[NetBehaviour] themself
themself http://www.alansondheim.org/themself1.jpg https://youtu.be/7IWAPg2Pu6g http://www.alansondheim.org/themself2.jpg they were beside themself a girl and a boy a man and a woman the children in tents wait for me there must be someone alive is there anyone out there i appear in order to disappear i disappear in order to appear the buried and the burned the destruction of the citadels one says to the other, it is better now one says, the storms have yet to come no longer can we saw there are fires burning i don't know whether to trust you i don't know whether trust is a word you say to all of us don't worry about them about us you say don't worry you won't hear from us again you won't hear ___ NetBehaviour mailing list NetBehaviour@lists.netbehaviour.org https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] The Doubters' Mysteries: Adam and Eve
Dear all, 'The Doubter's Mysteries' are an attempt to write a short cycle of Mystery Plays - ie. plays based on Bible stories, like the Medieval Mystery Plays of York, Chester and Wakefield - from the point of view of a sceptical modern audience; an audience which either doesn't believe in God, or can't work out what he's playing at. There are fourteen of these plays, and the second is now online: 'Adam and Eve'. http://edwardpicot.com/mysteries/02 adam and eve.html (or for the full series so far, visit http://edwardpicot.com/mysteries) - Edward Picot http://edwardpicot.com - personal website ___ NetBehaviour mailing list NetBehaviour@lists.netbehaviour.org https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] on art and knowledge
Oh dear I checked all this out and it seems the publishers claim copyright on everything post peer review on the basis of ‘added value’. It is irritating that they are also boasting about this ‘read-only’ access that patently doesn’t work for a lot of people if my experience is anything to go by... if anyone would like to read the piece and can’t access it by the Wiley link I posted here, just write to me off list and I’ll sort something ... cheers! m. Sent from Yahoo Mail for iPhone On Sunday, September 30, 2018, 12:40 pm, Michael Szpakowski wrote: Yes thanks Julian I will do that and post a link here when I have :) Sent from Yahoo Mail for iPhone On Friday, September 28, 2018, 8:49 pm, Michael Szpakowski wrote: HI Edward I just wanted to respond very briefly to your comments ( and, in passing, to a remark of Alan's arising from them). I'll say again you engagement with the piece is generous and it's lovely to have someone both read it and think about it hard enough to write a very cogent response. The problem I have with what you write, fluent and compelling as it is ( and as I would expect from you), is that you are addressing a different piece from the one I wrote and in the process you erect a giant straw person. At no point do I every use the word 'value' in relation to art . My compass here is much narrower -I address simply the question of art and knowledge, as in the title. I try and show that by a traditional philosophical definition of knowledge it is unhelpful and indeed ultimately either trivial or nonsensical to assert that all art produces knowledge in that sense of 'true facts about the world'. Equally problematic is a world where by bureaucratic ( research council, academic ) fiat art is divided into knowledge producing or not. I then look at another candidate for knowledge - Ryle's 'knowledge how' and observe that this is clearly a well founded concept but not reducible to the first kind and I take this fact as encouragement to seek other distinct phenonema that one might reasonably term knowledge. The one I describe and dub knowledge-with I assert is found in all art works. ( If I have to I'd be prepared to limit that to 'all art works to date' although I actually think this is not necessary). I deliberately do not raise the question of how in any specific case this might contribute to the 'value' of any art work except to suggest at the end that along with other factors it might do so in some way ( and in fairness I do imply by the presence of the Harman quote at the start that my ideas might help us in fleshing out his insight) I am aware that to some extent my suggested universality of this form of knowledge in artworks might be regarded as definitional ( and hence contrary to Alan's Wittgensteinian proclivities, which I share) I would reply to this that its presence might very well be a necessary but not sufficient condition of arthood. I can imagine all sorts of things conveying my 'knowledge with' -a particularly sensitive letter of condolence for example, without the thing remotely becoming a candidate for being art. I don't believe that this would undermine a Wittgensteinian approach since even in the canonic 'games', if we generalise enough we can find some basic condition necessary to all our examples - 'involves in some sense a human being' ( true even of two chess playing computers) or 'can be glossed in words'.Far from being formulaic I'm incredibly tentative about drawing wider conclusions about value or even definition from what I write. There is a great deal to chew over in what you write - I agree with