnets@ghostnets.com> -Watch ³Blued Trees²: https://vimeo.com/135290635 -www.gulftogulf.org<http://www.gulftogulf.org/> - - - -From: <empyre-bounces at lists.artdesign.unsw.edu.au> on behalf of OzawaToshiaki <t.ozawa at bokemono.com> -Reply-To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -Date: Tuesday, June 26, 2018 at 12:44 PM -To: soft_skinned_space <empyre at lists.artdesign.unsw.edu.au> -Subject: Re: [-empyre-] rehearsal of a network - [week 3] - -----------empyre- soft-skinned space---------------------- -_______________________________________________ -empyre forum -empyre at lists.artdesign.unsw.edu.au -http://empyre.library.cornell.edu --------------- next part -------------- -An HTML attachment was scrubbed... -URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/20180626/325a86da/attachment.html> - - - -30.0 +24.0 [-empyre-] 'real' networked art Anna Munster <empyre@lists.cofa.unsw.edu.au> @@ -16444,76 +9255,60 @@ URL: <http://lists.artdesign.unsw.edu.au/pipermail/empyre/attachments/2018062 In this chapter you marks a distinction between earlier network art (Bunting, Shuglin, odi.org et al) and the 'web 1.0' period during which there was a preoccupation with the medium of t e net itself among many artists (using the properties of html code etc) and today's networked culture in which everything is networked or rather the network is dispersed diffusely throughout all aspects of culture. Your position (sorry to simplify!) is that the reality of a networked world becomes a preoccupation itself, in fact a kind of preoccupation with the 'reality' of media. In turn, this leads to a set of cultural/artistic tactical manoeuvres: -"On the contrary, the fascination with the real in “reality” media, be it reality TV, amateur-generated content, or professional “art” is constructed around specific tactics: self-exposure, information visualization, the documentarian turn, remix, and participation." +"On the contrary, the fascination with the real in “reality” media, be it reality TV, amateur-generated content, or professional “art” is constructed around specific tactics: self-exposure, information visualization, the documentarian turn, remix, and participation." However, I 'd also point to the 'big' statement by net artists of the '90s encapsulated by jodi's comment: 'Net artists live on the net'.( that's a paraphrase btw). So, I'd contend that in fact this preoccupation with the 'real' of networking actually begins with these earlier artists and that it might be something of a false (although currently fashionable) position to institute too much of a break at least in terms of aesthetics between earlier and contemporary network cultures. Just wondering what your response to this might be... best -Anna - - - -A/Prof. Anna Munster -Director of Postgraduate Research (Acting) -Deputy Director Centre for Contemporary Art and Politics -School of Art History and Art Education -College of Fine Arts -UNSW -P.O. Box 259 -Paddington -NSW 2021 -612 9385 0741 (tel) -612 9385 0615(fax) -a.munster at unsw.edu.au - +Anna -30.1 +24.1 [-empyre-] 'real' networked art Simon Biggs <empyre@lists.cofa.unsw.edu.au> Tue Oct 13 21:34:00 EST 2009 -Hayles concept of Oborn digital¹ is useful in contextualising what Jodi -might have meant when they spoke of ³net.artists living on the net². Prior +Hayles concept of Oborn digital¹ is useful in contextualising what Jodi +might have meant when they spoke of ³net.artists living on the net². Prior to a certain point in time artists working with computers and associated communications technologies came to this practice from other media, employing frameworks and criteria imported from other contexts. At some point this changed and a generation of artists emerged who had always worked -with digital and networked media. This didn¹t happen in a simple linear +with digital and networked media. This didn¹t happen in a simple linear manner. Nor did developments occur at the same time, or in the same way, for the various aspects of what are now, but what were not previously, related media (computers and telecommuniciations only got substantially together in -the 1980¹s). +the 1980¹s). -There were a small number of artists working in the 1970¹s who started out -in their practice using digital systems, even a few in the 1960¹s. There -were, similarly, a small number of artists who emerged in the 80¹s who were -using networks from the start. Bunting is an example of this ­ although his +There were a small number of artists working in the 1970¹s who started out +in their practice using digital systems, even a few in the 1960¹s. There +were, similarly, a small number of artists who emerged in the 80¹s who were +using networks from the start. Bunting is an example of this ­ although his early network practices did not engage the internet but telephone networks. Paul Sermon is another (very different) example. However, the emergence of a -generation of network savvy artists, with a culture attached, didn¹t begin -until well into the 1990¹s. The associated buzz, involving the