I must be missing something, empyreans.... I am trying to refer to the archives for some projects and I cannot find the link to our archives.. Can anyone help with the updated link?
Christina http:///christinamcphee.net On Oct 23, 2012, at 6:00 PM, empyre-requ...@lists.cofa.unsw.edu.au wrote: > Send empyre mailing list submissions to > empyre@lists.cofa.unsw.edu.au > > To subscribe or unsubscribe via the World Wide Web, visit > http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre > or, via email, send a message with subject or body 'help' to > empyre-requ...@lists.cofa.unsw.edu.au > > You can reach the person managing the list at > empyre-ow...@lists.cofa.unsw.edu.au > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of empyre digest..." > > > Today's Topics: > > 1. week four: Pain, Suffering, and Death in the Virtual > (Alan Sondheim) > 2. Re: night sea crossing 3 + 4 (simon) > 3. comment relating to Johannes' night sea crossing 4 > (Alan Sondheim) > 4. Re: night sea crossing 5 / Pequenas frestas de ficc??o sobre > realidade insistente (Johannes Birringer) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Mon, 22 Oct 2012 21:29:30 -0400 (EDT) > From: Alan Sondheim <sondh...@panix.com> > To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> > Subject: [-empyre-] week four: Pain, Suffering, and Death in the > Virtual > Message-ID: <alpine.neb.2.00.1210222123440.9...@panix3.panix.com> > Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed > > > > The fourth week of October's -empyre- discussion will start tomorrow, > continuing with the topic of Pain, Suffering, and Death in the Real and > Virtual. The guest will be Maria Damon. Her biographical information is > below. I've followed Maria's work for a long time, and it has always > amazed me; it has a poetics all its own, brilliant and surprising. > > - Alan > > Week 4 - Maria Damon (US) > > Maria Damon teaches poetry and poetics at the University of Minnesota. She > is the author of The Dark End of the Street: Margins in American Vanguard > Poetry and Postliterary America: From Bagel Shop Jazz to Micropoetries, > co-author of several books of poetry and online projects with mIEKAL aND > (Literature Nation, Eros/ion, pleasureTEXTpossession, E.n.t.r.a.n.c.e.d) > and one with Jukka-Pekka Kervinen (Door Marked X), and co-editor, with Ira > Livingston, of Poetry and Cultural Studies: A Reader. > > > > ------------------------------ > > Message: 2 > Date: Tue, 23 Oct 2012 13:34:06 +1300 > From: simon <s...@clear.net.nz> > To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> > Subject: Re: [-empyre-] night sea crossing 3 + 4 > Message-ID: <5085e5fe.2040...@clear.net.nz> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > On 22/10/12 17:10, Alan Sondheim wrote: Celan, an inertness or silence > that's uncanny. > > isn't Celan's speaking 'uncanny'? 'uncanny' is not the word. The word > will have the smell of almonds and bite like teeth. > > But that the word can, is uncanny - can as in a meditation of Nietzsche > be untimely - can do. Even when it just won't do. > > As Adorno said it could, no longer. Perhaps it was this episode more > than any other post war which caused Celan the greatest anguish. > > Beckett's characters, as Deleuze points out, continue when they can no > longer. Beyond exhaustion. Beyond the exhaustion of language. Which, for > Deleuze, is also beyond the exhaustion of consciousness. Or is that > attention? > > What struck me in the Abramovic movie was how common pain is. A common > sense. The habitus you refer to, Alan? And then that there is this > mirror play of fear on the surface which all too readily succumbs to the > popular depth of a particular pain. > > Speaking personally, I remember reading Canetti and nightmares that > wouldn't leave about being two-dimensional. The fear grew over many > years into an outright hostility towards representation particularly > where the depths summoned up by pain were concerned. > > I'm too thin, as David Byrne sings. > > I regret the interpretation of Celan that reads his poetry into its > aporias. With Anne Carson, I think of him as a lapidary writer, incising > at great effort words into warm stone. > > Exhausted. She can't go on. She goes on... > > Best, > > Simon Taylor > > www.squarewhiteworld.com > > > ------------------------------ > > Message: 3 > Date: Tue, 23 Oct 2012 04:02:28 -0400 (EDT) > From: Alan Sondheim <sondh...@panix.com> > To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> > Subject: [-empyre-] comment relating to Johannes' night sea crossing > 4 > Message-ID: <alpine.neb.2.00.1210230400450.23...