some parts & disagree with others but that would be a different ( although interesting) discussion from the one my piece attempts to start... but again, thanks!cheersMichael From: Edward Picot via NetBehaviour To: netbehaviour@lists.netbehaviour.org Cc: Edward Picot Sent: Thursday, September 27, 2018 8:07 PM Subject: Re: [NetBehaviour] on art and knowledge Michael, Infuriatingly, I can access the full article if I click the link while I'm at work, but I can only access the precis if I click it at home. This didn't stop me reading it - when I was supposed to be getting on with something else - and I'll draw a veil over the question of how many patients are now dead as a result, when they ought to be still alive. But the worst thing is that my comments will have to be based on how I remember your article, because I don't have the actual text in front of me. From what I remember, you did rather a good job of demolishing other people's ideas about what might constitute the 'value' of art, but I was a little bit more suspicious when you came to your own ideas on the same subject. As I remember these came down to (a) the best art is the art which provokes in us the widest/most intense range of interpretations/reactions, and (b) art teaches us how to live. Both of these sound a bit like F
[NetBehaviour] Blockchain, the Trust Catalyst - Neural 60
Blockchain, the Trust Catalyst - Neural 60 "Neural 60, Blockchain. The Trust Catalyst" (Neural #60) is still available! Subscribe now! You can also subscribe to the magazine Digital Edition, accessing all issues since #28. Only subscribers will get Garnet Hertz intervention sticker "The Maker's Bill of Rights" ! . . . . . . . . . . . . . . . . . . . . . . . . . Print Subscription, 3 issues + extra Europe, 34,90 Euros - World, 54,50 U.S. Dollars. . . . . . . . . . . . . . . . . . . . . . . . . . Digital Subscription, accessing all issues since #28. . . . . . . . . . . . . . . . . . . . . . . . . . Back Issues Pack, get all the previous 34 issues (till they are all available) . . . . . . . . . . . . . . . . . . . . . . . . . Neural Facebook Page, "like it" if you want . . . . . . . . . . . . . . . . . . . . . . . . . Neural @ Twitter, follow it if you like . . . . . . . . . . . . . . . . . . . . . . . . . Summer 2018, ISSN: 2037-108X . . . . . . . . . . . . . . . . . . . . . . . . . Neural #60, " Blockchain. The Trust Catalyst." Centrefold: Border Crossers, rebalancing reason interviews: . Olivier Sarrouy . Furtherfield (Ruth Catlow & Marc Garrett) . Holly Herndon and Mat Dryhurst . Martín Nadal . Ami Clarke . Sarah Friend articles: . A token called ART . How is the Blockchain Transforming the Art World? reports: . 5th meta.morf “A Beautiful Accident” . Transmediale 2018 “face value” news: . Die With Me, the last five percent . Weeping Angel, a flag with a code . The BitSoil Popup Tax and Hack Campaign, data economy reversed . Untitled [Eavesdrop], vintage surveillance . Our Friends Electric, the alter ego machines . CarbonScape, disquieting noise . DSD-08AS, methodological a/synchronicity . Physical Rhythm Machine / Boem BOem, machinic/tribal space . Messenger, signals from space . The Optical Sound Orchestra, composing with projectors . The Offshore Tour Operator, art as financial optimiser . A Diverse MonoCulture, ambiguous robot predators . entangled, an infinite small space . Prosthetic Photographer, reverse clicking . Amygdala, AI-led body politics books/dvds: . Kate Mondloch / A Capsule Aesthetic . Jaron Lanier / Dawn of the New Everything . Baruch Gottlieb / Digital Materialism . edited by Olga Mink & Wiepko Oosterhuis / Economia: Methods for Reclaiming Economy . edited by Dominik Landwehr / Machines And Robots . Brandon LaBelle / Sonic Agency . Damon Krukowski / The New Analog . Jerome Lefevre, Pierre-Nicolas Ledoux / Optical Sound & Pierre Belouin : 1997-x Broche . edited by canecapovolto / Retrodigital . edited by Alex McLean, Roger T. Dean / The Oxford Handbook of Algorithmic Music . Time’s Up / Ambiguous & Incomplete . Simon Penny / Making Sense . Shannon Mattern / Code and Clay, Data and Dirt . Hito Steyerl / Duty Free Art . edited by Annet Dekker / Lost and Living (in) Archives cd reviews: . Yoshio Machida + Constantin Papageorgiadis: Music from the SYNTHI 100: Amorfon . Simon Cummings: (ma): Crónica . Twentytwentyone + Diissc Orchestra: Split: MICL . Plaster: Transition: Kvitnu . Zoe Mc Pherson: String Figures: SVS . Goh Lee Kwang & Christian Meaas Svendsen: Gibberish, Balderdash And Drivel: Nakama . Gintas K: Acousma Light: GK . Orson Hentschel: Facades: Denovali . Cut Worms: Cable Mounds: Opa Loka . Christina Kubisch, Annea Lockwood: The secret life of the inaudible: Gruenrekorder . PLY: Rends-Toi: Warm . Othello Aubern: Two-Way Switch: Le Cabanon . MP Hopkins: G.R/S.S: Aussenraum . Jemh Circs: (untitled) Kingdom: Cellule 75 . Matter: Dangerous Vision: Black Chrysalis . Yann Novak: The Future is a Forward Escape Into the Past: Touch . Lucrecia Dalt: Anticlines: RVNG Intl . Ohm: G5: Dinzu Artefacts . Zibuokle Martinaityte: Horizons: MICL . Andrey Kiritchenko: Overt: Spekk___ NetBehaviour mailing list NetBehaviour@lists.netbehaviour.org https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
