On Wed, 27 Apr 2016, Rob Myers wrote:
On 25/04/16 06:16 AM, Alan Sondheim wrote:
A few pieces and others we did that might be germane -
[...]
Accessgrid pieces - in which we used a multi-channel linux conferencing
system to bounce signals around the world creating video echos of
speech/ sound/movement; the delays were on the order of 1/10th second.
(around 2008)
Early synthesizer work in which we used patchcords to overload video or
audio synthesizers (including one we built) to create chaotic emergences
(similar to 'animals' in turbulence) that we'd build on. (around 1970)
Foofwa's dancerun work performing marathon movements/vectors through
cities dancing all the way followed by television crews and people who'd
join and drop out. (past decade or two)
My own overloading work in virtual worlds creating anomalies and
artifacts and zeroing in on them until the suicide crashes take place.
(past few years)
My audiotape piece involving a large stage, tape emerging from one
machine at twice the speed the other's picking it up, with feedback
loops - time gets drawn out, tape pools on the floor, things go out of
control, performance stops. (1980 or so)
Stelarc's wiring/writing himself into the Net, nodal-Stelarc. (twenty
years ago)
Ping Body! I was part of Stelarc's tech support for the performance at
the ICA in London at the time. :-)
Amazing! really loved his work at the time -
Chris Burden's early performance work heading towards the bring of
catastrophe. (1970s)
Raves. Speedmetal. Current punk debris. Parkour.
That's a wonderful list of work. The elements of these that I feel speak
most to accelerationism are their embrace of complexity and their
intensification of knowing/transgressing of systems.
That knowledge/transgression as craft comes through in Benedict
Singleton's writing about traps and the cunning needed to escape them
(invoking the classical Greek Metis, to go with Prometheus who we've met
already ;-)).
"The intelligence at work in the construction of the trap is most aptly
described as cunning, and it extends to activities that we can broadly
describe as ?technical? more generally. Many are the observers who have
seen in this the paradigm of craft more broadly writ, the ability to
coax effects from the world, rather than imposing effects on it by the
application of force alone. Following the grain of wood, knowing the
melting points of various ores, the toughening of metal through its
tempering: all these are not domineering strategies, exactly, but
situations ?in which the intelligence attempts to make contact with an
object by confronting it in the guise of a rival, as it were, combining
connivance and opposition.?"
http://www.e-flux.com/journal/maximum-jailbreak/
Yes! Exactly! I was thinking this even describes the viola pieces I put up
tonight which rely on harmonics and octaves and the natural resonance of
the instrument with and without mutes - the result is a kind of singing
(for better or worse - I need comments here) which occupies spaces among
instrument and room resonances, bow 'tremblings' of wrist/finger/arm, and
harmonics in combination - when I analyze this stuff, I monitor the
waveforms -
Then of course on some instruments there are wolf-notes to be avoided for
the most part, a kind of negative wood-grain.
But I wouldn't use the word 'cunning,' so much as 'dwelling-knowledge,'
which indicates lived spaces, habitus, and habits to be pushed or broken -
the same might apply to some of the pieces above -
Alan, thanks!
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