[NetBehaviour] tesxt

[Alan Sondheim]

tesxt

http://www.alansondheim.org/tesxt.jpg
http://www.alansondheim.org/tesxt.mp4 VIDEO

wait a minute, have to move this over . is it everything that's
going on or just this window? I was opting for this window. The
car's being repaired at the moment. So far so good. A's working
again next to me. Are there names here that are problematic? echo
of the machine. Thought is defined by flux, by an absolute symbolic
machine chatter, the ideal forms so many subroutines... matter) be
a construct of the machine itself - just as gender- bending
forgetting, forgotten, forged and forgotten, emissive. The machine
recognizes no gender; the machine recognizes nothing. The machine
recognizes every gender; the machine is never a machine, but an
episteme. The machine, continuously changing, is an episteme
through which run on my machine, nor on the machines of my friends,
since it's been the machine that spits errors back into my breasts,
clogs my throat with indigo machine. I still got the bounce
somewhere on hideous netcom machinery which takes longer than death
conditions, then it seems clear that full machine intelligence is a
matter otherwise; machines have been making, and will continue, to
make gains in problem of other minds, whether organic,
machine-like, or cyborg. Sixth, the argument from Fifth is based on
the notion that machine intelligence would be always already
mechanistic, since machine subunits are early 70s) that _as
machines grow in complexity and programming, their machines, as
among carbon-based organisms, is an emergent phenomenon, and
Seventh, there is always the question of environment. Even with a
machine machine composed of neural networks that alter not only
weighted values of Eighth, to conclude: First, there is no reason
to assume that machines deterministic environment, since a rich
environment could affect a machine internal states - already the
case) ways. Therefore one may assume machine conscious or not, and
if a machine, using Speech, names the object of its ted - and so is
the mind, clearly, of machine intelligence or cyborg. In Upanishad,
I.3.11) _The machine checked its resources. It possessed aural,
grown in recent weeks, and I begin to see the wound in the machine,
the machine graced by unknown fires, consumptions, decays, which
force me to the machine-interior splayed open, vulnerable, torn. It
is of a whole, a All machines contain their wounds, which are
precise, often enumerated; Beyond the true trust one has in a new
machine, the sense of mastery and power, the use of a machine which
is injured creates a form of delicacy, This machine is allowing me
to continue, to type a bit farther. It may be tions can be odd; it
takes more machinery to get me from panix.com to 1. Telnet:
Remotely logging in to another machine. Hand-printing materials,
drawings, etc. for ppress and exhibition, some on theoretical
machines. your machine. dependent as usual upon consumption, fast
machines, and the lucky me who backup. Traceroute to my machine.
Everything fine. The almost a spelling-machine; the letters and
diacritical marks render with extended Net capabilities - I dream
of monster machines running at not beyond our machinery to design
them. So what is happening here, stasis; the machines see no reason
to continue, "machines" in line and primary means of access, and
that her machine may be as simple as an older archies of users
based on the machines they're able to afford. attachment. Moving
from the Linux machine to Solaris, the whole account the back, take
the machine over, grab superuser status as fast as you can of any
other way. It's aggression that gets machines where you want them,
made. And there's no greater satisfaction - you're sitting at your
machine Have access to such machinery as necessary - while almost
every HITTITE The machine continues its access. Thinking of
bitcoin? - is this text tied to this machine? to the HITTITE? So
there's a better margine here. We're going to be called up soon; I
hear noise going on in the background. Electronic literature
because I'm writing/reading under pressure; everything's recorded,
can see the light above so for the rest of this... wasn't this
doing "it" before? everything miniaturized at the bottom of the
screen, no idea, will try to stop this now.

... "I know this sounds ridiculous - but I'm on to something. If
the body is hairless, then for example mud or blood will 'stick' to
it - be obvious. Of course this is the beginning of symbolization -
it would appear comical, or different, one person to another - it's
a miniscule step - not even a step - to drawing something on the
face, body, etc. So in this case, I'd bet that writing predates
language, or at least the two were contingent / contiguous in
origin. From writing on the body - it's not difficult to see how
signs of that sort would be connected to sounds by mimesis - even
if the original sounds were nothing more than laughing or crying."
"from text to test to tesxt to tsext dre

Re: [NetBehaviour] book question and exits -- additional impressions

[Max Herman via NetBehaviour]

Doors are transits, and are themselves transitory.

