Re: [NetBehaviour] "Sisyphus of the Ear" in Japan

[Johannes Birringer via NetBehaviour]

   - Dear all
   -
   - I am pleased to announce that my film/performance, shot 2017 in an old
   quarry in Germany and titled “Sisyphus of the Ear,” is now on tour again
   and will be staged on July 23 , 5:30 pm [Japan time] at Nagoya College of
   Music, with live percussion (by Thierry Miroglio) and electronics composed
   by Paulo C. Chagas. The concert also includes the world premiere of
   “Embracing Emptiness,” with Thierry Miroglio and music by Paulo C. Chagas.
   -
   - with regards
   - Johannes Birringer
   -
   - @thierrymiroglio
   - @johannesbirringer
   - #percussion
   - #electronicmusic
   - #marimba
   - #vibraphone
   - #audiovisualmusic
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Re: [NetBehaviour] "shedding" performance at Gallery Puzić

[Johannes Birringer via NetBehaviour]

(sorry for resending, did you ever see this posted?)

Announcement:

*Sound Installation/Performance*

Parallel zum Experimance Festival (in Saarbrücken)


*« **Shedding **»*

*Kat Macdonald (London)*

*Couture by Inflationary Assets*



 Continuous Performance – Sunday, 14 July   –   4:00 – 8:00 pm

Johannisstrasse 3A, 66111 Saarbrücken

Gallery Puzić cordially invites you to a special performance by British
sound artist Kat Macdonald on Sunday 14 July, in the context of the annual
Experimance sound festival and the recently opened exhibition *Lost in
Transition* (the works of 18 international artists remain on display in the
gallery). Kat Macdonald’s artistic work draws on a complex web of
experiences of trauma, queerness, heartbreak, social structures and gender.
The work explores what it means to live a life intertwined with various
forms of loss.

The event will be live streamed on instagram //
www.instagram.com/other_kat?igsh=ajk0MnI5ZGszdDR4


documentary:  youtu.be/BO48yMSqObI


Curated by Johannes Birringer

Gallery Puzić

https://gallery-puzic.com/
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Re: [NetBehaviour] "shedding" performance at Gallery Puzić

[Johannes Birringer via NetBehaviour]

Announcement:

*Sound Installation/Performance*

Parallel zum Experimance Festival (in Saarbrücken)


*« **Shedding **»*

*Kat Macdonald (London)*

*Couture by Inflationary Assets *



 Continuous Performance – Sunday, 14 July   –   4:00 – 8:00 pm

Johannisstrasse 3A, 66111 Saarbrücken

Gallery Puzić cordially invites you to a special performance by British
sound artist Kat Macdonald on Sunday 14 July, in the context of the annual
Experimance sound festival and the recently opened exhibition *Lost in
Transition* (the works of 18 international artists remain on display in the
gallery). Kat Macdonald’s artistic work draws on a complex web of
experiences of trauma, queerness, heartbreak, social structures and gender.
The work explores what it means to live a life intertwined with various
forms of loss.

The event will be live streamed on instagram //
https://www.instagram.com/other_kat/?hl=en


Curated by Johannes Birringer

Gallery Puzić

https://gallery-puzic.com/
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Re: [NetBehaviour] "After the battle..."

[Johannes Birringer via NetBehaviour]

dar Alan and all,
thanks for the response -- we do have an english translation of the
description of this exhibition and its underlying aesthetic politics,
and a Bosnian filmmaker friend also shot some intriguing close ups on
opening night, which was two days before severe flooding started
to overwhelm is in our county...