@panix3.panix.com> > Content-Type: TEXT/PLAIN; format=flowed; charset=US-ASCII > > > -- I wrote this text for Foofwa d'Imobilite's Involuntaries, which for me > were part of the inspiration for this month's topic. The Involuntaries > (with Foofwa, Vea Lucca, and myself) are at > http://foofwa.com/productions/video/choreiagraphies.html > and I thought this works in well with Johannes' comments, and issues of > real/virtual pain and embodiment. > > I do hope others will participate with Maria Damon's contributions, > beginning today. > > - Alan > > Breaking New Ground > > all circumstances are extenuating. > > "if you want to understand what they're about, perhaps these works will > open up the vast chasm of comprehension on the edge of falling apart - I > can't think of any better pieces in this regard, and, for that matter, in > the sheer beauty of fractured movement" > > works based on choreia, return, withdrawal from broken edges (before one > is cut) (before the sound loses its grasp) (before one is cut out (of the > world) (of your acquaintance) (your grasp) (your body) (of your body my > own)). > > how does one write or circumscribe the body of movement within horizons > defined by mappings of hyperbolic geometry in the circle? the edge isn't > just asymptotic; from the outside, it's a bad pill. what looks like chance > is a battlefield; what looks determined is incandescent birth. > > "the battlefield is your last chance of being-alive, just as your birth is > your first-chance of dying." > > there are so many things these movements and sounds are not: listing > narrows sublimity: just look, it's almost drained away. think of dance as > a draining, symptom as style, medication-technique, how to get out of the > hospital. > > don't follow or recognize avatars, don't follow or recognize symptoms. > they start with dim memories of body, with landscapes that accompany us, > we're hounded. > > we're hounded by death, but we're also hounded by disease, troubles, > fevers, forgetfulness, wrath, rage, ecstasy, visions, poverty, money, > obligations, lovers, ennui, hallucinations, speed, crime, frustration, > cataclysm, heat, cold, hunger, thirst, nightmares, mutilations, panic, > neuroses, economies of attention, economies of the body, excretions, > garbage, wounds, scars, allergic reactions, insect bites, age, bad > eyesight, bad hearing, shudderings, shiverings, fear, belongings, > jealousy, loathing, disgust, addictions. > > the playing-field of hounding, playing-field of the hounded. one hounds, > is hounded; the hounded hounds, hounding is hounded. > > or like this: playing-field of haunting, of the haunted. one haunts, is > haunted; the haunted haunts, haunting is haunted. "these texts, they are > haunted." > > if i write this sentence, thus; if i write this sentence beneath or within > the sign of fever, migraine, incipient diabetes, tumors malign-benign. if > i write this sentence beneath the symbolic of medication, bandaging, > radiation treatment, dialysis. if i write this sentence gagged and > splayed. > > if i write this sentence to control you, if i write this sentence under > your control. the order to work: persevere. > > to persevere, endure, maenad-dance of self-devouring, maenad-music of > self-control. how can that be, except to ensure that the beat is periodic, > that repetition hungers. the maenad feeds, hungers for repetition, > desecrates it (the repeat-ing). they passed it on so far down the line > that gender-sex and sex-gender change. they passed it down farther. > > Who were they? Who's haunting us? > > text by Alan Sondheim > > > > ------------------------------ > > Message: 4 > Date: Tue, 23 Oct 2012 19:45:17 +0100 > From: Johannes Birringer <johannes.birrin...@brunel.ac.uk> > To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au> > Subject: Re: [-empyre-] night sea crossing 5 / Pequenas frestas de > ficc??o sobre realidade insistente > Message-ID: > <DF657B70CB20304DB745D84933F94B1E0253B802DC@v-exmb01.academic.windsor> > Content-Type: text/plain; charset="utf-8" > > dear soft_skinned all, > >>> Schwarze Milch der Fr?he wir trinken dich nachts << >>> ?wir trinken dich mittags der Tod ist ein Meister aus Deutschland<< > > thank you moderators for inviting me here, and i will leave the week now with > a feeling of awe, at the responses coming in today, the > poetic response on what language can or can not do, what Celan offers, > offered