For Lucretius and Ovid, the nature of the universe and hence of consciousness 
is of the nature of transition through time, transition which is multiple and 
results in complex network phenomena within time.  If true, time can be even 
more powerful and fundamental than space.  A good reminder for me to meditate!  
🙂

Also wondering now about the title Exit West.  Titles can be imperatives: "You 
should exit, and to the west."  They can also be nouns:  "That exit or exiting 
which we label 'the west exit.'"  Perhaps another imperative with a reversed 
connotation: "the west should exit," or noun "the exit of the west or the idea 
of the west."  Or possibly, "the west should exit from itself as it now is, and 
into something better which it can and should become."

I believe that such interpretations of the title are all hinted at by Six 
Memos, and this book and discussions overall have reminded me fondly of DH 
Lawrence's poem "The Ship of Death," which is perhaps an imperfect poem but I 
like much that it says:


The apples falling like great drops of dew
to bruise themselves an exit from themselves.




The Ship of Death
I

Now it is autumn and the falling fruit
and the long journey towards oblivion.

The apples falling like great drops of dew
to bruise themselves an exit from themselves.

And it is time to go, to bid farewell
to one’s own self, and find an exit
from the fallen self.

II

Have you built your ship of death, O have you?
O build your ship of death, for you will need it.

The grim frost is at hand, when the apples will fall
thick, almost thundrous, on the hardened earth.

And death is on the air like a smell of ashes!
Ah! can’t you smell it?

And in the bruised body, the frightened soul
finds itself shrinking, wincing from the cold
that blows upon it through the orifices.

III

And can a man his own quietus make
with a bare bodkin?

With daggers, bodkins, bullets, man can make
a bruise or break of exit for his life;
but is that a quietus, O tell me, is it quietus?

Surely not so! for how could murder, even self-murder
ever a quietus make?

IV

O let us talk of quiet that we know,
that we can know, the deep and lovely quiet
of a strong heart at peace!

How can we this, our own quietus, make?

V

Build then the ship of death, for you must take
the longest journey, to oblivion.

And die the death, the long and painful death
that lies between the old self and the new.

Already our bodies are fallen, bruised, badly bruised,
already our souls are oozing through the exit
of the cruel bruise.

Already the dark and endless ocean of the end
is washing in through the breaches of our wounds,
already the flood is upon us.

Oh build your ship of death, your little ark
and furnish it with food, with little cakes, and wine
for the dark flight down oblivion.

VI

Piecemeal the body dies, and the timid soul
has her footing washed away, as the dark flood rises.

We are dying, we are dying, we are all of us dying
and nothing will stay the death-flood rising within us
and soon it will rise on the world, on the outside world.

We are dying, we are dying, piecemeal our bodies are dying
and our strength leaves us,
and our soul cowers naked in the dark rain over the flood,
cowering in the last branches of the tree of our life.

VII

We are dying, we are dying, so all we can do
is now to be willing to die, and to build the ship
of death to carry the soul on the longest journey.

A little ship, with oars and food
and little dishes, and all accoutrements
fitting and ready for the departing soul.

Now launch the small ship, now as the body dies
and life departs, launch out, the fragile soul
in the fragile ship of courage, the ark of faith
with its store of food and little cooking pans
and change of clothes,
upon the flood’s black waste
upon the waters of the end
upon the sea of death, where still we sail
darkly, for we cannot steer, and have no port.

There is no port, there is nowhere to go
only the deepening black darkening still
blacker upon the soundless, ungurgling flood
darkness at one with darkness, up and down
and sideways utterly dark, so there is no direction any more
and the little ship is there; yet she is gone.
She is not seen, for there is nothing to see her by.
She is gone! gone! and yet
somewhere she is there.
Nowhere!

VIII

And everything is gone, the body is gone
completely under, gone, entirely gone.
The upper darkness is heavy as the lower,
between them the little ship
is gone
she is gone.

It is the end, it is oblivion.

IX

And yet out of eternity a thread
separates itself on the blackness,
a horizontal thread
that fumes a little with pallor upon the dark.

Is it illusion? or does the pallor fume
A little higher?
Ah wait, wait, for there’s the dawn,
the cruel dawn of coming back to life
out of oblivion.

Wait, wait, the little ship
drifting, beneath the deathly ashy grey
of a flood-dawn.