engagement of +generation of network savvy artists, with a culture attached, didn¹t begin +until well into the 1990¹s. The associated buzz, involving the engagement of theorists and cultural commentators, intensified after that time. In this -sense I¹d assess Varnelis¹s observation that these technologies ³cultural -implications (were) confined to niche realms for enthusiasts² more or less -correct ­ although I¹d move the dates back a little to the early 90¹s or -even the late 1980¹s and identify 1993 as they key year in terms of impact, +sense I¹d assess Varnelis¹s observation that these technologies ³cultural +implications (were) confined to niche realms for enthusiasts² more or less +correct ­ although I¹d move the dates back a little to the early 90¹s or +even the late 1980¹s and identify 1993 as they key year in terms of impact, when the first web browser (Mosaic) became publicly available. -There were a series of events and developments, in the late 1980¹s, when the -key players in what was to emerge in the 1990¹s, with net.art and related +There were a series of events and developments, in the late 1980¹s, when the +key players in what was to emerge in the 1990¹s, with net.art and related practices, started to meet, communicate directly with one another and inform -each other¹s work. It is no accident that many of these people were Eastern +each other¹s work. It is no accident that many of these people were Eastern or Central European or were based in what had been cold-war border cities, like Berlin and Ljubljana. A few of these artists did replay historical -tropes. Shulgin¹s playful refigurings of Suprematism is an example, although +tropes. Shulgin¹s playful refigurings of Suprematism is an example, although as much concerned with developing a commentary on his personal sense of national heritage at a time of social turbulence, post 1989, than formal art-historical deconstruction. It can be argued that the emergence of new medialities and formal frameworks are often associated with artists -revisiting the past. Picasso¹s confluence of Cubism and African art is +revisiting the past. Picasso¹s confluence of Cubism and African art is perhaps an example. Again, it would be dangerous to consider this as simply or even primarily formal aesthetic experiment. Picasso, like Shulgin, lived in a social and political context and he drew inspiration from the @@ -16524,14 +9319,14 @@ how fast things have changed and what seemed odd or futuristic to many until only a few years ago is now commonplace. There is a turbulence associated with that rate of change. -Varnelis¹s piece attempts to connect artists practice with digital networks -with examples of practice from a more mainstream art world (you can¹t get +Varnelis¹s piece attempts to connect artists practice with digital networks +with examples of practice from a more mainstream art world (you can¹t get more mainstream in the UK than the work of a Turner Prize winner). To some degree this approach is illuminating, allowing some novel connections to be -made. Zittel and Auerbach¹s work sits interestingly alongside Halley¹s or -Estes¹s. It is also clear that mainstream arts practice of the early +made. Zittel and Auerbach¹s work sits interestingly alongside Halley¹s or +Estes¹s. It is also clear that mainstream arts practice of the early post-modern period (1960-1980) was an influence on many artists who were -associated with the 1990¹s emergence of art practices situated within a +associated with the 1990¹s emergence of art practices situated within a networked cultural context. However, it is important to remember that many of those artists chose to @@ -16544,11 +9339,11 @@ artworld was/is composed of. This activity is traceable to earlier examples, some of which explicitly join up, with practitioners associated with artist run initiatives like The Kitchen and Film-makers Coop in New York or London Video Arts and Film-makers Coop in the UK (amongst many other actitivies -around the World during the 1960¹s and 70¹s) being part of the development -of the prototype digital and networked culture of the 1980¹s which Shulgin, +around the World during the 1960¹s and 70¹s) being part of the development +of the prototype digital and networked culture of the 1980¹s which Shulgin, Bunting and many others are associated with. This is arguably a stronger lineage of historical precedent than that which connects Peter Halley to -Josh On and in this sense Varnelis¹s piece risks being revisionist. But it +Josh On and in this sense Varnelis¹s piece risks being revisionist. But it can be hard to establish new historical connections without taking such a risk. @@ -16560,77 +9355,22 @@ Vuk Cosic is an example here, his provocations and interventions functioning as both critique of the dominance of market thinking in the creative arts and an attempt to grab some of the associated limelight. He played this double edged sword with some skill. It is perhaps too early to evaluate -whether Shulgin¹s more recent work with easy to consume electronic multiples -is