[NetBehaviour] subobjects
http://www.alansondheim.org/subobject.png subobjects == suicide can only be null== there's nothing to specify the existence of a consciousness== the only permitted operations are quantal== quanta are always already== within the swollen fecundity of creation== gaps to be filled by categorical dynamics== creation is always a relation== mathematics always already an annihilation== thought's movements construe sensations of pain and pleasure== suicide can only be universal== when i look around, they look around== when they look around, i look around== momentary displeasure as something falters within not me== sedimentations of categories, i'm piled up within== internal buffeting, syzygy, external holes== all holes are external== all holes are w/holes== swallow yourself, deny yourself, kill yourself== yourself are yourselves, multitudes, interminable continuums== strations which collapse your mouth== your mouthmouth your mouthmouthmouth== universal suicide of the world== garnered scorched syzygial uncomfortable quiescence of the planet== co-lapse== v suicide sedimentation aa there exists Y w x does not exist rigid | -y -v 0 * v the specify to nothing there's null== be only can suicide == aa ==> <== there exists Y w x limp rigid & | -y -v U 0 1 * swollen engorged are operations permitted only the consciousness== a of existence aa ==> there exists Y w x y does not exist rigid & | -y -v U 0 1 * swollen engorged swollen the within already== always are quanta quantal== aa ==> there exists Y w x x | * -y -v U 0 * swollen engorged categorical by filled be to gaps creation== of fecundity aa ==> <== there exists Y w x limp rigid & | -y -v U 0 1 * swollen always mathematics relation== a always is creation dynamics== aa ==> there exists Y w x does not exist rigid * -y -v U 0 * swollen engorged construe movements thought's annihilation== an already aa zz ==> <== there exists Y w x does not exist rigid | -y -v U 0 * swollen engorged be only can suicide pleasure== and pain of sensations aa ==> there exists Y w x limp rigid & | -y -v U 0 1 * swollen they when around== look they around, look i when universal== aa zz ==> <==> there exists Y w x | * -y -v U 0 * swollen engorged something as displeasure momentary around== look i around, look aa ==> <== <==> there exists Y w x does not exist & | -y -v U 0 * swollen engorged piled i'm categories, of sedimentations me== not within falters aa <== there exists Y w x does not exist rigid & * -y -v U 0 1 * swollen engorged all holes== external syzygy, buffeting, internal within== up aa ==> <== for all X there exists Y x y limp & | * -y -v U 0 1 * swollen engorged yourself, swallow w/holes== are holes all external== are holes aa ==> there exists Y x y | * -v U 0 1 * swollen engorged yourselves, are yourself yourself== kill yourself, deny aa zz ==> <==> there exists Y w x | -y -v U 0 1 swollen collapse which strations continuums== interminable multitudes, aa there exists Y w x does not exist limp rigid & | * -y -v U 0 * swollen engorged universal mouthmouthmouth== your mouthmouth your mouth== your aa zz ==> there exists Y x does not exist | -y -v U 0 * swollen engorged uncomfortable syzygial scorched garnered world== the of suicide aa ==> <== for all X there exists Y w x does not exist limp rigid | * -y -v U 0 1 * swollen engorged suicide v == == co-lapse== planet== the of quiescence aa zz there exists Y w x x rigid & | -y -v U 0 1 * engorged -v -y | rigid exist not does x w Y exists there aa sedimentation aa zz ==> <== there exists Y w x y does not exist * -y -v 0 * swollen engorged suicide can only be null== there's nothing to specify the v * 0 aa zz ==> <== there exists Y which pulls back w x limp rigid & | -y -v U 0 1 * swollen engorged * 1 0 U -v -y | & rigid limp x w Y exists there <== ==> aa == aa zz ==> <== which pulls back w x y does not exist & * -y U 0 * swollen engorged the only permitted operations are engorged swollen aa ==> <== there exists Y w x does not exist & * -y -v U 0 * swollen engorged does y x w Y exists there ==> aa existence of a consciousness== aa ==> there exists Y w x y rigid | * -y -v 0 1 * swollen engorged the swollen engorged swollen * 1 0 U -v -y | & rigid exist not aa zz ==> <== there exists Y which pulls back w y * -y -v U 0 * swollen engorged exists there ==> aa quantal== quanta are always already== within aa ==> there exists Y w x y x | * -y U 0 * swollen engorged filled by categorical engorged swollen * 0 U -v -y * | x x w Y aa zz ==> <== there exists Y which pulls back w x y limp rigid * -y -v U 0 1 * swollen x w Y exists there <== ==> aa fecundity of creation== gaps to be aa ==> <== there exists Y w x y limp rigid & | * -y -v 0 1 * swollen engorged mathematics always swollen * 1 0 U -v -y | & rigid limp aa zz ==> <== there exists Y which pulls back w x does not exist rigid & * -y -v U 0 * swollen engorged Y exists there ==> aa dynamics== creation is always a relation== aa ==> there exists Y w x y does not exist rigid * -y -v U 0 * swollen engo
[NetBehaviour] Covert Operations
A multi-layered expression, "entre chien et loup" is used to describe a specific time of day, just before night, when the light is so dim one cannot distinguish a dog from a wolf. It expresses an uncertain threshold between hope and fear, between the familiar and comfortable and the unknown and dangerous. http://www.bbrace.net/sobeit.html http://www.bradbrace.net/sobeit.html /:b ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Paean, Elegy, Pulse