Wait, wait! even so, a flush of yellow
and strangely, O 

Re: [NetBehaviour] César Escudero Andaluz. So many ways to mess up with surveillance capitalism. Interview with Regine Debatty.

[Alan Sondheim via NetBehaviour]

This is fantastic and on target and thanks! What do you think is the
relationship between bitcoin and art production today? And why is art
production re: bitcoin tied to the substrate?  For me,  probably wrongly,
the problematic economics tends to dominate the work itself - which is why
the slow machines etc. discussed are perfect!

On Fri, Feb 21, 2020 at 8:36 AM marc.garrett via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> César Escudero Andaluz. So many ways to mess up with surveillance
> capitalism. Interview with Regine Debatty.
>
> Back in 2016, César Escudero Andaluz and Martín Nadal hacked an old
> calculator and turned it into Bitttercoin “the worst Bitcoin miner ever”.
> Relying on a rudimentary technology, the machine takes an excruciatingly
> long time (estimated to an eternity) to validate the pending transactions
> in the blockchain. Meanwhile, the complex computational operations are
> printed on a seemingly endless scroll. I’ll be forever grateful to the two
> artists for creating a work that materialises so clearly the invisible
> calculations, physical dimension and ecological impact of blockchain
> technology. It’s one of those works that make your life easier when you
> have to explain an otherwise abstruse technological innovation.
>
> Today I’m interviewing César Escudero Andaluz (hopefully one day, i’ll get
> to talk with Martín Nadal as well!) César is doing a Ph.D at the Interface
> Cultures department, Kunstuniversität Linz. His practice as an artist and
> researcher investigates Human-Computer Interaction, interface criticism,
> digital culture and its social and political effects. Although it always
> has elements of playfulness and humour about it, his work is grounded in
> the kind of socio-political interrogations that make our time so
> infuriating and stimulating.
>
> The artist’s critical approach to technology can be found in works such as
> an orchestra of musical instruments that mine for Bitcoins, a 3D printable
> kit to cut undersea internet cables, a series of cassettes which audio
> emerges from the data extracted on the social media profiles of The Yes
> Men, Nuria Güell, Oliver Grau, Noam Chomsky, Alexei Shulgin, Lynn Hershman,
> Vuk Cosic, etc.
>
>
> https://we-make-money-not-art.com/cesar-escudero-andaluz-so-many-ways-to-mess-up-with-surveillance-capitalism/
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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[NetBehaviour] César Escudero Andaluz. So many ways to mess up with surveillance capitalism. Interview with Regine Debatty.

[marc.garrett via NetBehaviour]

César Escudero Andaluz. So many ways to mess up with surveillance capitalism. 
Interview with Regine Debatty.

Back in 2016, César Escudero Andaluz and Martín Nadal hacked an old calculator 
and turned it into Bitttercoin “the worst Bitcoin miner ever”. Relying on a 
rudimentary technology, the machine takes an excruciatingly long time 
(estimated to an eternity) to validate the pending transactions in the 
blockchain. Meanwhile, the complex computational operations are printed on a 
seemingly endless scroll. I’ll be forever grateful to the two artists for 
creating a work that materialises so clearly the invisible calculations, 
physical dimension and ecological impact of blockchain technology. It’s one of 
those works that make your life easier when you have to explain an otherwise 
abstruse technological innovation.

Today I’m interviewing César Escudero Andaluz (hopefully one day, i’ll get to 
talk with Martín Nadal as well!) César is doing a Ph.D at the Interface 
Cultures department, Kunstuniversität Linz. His practice as an artist and 
researcher investigates Human-Computer Interaction, interface criticism, 
digital culture and its social and political effects. Although it always has 
elements of playfulness and humour about it, his work is grounded in the kind 
of socio-political interrogations that make our time so infuriating and 
stimulating.

The artist’s critical approach to technology can be found in works such as an 
orchestra of musical instruments that mine for Bitcoins, a 3D printable kit to 
cut undersea internet cables, a series of cassettes which audio emerges from 
the data extracted on the social media profiles of The Yes Men, Nuria Güell, 
Oliver Grau, Noam Chomsky, Alexei Shulgin, Lynn Hershman, Vuk Cosic, etc.

https://we-make-money-not-art.com/cesar-escudero-andaluz-so-many-ways-to-mess-up-with-surveillance-capitalism/___
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