[NetBehaviour] Announcing the Spring 2019 Issue of The New River, edited Makensi Ceriani
Announcing the Spring 2019 Issue of The New River, edited Makensi Ceriani (from Ed Falco) http://thenewriver.us A NOTE FROM THE EDITOR Media /md/ noun noun: media; plural noun: media; noun: the media The main means of mass communication (broadcasting, publishing, and the Internet) regarded collectively. An intermediate layer in the wall of a blood vessel or lymphatic vessel. Late 19th century: shortening of modern Latin tunica (or membrana ) media middle sheath (or layer). As I reflect on what New Media means to me and what it has meant in the past few decades for this journal specifically, I keep returning to the meaning of its name. Media as a means of communication, as an intermediate space, as a necessary layer for either protection, evasion, or somehow the creation of truth; the last definition my own, and exemplified by the contributors in this issue. Each work explores, creates, and disassembles the many faces we wear, the secrets we keep, and the places we put each as we navigate our interactions and emotions with others, and with ourselves. To me, electronic literature offers at its best the self-aware criticism of experience mediated through technology and the admission that sometimes technology is the only way we can express such experiences. The work is often choreographed chaos, full of images, words, sound, and movement that opens into a (more) understandable whole, which is similar to the way we take in and experience the world. Each work in this issue offers a multi-layered consideration of how we exist with others, with technology, and with whats underneath our own masks. Alan Sondheims Beside Themself is a short video set in the unwritten space of a digital plane. It is a world not yet made, or as yet unmade, and to my viewing explores the preemptory motions of action. It echoes an about-to-happen through its repetition and halting movements. The text running across the screen reminds one of thoughts running around and around in their head, the sort of mental planning done before a confrontation or a confession. The hesitancy in the shapes, the blurring of possible bodies and possible conversation, the monotonous urgency of the voiceover all coalesce into an unsettlement of what it means to get or say something right. Alan Bigelows How to Rob a Bank could be considered the world made and making that eludes us in Sondheims work, but it also offers a purely mediated experience of that world. This selection includes parts 1-3, Research, Escape, and Romance, respectively, which details the lives of Ted and Elizabeth through their online presence. What the reader knows of each character is found only through their social media posturing and intimate digital interactions. We witness in virtual time their bank robbing, their date nights, even how they deal with hostages through their Google searches. The comedy of their reliance on the internet also comes with a tinge of pity though, for as a reader Im left to wonder who they could have been if they werent experiencing their own lives through the lens of their devices. Mez Breezes The Thing Tableau can operate as an automated video, as a click-through narrative, and as a virtual reality experience. Each provides a different layer of immersion, which is fitting for a work focused on the immersion and inescapability of the self. This piece is short and to the point on first viewing, but the detail and texture of the body-as-world will grab the imagination and keep a reader plumbing its, or their own, depths. The reader can view a 360 whole as well as every nook and gap of its parts. The piece encourages this exploration as it demands a certain level of vulnerability on the part of the reader; the reader has to fill in the blanks with their own experience, and each new discovery of place can enact a new discovery in the reader. I found myself questioning my own memory and what I still held on to as I moved through the spaces. I would recommend viewing this well before sleep to avoid any late-night introspection. Will Luers Tales of Automation is a collection of vignettes that explore the effects of digital automation on embodied experience. They are never-ending, and often mimic the constant scrolling and rabbit holes of feed-based sites. Tale 6 is different from other tales in that it makes the reader stay in one place and the text shift, rather than the reader following and falling down a page. The reader can choose to pause or scramble the text at their leisure. What they cannot do is recapture what they have left behind. Each re-entry to the tale brings a new image and new story with text that reads at times like philosophy, like internal anxiety, like a romance novel, and sometimes like a mundane to-do list. The tale will always give the reader a story. It will also ask the reader to make their own sense of meaning. What I find most enjoyable about this issue are the varied forms among the work and how each asks th
[NetBehaviour] LOSS