as clever and destabilising as Cosic¹s practices (he made sense of what -he was doing by Oretiring¹ young) or whether he risks repeating the failures -of Kasemir Malevich, the Suprematist Shulgin parodied in his Oform art¹ +whether Shulgin¹s more recent work with easy to consume electronic multiples +is as clever and destabilising as Cosic¹s practices (he made sense of what +he was doing by Oretiring¹ young) or whether he risks repeating the failures +of Kasemir Malevich, the Suprematist Shulgin parodied in his Oform art¹ works, who, after a blazing period of creativity retreated into politically-correct folk-art. -To me this sort of art-historical connection evidences a Oborn digital¹ art -criticism which Varnelis¹s essay perhaps fails to do. +To me this sort of art-historical connection evidences a Oborn digital¹ art +criticism which Varnelis¹s essay perhaps fails to do. Best -Simon - - -Simon Biggs - -Research Professor -edinburgh college of art -s.biggs at eca.ac.uk -www.eca.ac.uk - -Creative Interdisciplinary Research into CoLlaborative Environments -www.eca.ac.uk/circle/ - -simon at littlepig.org.uk -www.littlepig.org.uk -AIM/Skype: simonbiggsuk - - - -From: Anna Munster <a.munster at unsw.edu.au> -Reply-To: soft_skinned_space <empyre at lists.cofa.unsw.edu.au> -Date: Tue, 13 Oct 2009 20:08:24 +1100 -To: "empyre at lists.cofa.unsw.edu.au" <empyre at lists.cofa.unsw.edu.au> -Subject: [-empyre-] 'real' networked art - -In this chapter you marks a distinction between earlier network art -(Bunting, Shuglin, odi.org et al) and the 'web 1.0' period during which -there was a preoccupation with the medium of t e net itself among many -artists (using the properties of html code etc) and today's networked -culture in which everything is networked or rather the network is dispersed -diffusely throughout all aspects of culture. Your position (sorry to -simplify!) is that the reality of a networked world becomes a preoccupation -itself, in fact a kind of preoccupation with the 'reality' of media. In -turn, this leads to a set of cultural/artistic tactical manoeuvres: - -"On the contrary, the fascination with the real in ³reality² media, be it -reality TV, amateur-generated content, or professional ³art² is constructed -around specific tactics: self-exposure, information visualization, the -documentarian turn, remix, and participation." - -However, I 'd also point to the 'big' statement by net artists of the '90s -encapsulated by jodi's comment: 'Net artists live on the net'.( that's a -paraphrase btw). So, I'd contend that in fact this preoccupation with the -'real' of networking actually begins with these earlier artists and that it -might be something of a false (although currently fashionable) position to -institute too much of a break at least in terms of aesthetics between -earlier and contemporary network cultures. - - -Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201 - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: https://mail.cofa.unsw.edu.au/pipermail/empyre/attachments/20091013/71fef060/attachment.html - +Simon -30.2 +24.2 [-empyre-] 'real' networked art Kazys Varnelis <empyre@lists.cofa.unsw.edu.au> @@ -16655,7 +9395,7 @@ A sociological history examining this phenomenon would be interesting for someone to take on, especially if it was compared to the condition in architecture. During the 1990s, due to its early embrace by leaders in the academy, digital architecture became precisely what many new -media artists would have fled from, a playland for the élite. In my +media artists would have fled from, a playland for the élite. In my case, the result was that I stayed away from writing about architecture and digital media for a good decade out of dismay at what had happened to it. Critical or progressive practices in that field @@ -16692,40 +9432,26 @@ be calling for. Best, - - - -Kazys - - - - -Kazys Varnelis -kv2157 at columbia.edu - -Director, Network Architecture Lab -http://networkarchitecturelab.org -http://varnelis.net - -Graduate School of Architecture, Planning, and Preservation -Columbia University -Studio-X Research Facility -180 Varick St -Suite 1610 -New York, NY 10014 - - - - - - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: https://mail.cofa.unsw.edu.au/pipermail/empyre/attachments/20091015/beba2125/attachment.html - +Kazys -30.3 +24.2-p.199 +[-empyre-] 'real' networked art +Paul Woodrow +<empyre@lists.cofa.unsw.edu.au> +Wed Oct 14 02:15:22 EST 2009 +Julie +here is a chapter from Anna Munster's new book +its all about ...embodied perception !!!! + +http://varnelis.networkedbook.org/the-immediated-now-network-culture-and-the-poetics-of-reality/ + +its on that site that I sent under Anna Munster + +Paul + + +24.3 [-empyre-] 'real' networked art Anna Munster <empyre@lists.cofa.unsw.edu.au> @@ -16734,73 +9460,10 @@ URL: https://mail.cofa.unsw.edu.au/pipermail/empyre/attachments/20091015/beba212 I see that you have shifted a little in your 'categories' from your chapter (where you move from high-low to cool not cool via Liu), to the idea of