here by Simon, which made me go back to the "Todesfuge" (Death Fugue) > back to the words "...he orders us strike up and play for the dance..." and > back to Adorno's strange comment about > what [poetry? dance?] is no more, no longer possible after the Holocaust. > Yes, it could not longer, and yes it could. > > You could be very right in suggesting that pain is very common, a common > sense, and yet in the Abramovic movie is is made operatic, absurd in places. > This too, perhaps, is necessary. > > I then watched the dance/video work Alan linked: > > Choreiagraphies > Involuntaries 1-7 > > and it is haunting, strange, awkward, beautiful, intense, in its raw, > unadorned, naked distressedness and beauty > and i also find consolation, humor (in the very odd pairing of Foofwa > d?Imobilit? and Vea Lucca, with Sondheim the stoic musician > in the middle, to the side, in the back, near; there is an absolute > disconventional or an-aesthetic of working at work here, an articulation > that gets under the skin precisely because it seems as if the (male) body is > jerked and dispersed and controlled by something > or other (not "choreography" for sure), letting is happen and even enjoying > it, while it (in her) begins to have smallest mutations, of the nervous > system, and the repetition > of something that may calm the body down, the fissures under-neath, that may > veil the involuntarinesses, allow her to maintain a pose, dressed, or > exposed? > > thank you for sharing (you once gave me a copy of "Aletsch" and i showed it > to the dance students, and they felt very uncomfortable and ill at ease which > I took to be a strong affect, Foofwa's > "dancing" struck then the wrong way......? good) > > and what are these small fissures? (A Brazilian dance group I admire, Cena > 11, made a work a few years ago and i can't forget its title: "Pequenas > frestas de ficc??o sobre realidade insistente") > > I think many of us do address our emotions in our work, of course; I did > begin the Brechtian way, distrusting them, of course, growing up in the land > where death was master; & in my own practice recently I hide on occasion > also behind concepts and critical visions and retro-subtensions or whatever; > i will leave not before having mentioned the work we are currently doing with > our DAP-Lab, in case you wondered what we are up to, and it was a new project > begun last year > looking back at a time of revolution and what imaginaries are set at play > when society is overturned or a political future is prospected, so our > ensemble looked at "Victory over the Sun" [1913], the Russian opera, > and there in that crazy convoluted libretto there is madness and wit, > extenuating circumstances, less pain and no death, well, the dying is to be > done to the sun, thus to the world, and that is probably quite bad enough > as a vision of the future, of New Man (did not Boris Groys later speak of > the "total artwork" (Gesamtkunstwerk) of Stalinism? here it is again, that > word, "Gesamtkunstwerk"). > > an excerpt of our "for the time being" is at: http:youtu.be/WeAIYCnsDe4 > > i look forward to Maria Damon's return. > > respectfully > Johannes Birringer > dap lab > http://people.brunel.ac.uk/dap/forthetimebeing.html > > +++ > > [Alan schreibt] > > -- I wrote this text for Foofwa d'Imobilite's "Involuntaries," which for me > were part of the inspiration for this month's topic. The Involuntaries > (with Foofwa, Vea Lucca, and myself) are at > http://foofwa.com/productions/video/choreiagraphies.html > and I thought this works in well with Johannes' comments, and issues of > real/virtual pain and embodiment. > > Breaking New Ground > > all circumstances are extenuating. > ....[ ...] > > to persevere, endure, maenad-dance of self-devouring, maenad-music of > self-control. how can that be, except to ensure that the beat is periodic, > that repetition hungers. the maenad feeds, hungers for repetition, > desecrates it (the repeat-ing). they passed it on so far down the line > that gender-sex and sex-gender change. they passed it down farther. > > Who were they? Who's haunting us? >>>> > _______________________________________________ > > ------------------------------ > > _______________________________________________ > empyre mailing list > empyre@lists.cofa.unsw.edu.au > http://www.subtle.net/empyre > > End of empyre Digest, Vol 95, Issue 25 > ************************************** _______________________________________________ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