Paean, Elegy, Pulse http://www.alansondheim.org/forall.jpg http://www.alansondheim.org/paeanforall.mp3 http://www.alansondheim.org/elegyforall.mp3 http://www.alansondheim.org/pulseforall.mp3 (attributed to Larsen Brothers) parlor guitar Guitar was my first instrument, and to this day I return to the instrument, constantly practicing, working on technique and scale, exercising left and right hand finger (nails, no picks), pushing the boundaries as much as possible, keeping the braid of the piece in site/sight. The three pieces are very different; paean extends my playing in new directions, elegy uses the Japanese in scale always yearning for resolution, and pulse uses a 'clunky' bass line extended and collapsed more or less rhythmically. This is the best playing I'm capable of, recorded last night between four and five a.m.; music called. When I can play like this, I'm happy; if you listen, I'm happier, since music, my music at least, calls for communality. Paean, Elegy, and Pulse, are public pieces; they were recorded in this order in the dead of night. For Azure and Ossi and You. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Fwd: Critique of the Hermetic Contemporary Arts Discourse--Interview with Merijn Oudenampsen
a very interesting read on the art discourse and it's relation to theory -- Forwarded message -- From: Geert Lovink Date: Sat, Feb 27, 2016 at 10:44 AM Subject: Critique of the Hermetic Contemporary Arts Discourse--Interview with Merijn Oudenampsen To: a moderated mailing list for net criticism Critique of the Hermetic Contemporary Arts Discourse Interview with Merijn Oudenampsen By Geert Lovink The Dutch sociologist and activist Merijn Oudenampsen recently published an essay about the “incomprehensible art discourse.” It was Mieke Gerritzen, director of the Museum of the Image in Breda who pointed me to the piece, written in Dutch. The essay was published in the literary magazine De Gids (2015/5, pp. 6-9). I was surprised to see someone raising this often heard critique in public. It needs some civil encouragement to address this somewhat taboo topic as those who raise it are easily accused of anti-intellectualism and considered not politically correct. Such critique is unlikely to emanate from the Anglo-Saxon West; nor will it stem from France or Germany. There is an additional risk factor as it can ruin one’s academic career, which so often depends on nepotism and informal networks that were built up over years. The starting point for the article was a Dutch controversy over a Prix de Rome exhibit (2013) where arts journalists complained about the ‘complexity’ of the chosen art works. Ernst-Jan Pfauth of the online daily De Correspondent attacked the jargon used by the Amsterdam Stedelijk Museum. This, in turn, prompted a critique of the populist attitude among journalists. Every profession develops its obscure codes of expression. In the anthology Spaces for Criticism (Valiz, 2015), Pascal Gielen and Thijs Lijster at first attempt to defend the use of jargon in art criticism. The difference, they write, in comparison to other professional circles, is that art criticism takes place in public, and is meant for the general audience. It is not happening behind closed doors. The writers note that also art critics themselves start to have difficulties with jargon. “Their jargon is becoming increasingly irrelevant, as it is simply exchanged for a different jargon—that of philosophers and sociologists.” Art criticism has been replaced by ‘art theory’ on the one hand and experts that value the investment done by large institutional players and the global elite on the other. Is this displacement just a matter of a sector in demise or does this also give us renewed opportunities for experimentation and dissent? Merijn Oudenampsen’s thesis in De Gids is that the two Dutch attitudes, anti-intellectualism and the dominant theory jargon, are two sides of the same coin. The wide-spread desire to experience art works in an unmediated fashion goes hand in hand with calls from the ministry of culture and the gallery market to remain competitive in the global market. This ‘sophistication’ can only be reached, and maintained, if works can be contextualized through international discourses, in English. Oudenampsen himself often refers to the writings of art sociologist Pierre Bourdieu and has already discussed this thesis before in Open! ( http://www.onlineopen.org/lost-in-translation). Geert Lovink (GL): You are currently wrapping up your PhD research at the University of Tilburg (NL), which deals with the rise of populism and the rise of rightwing nationalism in the Netherlands and beyond. You have also critizised the still popular ‘shockblog’ wwwgeenstijl.nl. Is it because of your familiarity with right wing pop culture in the age of the internet that you ‘dare’ to raise this sensitive issue? Merijn Oudenampsen (MO): What prompted my intervention is a funny combination of familiarity with and estrangement from the worlds of art and theory. Seven years ago, I was a guest researcher at the Jan van Eyck Academy in Maastricht, an art academy that hosted an important department of radical theorists at the time. Now Dutch society in general – and the art world in particular – is traditionally hostile to theorizing. So it took me some time to come to terms with the phenomenon: why all this high theory in an art academy? I had been trained as a sociologist and had my praxis, so to say, as a political activist in the alter-globalisation movement. Sociologists and activists share a very functionalist perspective on the world. You’re accustomed to judging things as an instrument of social change, or as a functional element in the social structure. And, of course, Dutch culture is very practical as well. What added to my estrangement is that it was mostly radical philosophy being discussed: Rancière, Zizek, Badiou, Butler and so on. Much to my confusion, there seemed to be no praxis in sight at all. Worse, any attempt at application was seen as an insult to theory. I remember quite vividly a lecture on the work of Toni Negri and Italian Autonomous Marxism. When I asked how it related to contemporary ma