internal vs external genealogies of networked art and culture. I think this is potentially a very rich shift. But I also wonder if we aren't actually fragmenting into more and more 'internal' networked scenes both culturally and artistically. So, for example, the aesthetics and textuality of YouTube is very different from Twitter and the cultural scenes there quite diverse. hence we have potential internal network genealogies everywhere. The Web 2.0 moniker may turn out ot be quite useless...however, a key unifier across these and other contemporary online environments is their performativity/celebrity. Would this be a distinguishing factor between web 1.0 and web 2.0 and beyond for you? best -Anna - -A/Prof. Anna Munster -Director of Postgraduate Research (Acting) -Deputy Director Centre for Contemporary Art and Politics -School of Art History and Art Education -College of Fine Arts -UNSW -P.O. Box 259 -Paddington -NSW 2021 -612 9385 0741 (tel) -612 9385 0615(fax) -a.munster at unsw.edu.au -________________________________________ -From: empyre-bounces at lists.cofa.unsw.edu.au [empyre-bounces at lists.cofa.unsw.edu.au] On Behalf Of Kazys Varnelis [kazys at varnelis.net] -Sent: Friday, 16 October 2009 1:44 AM -To: soft_skinned_space -Subject: Re: [-empyre-] 'real' networked art - -Hi Simon, - -Thanks for the comments. I wanted to make a couple of points of clarification, since it seems like you misunderstood what I was after. - -First, when I write about early work in new media experiencing "marginalization by established art institutions," such marginalization works both ways. - -Many of the early practitioners felt marginalized or excluded by a hierarchical and incestuous world of art in the academy and the market from day one. So yes, as you write, many of the artists sought alternate places to operate from as an alternative to the artworld, not just in pursuit of new media. But looking at the early history of networked art wasn't my goal, so I condensed. - -A sociological history examining this phenomenon would be interesting for someone to take on, especially if it was compared to the condition in architecture. During the 1990s, due to its early embrace by leaders in the academy, digital architecture became precisely what many new media artists would have fled from, a playland for the élite. In my case, the result was that I stayed away from writing about architecture and digital media for a good decade out of dismay at what had happened to it. Critical or progressive practices in that field have only developed in the last decade, often drawing on the work being done in the art world more than on architecture. - -Now, apart from my argument about immediated reality, my fundamental point in this essay is that we need to think hard about what writing about "networked" art or "new media" art means today and how useful such distinctions are anymore. Genealogies that look inward, are no longer adequate to explain contemporary work. Hayles's "Born Digital" needs to be revised for the present day. The current generation hardly knows a world that wasn't digital and work that is intentionally limited to digital media is often as backwards looking as work that is limited to traditional media. Take Hayles's writing about hypertext fiction. Ok, hypertext fiction is great, it's revolutionary. But how many works of hypertext fiction have you read lately? I'd venture that few of us have read any in the last decade. But how many works of fiction in the last decade have been written on networked computers? Is the latter simply inconsequential? Or is the latter evidence of a deeper form of being "born digital," that no longer thinks of the digital as somehow different or autonomous? - -This is what I'm calling for when I suggest that we need to look at network culture in the broadest sense, as a cultural moment, not as a product of technology, but rather as the product of a host of social, economic, and cultural changes. Of course you can't get much more establishment in the UK than winning Turner Prize and that Leckey presented a video lecture on his work on the Tate site informed simultaneously by music videos and YouTube webcam videos is precisely why we need to expand the way we look at this material, rather than producing more internalized genealogies, which is what I you seem to be calling for. - -Best, - - - - -Kazys - - - - -Kazys Varnelis -kv2157 at columbia.edu<mailto:kv2157 at columbia.edu> - -Director, Network Architecture Lab -http://networkarchitecturelab.org -http://varnelis.net - -Graduate School of Architecture, Planning, and Preservation -Columbia University -Studio-X Research Facility -180 Varick St -Suite 1610 -New York, NY 10014 - - - - - - - +Anna -30.4 +24.4 [-empyre-] 'real' networked art Kazys Varnelis <empyre@lists.cofa.unsw.edu.au> @@ -16814,146 +9477,10 @@ reflections of the same transition to network culture. Best, -Kazys - - -On Oct 15, 2009, at 9:14 PM, Anna Munster wrote: - -> Hi Kazys, -> I see that you have shifted a little in your 'categories' from your -> chapter (where you move from high-low to cool not cool via Liu), to -> the idea of internal vs external genealogies of networked art and -> culture. I think this is potentially a very rich shift. But I also -> wonder if we aren't actually fragmenting into more and more -> 'internal' networked scenes both culturally and artistically. So, -> for example, the aesthetics and textuality of YouTube is very -> different from Twitter and the cultural scenes there quite diverse. -> hence we have potential internal network genealogies everywhere. The -> Web 2.0 moniker may turn out ot be quite useless...however, a key -> unifier across these and other contemporary online environments is -> their performativity/celebrity. Would this be a distinguishing -> factor between web 1.0 and web 2.0 and beyond for you? -> -> best -> Anna -> -> A/Prof. Anna Munster -> Director of Postgraduate Research (Acting) -> Deputy Director Centre for Contemporary Art and Politics -> School of Art History and Art Education -> College of Fine Arts -> UNSW -> P.O. Box 259 -> Paddington -> NSW 2021 -> 612 9385 0741 (tel) -> 612 9385 0615(fax) -> a.munster at unsw.edu.au -> ________________________________________ -> From: empyre-bounces at lists.cofa.unsw.edu.au [empyre- -> bounces at lists.cofa.unsw.edu.au] On Behalf Of Kazys Varnelis -> [kazys at varnelis.net] -> Sent: Friday, 16 October 2009 1:44 AM -> To: soft_skinned_space -> Subject: Re: [-empyre-] 'real' networked art -> -> Hi Simon, -> -> Thanks for the comments. I wanted to make a couple of points of -> clarification, since it seems like you misunderstood what I was after. -> -> First, when I write about early work in new media experiencing -> "marginalization by established art institutions," such -> marginalization works both ways. -> -> Many of the early practitioners felt marginalized or excluded by a -> hierarchical and incestuous world of art in the academy and the -> market from day one. So yes, as you write, many of the artists -> sought alternate places to operate from as an alternative to the -> artworld, not just in pursuit of new media. But looking at the early -> history of networked art wasn't my goal, so I condensed. -> -> A sociological history examining this phenomenon would be -> interesting for someone to take on, especially if it was compared to -> the condition in architecture. During the 1990s, due to its early -> embrace by leaders in the academy, digital architecture became -> precisely what many new media artists would have fled from, a -> playland for the élite. In my case, the result was that I stayed -> away from writing about architecture and digital media for a good -> decade out of dismay at what had happened to it. Critical or -> progressive practices in that field have only developed in the last -> decade, often drawing on the work being done in the art world more -> than on architecture. -> -> Now, apart from my argument about immediated reality, my fundamental -> point in this essay is that we need to think hard about what writing -> about "networked" art or "new media" art means today and how useful -> such distinctions are anymore. Genealogies that look inward, are no -> longer adequate to explain contemporary work. Hayles's "Born -> Digital" needs to be revised for the present day. The current -> generation hardly knows a world that wasn't digital and work that is -> intentionally limited to digital media is often as backwards looking -> as work that is limited to traditional media. Take Hayles's writing -> about hypertext fiction. Ok, hypertext fiction is great, it's -> revolutionary. But how many works of hypertext fiction have you read -> lately? I'd venture that few of us have read any in the last decade. -> But how many works of fiction in the last decade have been written -> on networked computers? Is the latter simply inconsequential? Or is -> the latter evidence of a deeper form of being "born digital," that -> no longer thinks of the digital as somehow different or autonomous? -> -> This is what I'm calling for when I suggest that we need to look at -> network culture in the broadest sense, as a cultural moment, not as -> a product of technology, but rather as the product of a host of -> social, economic, and cultural changes. Of course you can't get much -> more establishment in the UK than winning Turner Prize and that -> Leckey presented a video lecture on his work on the Tate site -> informed simultaneously by music videos and YouTube webcam videos is -> precisely why we need to expand the way we look at this material, -> rather than producing more internalized genealogies, which is what I -> you seem to be calling for. -> -> Best, -> -> -> -> -> Kazys -> -> -> -> -> Kazys Varnelis -> kv2157 at columbia.edu<mailto:kv2157 at columbia.edu> -> -> Director, Network Architecture Lab -> http://networkarchitecturelab.org -> http://varnelis.net -> -> Graduate School of Architecture, Planning, and Preservation -> Columbia University -> Studio-X Research Facility -> 180 Varick St -> Suite 1610 -> New York, NY 10014 -> -> -> -> -> -> -> _______________________________________________ -> empyre forum -> empyre at lists.cofa.unsw.edu.au -> http://www.subtle.net/empyre - --------------- next part -------------- -An HTML attachment was scrubbed... -URL: https://mail.cofa.unsw.edu.au/pipermail/empyre/attachments/20091015/4d3d39ed/attachment.html - +Kazys -30.5 +24.5 [-empyre-] 'real' networked art Anna Munster <empyre@lists.cofa.unsw.edu.au> @@ -16972,7 +9499,7 @@ Anna -30.6 +24.6 [-empyre-] 'real' networked art Will Pappenheimer <empyre@lists.cofa.unsw.edu.au> @@ -16992,48 +9519,10 @@ outlined I think a very important theoretical model for net art in relational aesthetics. Painting makes no excuses for self-reference since it is, along with other media, firmly in the elite. -Will Pappenheimer -Assistant Professor, Digital Art -Pace University, New York -wpappenheimer at pace.edu -http://www.willpap-projects.com -cell: 347-526-5302 - - - - -On Oct 16, 2009, at 8:24 PM, Anna Munster wrote: - -> -> Ok - got it! -> Kazys wrote: -> -> <Both High-low/internal vs. Cool/Uncool/transdisciplinarity are -> reflections of the same transition to network culture.> -> -> however, I would still ant to maintain that relative to the period -> in which they ere working, '90s net artists were not necessarily -> elite. I don't think small or niche = elite. The question of access -> and mass has taken on a renewed medial push in the age of 'hits' and -> their registering. This links up to Anne's points about the ways in -> which search engines produce forms of identity. Likewise algorithms. -> -> One thing we might be forgetting about that early net art was its -> internationalism - alot of it came out of eastern europe and the -> balkans especialy and was very much connected with early net radio -> and its relations to Dutch net culture. A number of people, -> Stallabrass included, have remarked on the net art movement as one -> of the truly international art movements of the late 20th century. -> For me, this alone takes that work out of some 'art ghetto' and -> makes it concerned with a lot more than avant-gardism... -> -> best -> Anna - - +Will Pappenheimer -30.7 +24.7 [-empyre-] 'real' networked art Timothy Murray <empyre@lists.cofa.unsw.edu.au> @@ -17072,52 +9561,10 @@ On Oct 16, 2009, at 8:24 PM, Anna Munster wrote: Best, -Tim - ->Ok - got it! ->Kazys wrote: -> -><Both High-low/internal vs. Cool/Uncool/transdisciplinarity are ->reflections of the same transition to network culture.> -> ->however, I would still ant to maintain that relative to the period ->in which they ere working, '90s net artists were not necessarily ->elite. I don't think small or niche = elite. The question of access ->and mass has taken on a renewed medial push in the age of 'hits' and ->their registering. This links up to Anne's points about the ways in ->which search engines produce forms of identity. Likewise algorithms. -> ->One thing we might be forgetting about that early net art was its ->internationalism - alot of it came out of eastern europe and the ->balkans especialy and was very much connected with early net radio ->and its relations to Dutch net culture. A number of people, ->Stallabrass included, have remarked on the net art movement as one ->of the truly international art movements of the late 20th century. ->For me, this alone takes that work out of some 'art ghetto' and ->makes it concerned with a lot more than avant-gardism... -> ->best ->Anna ->_______________________________________________ ->empyre forum ->empyre at lists.cofa.unsw.edu.au ->http://www.subtle.net/empyre - - --- -Timothy Murray -Director, Society for the Humanities -http://www.arts.cornell.edu/sochum/ -Curator, The Rose Goldsen Archive of New Media Art, Cornell Library -http://goldsen.library.cornell.edu -Professor of Comparative Literature and English -A. D. White House -Cornell University -Ithaca, New York 14853 - +Tim -30.8 +24.8 [-empyre-] 'real' networked art Ian Clothier <empyre@lists.cofa.unsw.edu.au> @@ -17132,7 +9579,7 @@ An abbreviated wish list for context, which will be presented more fully at re:l Much context to date is dependent on the media that is under discussion however there must be a context on practice that is not limited by media. Everyone knows that net.art is not a category like 'sculpture' but we currently persist in media associated context. 3. Context that is not necessarily anchored in a sense of place. -This is necessary because media practice is occurring within, beyond and in-between the art/museum institution and the broader spacetime of social communication media and it’s adjuncts. Social communication media are driving creative possibilities rather than vice versa. +This is necessary because media practice is occurring within, beyond and in-between the art/museum institution and the broader spacetime of social communication media and it’s adjuncts. Social communication media are driving creative possibilities rather than vice versa. 