Sound Design from 2007: Taka Tales from Narikel Jingira Island, Bangladesh (Art Exhibition with Installed Audio, Tea and free Taka Tunes CDs) available from Brad Brace flyer: http://bbrace.net/two-taka-tunes-podcast/taka-tunes.jpg complete recordings sometimes playing now: http://69.64.225.198:8000 mp3 podcast materials: http://bbrace.net/two-taka-tunes-podcast/two-taka-tunes-podcast.html Scene: extensive, evocative audio field-recordings from a concrete Bangladeshi guesthouse looking back on a thatched bamboo village by the Bay of Bengal, with an exhibit of particularly well-used, framed two-taka banknotes. https://audioboo.fm/boos/195103-taka-tunes bbs: brad brace sound: offline http://69.64.225.198:8000 Global Islands Project: http://bradbrace.net/id.html http://bbrace.net/id.html http://bbrace.net/islands/island4/island4-1.html http://bradbrace.net/islands/island4/island4-1.html LOSS -- a collection of especially well-worn 2-Taka banknotes from my brief stay... (they also appear usually framed and mounted, in the Taka-Tunes audio installation) http://amazon.com/dp/B07RWC8VG3 ___ NetBehaviour mailing list NetBehaviour@lists.netbehaviour.org https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] preliminary call for VERY LARGE WORKS
Yes Sent from jtwine.com > On May 15, 2019, at 9:37 AM, Bjørn Magnhildøen via NetBehaviour > wrote: > > sorry for x-posting > > preliminary call for VERY LARGE WORKS > > LLL > > V::V V::VL:L W::W > W::W > V::V V::VL:L W::W > W::W > V::V V::VLL:::LL W::W > W::W > V:V V:V L:LW:W W > W:W > V:V V:VL:L W:W W:W > W:W >V:V V:V L:L W:W W:::W > W:W > V:V V:V L:L W:W W:W > W:W > V:V V:V L:LW:W W:W:W > W:W > V:V V:VL:L W:W W:W W:W > W:W >V:V:V L:L W:W:W > W:W:W > V:V L:L LLW:W W:W > V:::V LL:::L:L W:::W W:::W > V:V L::L W:W W:W >V:::V L::L W:::W W:::W > VVVWWW WWW >WWW WWW > > VERY LARGE WORKS is an online show (pavilion) at The Wrong art biennale > 2019-2020, organised by Noemata group. > > the call consists of this intro and some (curatorial) questions. you can take > part in the show by submitting more questions or by submitting work related > to the questions. in other words, you can participate as curator posing > questions, or as artist submitting works to questions. > > now, can we also pose a question whether the question itself is a work, and > vice versa, whether a submitted work itself is a question? this is left as a > question also for now. > > then, what is a good platform for this? would a bulletin board or email-list > do? we'd love to give life to other web protocols and practises, free from > commercial clutter, abide with a vision closer to the original internet. > > the project concerns internet curatorship as much as 'very large works'. it > could be called Very Collaborative-Discursive Thing perhaps. our goal is > seeing if this form of show could develop into a more general practise within > the entangled netbased- art and curatorship pair. > > > IF ARE YOU INTERESTED IN PARTICIPATING (non-bindingly) in the show simply > comment yes to this post, or reply 'very large works' to m...@noemata.net. > the purpose is, besides probing interest, to drop a few names into an > application to get the project funded (with the help of God). > > > > VERY LARGE WORKS preliminary questions > > how large? > what are the extensions of an artwork? > does it have any? did art invent the zero yet? or negative dimensions? > one mole of elephants? > since we can script electrons, that's different from counting? > what about in-between dimensions? > who told you it was visible, countable, accountable? > the monitor is merely a - monitor? > ... that admonishes, cautions, of matters of conduct? > is a very large work still a work? > does it want to be a work? > is work endless work, Sisyphus? > is it perhaps too romantic, or is it just lack of imagination? > inherent lack? > isn't imagination too tacky, just imagine? > and cognition, its own? > boundaries - when will it take on its own? > circuits, morphology? > what about a six-dimensional work with unknown extensions? > as a matter of fact? > the home of time? > where would they fit, the very large works? > isn't very large more like muscle, and work again? > penis enlargement? > largus copious? > then you have copy and number, ennumeration, infinity or cost? > as you approach lim, inf? > it certainly isn't infinite, it's most definitely finite? > what about tactility and number? > abstract numbers close at hand? > numbers and money (mcluhan)? > "sure, sure"? > "The result hammered for a mountain-scene panorama measuring over 8 meters > wide and 3 meters high - The Grand Fucking Mountains (2019) - illustrates the > immense success of this new giant of et cetera"? > if you're a great artist.. a great artist makes great artworks? > now with internet we can also make VERY LARGE works? > couple it with art marked finance, whitewashing, scams, and what have you? > physicality seems to.. and the virtual-real? > are very large works also very tiny works? > what about zooming? > inside - outside, can you always zoom into and outof? > can a zoom substitute different domains of knowledge into one zoomable >