https://gallery-puzic.com/en/after-the-battle/

https://www.youtube.com/watch?v=f9dia3ZqBA4

best wishes
Johannes Birringer



On Fri, Jun 7, 2024 at 5:52 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Hi Johannes,
>
> I do wish you could do a walk-through of the exhibition w/ video and in
> English or subtitled - it comes through awkwardly for me and god knows
> we're all interested in this!
>
> love, Alan, be well -
>
> On Thu, 6 Jun 2024, Johannes Birringer via NetBehaviour wrote:
>
> > Date: Thu, 6 Jun 2024 10:29:15 +0200
> > From: Johannes Birringer via NetBehaviour
> > 
> > To: NetBehaviour for networked distributed creativity
> > 
> > Cc: Johannes Birringer 
> > Subject: Re: [NetBehaviour] "After the battle..."
> >
> > Dear all,
> > some of you noted that our list is relatively quiet, and I am guessing
> there
> > are good reasons for it. We live in times when so many polarizing and
> > aggressive words are exchanged, and the rivers are rising (in the place
> > where I live).
> >
> > But here, an announcement of an exhibition we recently opened at the
> gallery
> > where I work now (and on our website, front page, you find a link to a
> short
> > video from opening night):
> >
> > After the battle all generals are fucked
> >
> > Dream worlds on canvas by Bojan ?umonja & Marko Jak?e
> >
> >
> > Gallery Puzic?, Johannisstrasse 3A, 66111 Saarbru?cken, Germany //
> duration of
> > the exhibition 14/5. ? 19/6, 2024
> >
> >
> > https://gallery-puzic.com/
> >
> >
> > Gallery Puzi? cordially invites you to the presentation of two of the
> most
> > important and renowned artists in Central Europe
> > ? Bojan ?umonja (Croatia) and Marko Jak?e (Slovenia). Bojan ?umonja is
> rightly
> > considered one of the most famous and recognized Croatian visual
> >
> > artists of the last decades. He has exhibited independently over 100
> times
> > across Europe and in
> >
> > the USA. His works have, among others, been presented at independent
> > exhibitions in Venice,
> >
> > Milan, Berlin, Hamburg, Vienna, Klagenfurt, Graz, Brussels, Ljubljana,
> > Luxembourg, New
> >
> > Orleans, Zagreb, Dubrovnik and throughout Croatia. In his richly baroque
> > compositions, sheep,
> >
> > gaunt flamingos, birds, downtrodden refugees and superheroes often
> appear,
> > in sometimes absurd
> >
> > and dangerous scenarios of ecological, social and political catastrophes
> or
> > dystopian landscapes.
> >
> > At the same time, complex ironic references (for which the artist was
> > celebrated as the first
> >
> > ?postmodernist? on the Croatian scene) wander through these dark
> battlefields -
> > quotes from silent films (Buster Keaton), classical art and Pop Art
> appear,
> > little Easter bunnies and other
> >
> > cartoons figures run around after the battle. Or herds of people bow down
> > like African ostriches,
> >
> > hiding their heads in the sand. ?umonja?s most recent paintings, as well
> as the
> > ?collective? works
> >
> > (One Dollar Bill) with Marko Jak?e, radiate striking chromatic
> peculiarities
> > and combine versatile
> >
> > motifs and spatial systems.
> >
> >
> > The Slovenian artist Marko Jak?e is appreciated by art experts for his
> > expressive works with
> >
> > contrasting elements and imaginative, poetic scenarios. For more than 30
> > years, his artistic
> >
> > visions have been inspiring audiences with complex and multifaceted works
> > that have a unique
> >
> > appeal and have already been awarded many prizes. Among many other
> > exhibition venues,
> >
> > Marko Jak?e represented Slovenia at the 59th Venice Biennale (2022). A
> strong
> > source of
> >
> > inspiration is the animal and plant world. The painterly results are
> > surreal-seeming worlds that
> >
> > highlight the beauty of nature but also intertwine completely fantastic,
> > strange and surreal
> >
> > elements.
> >
> >
> > The sarcastic title of our exhibition is aimed at the innovative image

Re: [NetBehaviour] "After the battle..."

[Johannes Birringer via NetBehaviour]

Dear all,
some of you noted that our list is relatively quiet, and I am guessing
there are good reasons for it. We live in times when so many polarizing and
aggressive words are exchanged, and the rivers are rising (in the place
where I live).

But here, an announcement of an exhibition we recently opened at the
gallery where I work now (and on our website, front page, you find a link
to a short video from opening night):

After the battle all generals are fucked

Dream worlds on canvas by Bojan Šumonja & Marko Jakše


Gallery Puzić, Johannisstrasse 3A, 66111 Saarbrücken, Germany // duration
of the exhibition 14/5. – 19/6, 2024


https://gallery-puzic.com/

Gallery Puzić cordially invites you to the presentation of two of the most
important and renowned artists in Central Europe –
Bojan Šumonja (Croatia) and Marko Jakše (Slovenia). Bojan Šumonja is
rightly considered one of the most famous and recognized Croatian visual

artists of the last decades. He has exhibited independently over 100 times
across Europe and in

the USA. His works have, among others, been presented at independent
exhibitions in Venice,

Milan, Berlin, Hamburg, Vienna, Klagenfurt, Graz, Brussels, Ljubljana,
Luxembourg, New

Orleans, Zagreb, Dubrovnik and throughout Croatia. In his richly baroque
compositions, sheep,

gaunt flamingos, birds, downtrodden refugees and superheroes often appear,
in sometimes absurd

and dangerous scenarios of ecological, social and political catastrophes or
dystopian landscapes.