4. Context that is relevant multi-culturally. Really important in global context, many are all a little tired of Western only context. @@ -17163,194 +9610,15 @@ Curt Cloninger posted to the new media curating list a possible framework based Best -Ian M Clothier -Director -Intercreate Research Centre -intercreate.org -ianclothier.com - - - ------Original Message----- -From: empyre-bounces at lists.cofa.unsw.edu.au on behalf of Timothy Murray -Sent: Sat 10/17/2009 4:58 PM -To: soft_skinned_space -Subject: Re: [-empyre-] 'real' networked art - ->Thanks, Anna, for stressing the internationalism of 'early' net art, ->particularly its Eastern European and Balkan flavor. Your post made ->me think fondly of a project I did in Slovenia with Teo Spiller in ->99-2000 for INFOS 2000, for which we ran an international net.art ->competition. I believe that I've posted before on this, but the ->conceit was that artists had to agree to permit their work to be ->copied and disseminated off-line on CD-Roms that were distributed ->for free both to Slovenian technology fair, INFOS 2000, and to ->international alternative media centers (with the aim of reaching ->audiences lacking home high speed connections). This ended up ->being a very interesting experiment that generated widespread ->international participation. There's still our account of this on ->http://art.teleportacia.org/kunstkammer/webart.html. - - -> "Internationalism" was also the driving force of CTHEORY ->MULTIMEDIA. I don't think anyone working in these venues were ->particularly worried about establishing an art ghetto. Rather there ->was extreme enthusiasm about working outside of the conventional ->gallery-museum network with the hope of reaching an alternative ->audience. Of course things have become more conventionalized over ->time, but generally the artists working on these exhibitional ->efforts tended to be committed to the kind of collaboration that ->typifies -empyre-. - -> Interestingly, this is the same spirit that has grown the Rose ->Goldsen Archive of New Media Art, with the majority of the general ->'collection' having come voluntarily from international artists ->committed to the communal notion of a new media archive. I like to ->think that the spirit lives on. - - -Best, - -Tim - ->Ok - got it! ->Kazys wrote: -> -><Both High-low/internal vs. Cool/Uncool/transdisciplinarity are ->reflections of the same transition to network culture.> -> ->however, I would still ant to maintain that relative to the period ->in which they ere working, '90s net artists were not necessarily ->elite. I don't think small or niche = elite. The question of access ->and mass has taken on a renewed medial push in the age of 'hits' and ->their registering. This links up to Anne's points about the ways in ->which search engines produce forms of identity. Likewise algorithms. -> ->One thing we might be forgetting about that early net art was its ->internationalism - alot of it came out of eastern europe and the ->balkans especialy and was very much connected with early net radio ->and its relations to Dutch net culture. A number of people, ->Stallabrass included, have remarked on the net art movement as one ->of the truly international art movements of the late 20th century. ->For me, this alone takes that work out of some 'art ghetto' and ->makes it concerned with a lot more than avant-gardism... -> ->best ->Anna ->_______________________________________________ ->empyre forum ->empyre at lists.cofa.unsw.edu.au ->http://www.subtle.net/empyre - - --- -Timothy Murray -Director, Society for the Humanities -http://www.arts.cornell.edu/sochum/ -Curator, The Rose Goldsen Archive of New Media Art, Cornell Library -http://goldsen.library.cornell.edu -Professor of Comparative Literature and English -A. D. White House -Cornell University -Ithaca, New York 14853 -_______________________________________________ -empyre forum -empyre at lists.cofa.unsw.edu.au -http://www.subtle.net/empyre - - - - --------------- next part -------------- -A non-text attachment was scrubbed... -Name: not available -Type: application/ms-tnef -Size: 6688 bytes -Desc: not available -Url : https://mail.cofa.unsw.edu.au/pipermail/empyre/attachments/20091017/0073311e/attachment.bin - +Ian M Clothier -30.2 -[-empyre-] 'real' networked art -Paul Woodrow -<empyre@lists.cofa.unsw.edu.au> -Wed Oct 14 02:15:22 EST 2009 -Julie -here is a chapter from Anna Munster's new book -its all about ...embodied perception !!!! - -http://varnelis.networkedbook.org/the-immediated-now-network-culture-and-the-poetics-of-reality/ - -its on that site that I sent under Anna Munster - -Paul -On 13-Oct-09, at 3:08 AM, Anna Munster wrote: - -> Kazys, I'd like to move now to some more engagement with your actual -> chapter contribution: 'The Immediated Now: Network Culture and the -> Poetics of Reality' (http://varnelis.networkedbook.org/the-immediated-now-network-culture-and-the-poetics-of-reality/ -> ) -> -> In this chapter you marks a distinction between earlier network art -> (Bunting, Shuglin, odi.org et al) and the 'web 1.0' period during -> which there was a preoccupation with the medium of t e net itself -> among many artists (using the properties of html code etc) and -> today's networked culture in which everything is networked or rather -> the network is dispersed diffusely throughout all aspects of -> culture. Your position (sorry to simplify!) is that the reality of a -> networked world becomes a preoccupation itself, in fact a kind of -> preoccupation with the 'reality' of media. In turn, this leads to a -> set of cultural/artistic tactical manoeuvres: -> -> "On the contrary, the fascination with the real in “reality” media, -> be it reality TV, amateur-generated content, or professional “art” -> is constructed around specific tactics: self-exposure, information -> visualization, the documentarian turn, remix, and participation." -> -> However, I 'd also point to the 'big' statement by net artists of -> the '90s encapsulated by jodi's comment: 'Net artists live on the -> net'.( that's a paraphrase btw). So, I'd contend that in fact this -> preoccupation with the 'real' of networking actually begins with -> these earlier artists and that it might be something of a false -> (although currently fashionable) position to institute too much of a -> break at least in terms of aesthetics between earlier and -> contemporary network cultures. -> -> Just wondering what your response to this might be... -> -> best -> Anna -> -> -> -> A/Prof. Anna Munster -> Director of Postgraduate Research (Acting) -> Deputy Director Centre for Contemporary Art and Politics -> School of Art History and Art Education -> College of Fine Arts -> UNSW -> P.O. Box 259 -> Paddington -> NSW 2021 -> 612 9385 0741 (tel) -> 612 9385 0615(fax) -> a.munster at unsw.edu.au -> _______________________________________________ -> empyre forum -> empyre at lists.cofa.unsw.edu.au -> http://www.subtle.net/empyre - - - - -31.0 +25.0 <nettime> The State of Networking (with Florian Schneider) geert lovink nettime-l@bbs.thing.net Sun, 29 Feb 2004 09:52:38 +0100 - -Notes on the State of Networking +Notes on the State of Networking By Geert Lovink and Florian Schneider @@ -17579,28 +9847,15 @@ requires public awareness; it also needs 'best practices' stories of those who stood up and actually tore up contracts. A critical mass of IP- refuseniks will only come into being if such individual stories can find the public forums and inspire people to say no. Otherwise it will remain -everyone's individual problem. - - - - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +everyone's individual problem. -31.1 +25.1 Re: <nettime> The State of Networking (with Florian Schneider) Benjamin Geer nettime-l@bbs.thing.net Sun, 29 Feb 2004 11:50:15 +0000 - -geert lovink wrote: +geert lovink wrote: > After an exciting first phase of introductions and > debates, networks are put to the test: either they transform into a body > that is capable to act, or they remain stable on a flatline of information @@ -17617,24 +9872,15 @@ to do -- and then decide which tools (software, networks, organisational processes) could help you do that work. *Then* set up the tools and start using them. -Ben - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Ben -31.2 +25.2 Re: <nettime> The State of Networking (with Florian Schneider) auskadi {AT} tvcabo.co.mz nettime-l@bbs.thing.net Sun, 29 Feb 2004 16:33:01 +0100 - -Benjamin Geer wrote: +Benjamin Geer wrote: >geert lovink wrote: > @@ -17667,30 +9913,15 @@ and cease to be "constituent". I am thinking out loud here on nettime. -Martin - - --- -"the riddle which man must solve, he can only solve in being, in -being what he is and not something else...." - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +Martin -31.3 +25.3 FW: <nettime> The State of Networking (with Florian Schneider) Michael Gurstein nettime-l@bbs.thing.net Sun, 29 Feb 2004 11:55:38 -0500 - - -Interesting piece Geert and Florian... +Interesting piece Geert and Florian... Right question/wrong answer... @@ -17715,37 +9946,7 @@ As the National Networks Association so aptly puts it, networks don't (kill/empower/enrich... take your pick...), its what is done with them by the people who use them... -MG - ------Original Message----- -From: nettime-l-request {AT} bbs.thing.net -[mailto:nettime-l-request {AT} bbs.thing.net] On Behalf Of geert lovink -Sent: Sunday, February 29, 2004 3:53 AM -To: Nettime-l -Subject: <nettime> The State of Networking (with Florian Schneider) - - -Notes on the State of Networking - -By Geert Lovink and Florian Schneider - -February 2004 - -(Written for the free theory paper Make World #4, printed in 10,000 -copies and distributed at the Neuro-Networking in Europe-festival in -Munich. URL: www.makeworlds.org). - - -SNIP / nettime-l mod - - -# distributed via <nettime>: no commercial use without permission -# <nettime> is a moderated mailing list for net criticism, -# collaborative text filtering and cultural politics of the nets -# more info: majordomo {AT} bbs.thing.net and "info nettime-l" in the msg body -# archive: http://www.nettime.org contact: nettime {AT} bbs.thing.net - - +MG \ No newline at end of file