At the same time, complex ironic references (for which the artist was
celebrated as the first

“postmodernist” on the Croatian scene) wander through these dark
battlefields - quotes from silent films (Buster Keaton), classical art and
Pop Art appear, little Easter bunnies and other

cartoons figures run around after the battle. Or herds of people bow down
like African ostriches,

hiding their heads in the sand. Šumonja’s most recent paintings, as well as
the “collective” works

(One Dollar Bill) with Marko Jakše, radiate striking chromatic
peculiarities and combine versatile

motifs and spatial systems.


The Slovenian artist Marko Jakše is appreciated by art experts for his
expressive works with

contrasting elements and imaginative, poetic scenarios. For more than 30
years, his artistic

visions have been inspiring audiences with complex and multifaceted works
that have a unique

appeal and have already been awarded many prizes. Among many other
exhibition venues,

Marko Jakše represented Slovenia at the 59th Venice Biennale (2022). A
strong source of

inspiration is the animal and plant world. The painterly results are
surreal-seeming worlds that

highlight the beauty of nature but also intertwine completely fantastic,
strange and surreal

elements.


The sarcastic title of our exhibition is aimed at the innovative image and
style combinations of

the two painters, whose fictional, mutated or real characters/natures
capture our imagination,

looking at us with strange grimaces, and also turn into melancholy dreams.
What is also quite

unusual for our Western artworld scene is the fact that the two artists
worked as a collective for

this exhibition, i.e. the paintings were designed and developed by both of
them together.


regards

Johannes Birringer

Concept Manager / Gallery Puzić

https://gallery-puzic.com/



> On Thu, 6 Jun 2024 at 08:00, AGF  wrote:
>
>> hi dear, your posts are welcome!
>> agee
>>
>> > On 6. Jun 2024, at 6.56, Alan Sondheim via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>> >
>> >
>> > */i'm honestly not trying to dominate this list, i am more than
>> > willing to stop posting here if others will post, sad to see this
>> > quiet/*
>> >
>> > dark rasa / sickness
>> >
>> > https://youtu.be/IkW_-wzOIgY video
>> >
>
>
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Re: [NetBehaviour] Gaza

[Johannes Birringer via NetBehaviour]

>>we have the duty here now of _thinking inconceivability_
to respond with art, music, writings, analyses..>>

Alan I agree with what you write, I disagree with what you write too. I
realize yes, remembering it well, a few years ago, during the war in Syria
and the ISIS attacks,
we created a discussion, for a whole month, on "ISIS, Absolute Terror,
Performance" (empyre list). I also remember collating all the
contributions, editing it all for a book, and we did not find a publisher.

These past weeks, October-November, I heard a few expressions here, about
"yes, but", and "yes and." In tried to join a discussion, and posted here,
but no one was really discussing,  and art, Alan, "art, music,
writings...",. well it has been a disaster I think.

 No one here wanted to say outright that it is not quite right to argue
that "it's impossible to comprehend what is occurring in Gaza, impossible
to think through the violence and destruction, through the continuous
cruelty."  It is possible.

I see it in Germany and England, and I hear it from Jewish friends in in
this country and my neighbor country (France), and from friends in the US;
Jewish families are afraid to send their children to school or go out of
their homes, their houses in Berlin have been defaced, Synagogues attacked,
demonstrations in London shout for annihilation of Israel, and I cannot
calm down my anger, after the atrocious attacks of Hamas against Jewish
civilians, which has now led to the new military repercussions. We
experienced the attack on Ukraine, and many declared their solidarity with
Ukrainians; I tried to also help raising awareness, we showed Ukrainian
film and photos in a gallery where I work, and I will do the same for
Israel defending itself against inhuman, grotesque violence, and using Gaza
civilians now as a shield (they are not a shield) - offering them up as
victims.

What I am saying is that the conflict is not inconceivable, and yes there
is a historical context (i don't care what, I am upset about what the Left
says,  what Greta Thunberg has to say); but why are so very very few arts
organizations, theatres, galleries,  writers, musicians expressing their
solidarity with Jews who now afraid of their lives and safety, not only in
Israel, but right here in all our lovely democratic safe communities in the
West and the North. I grew up with the stern, incontrovertible maxim,
'never again'  ;  and now it happens right here and right now.

respectfully,
Johannes Birringer

On Mon, Dec 4, 2023 at 5:24 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Gaza
>
> https://youtu.be/Yda-c_4agZA (saz)
>
> it's impossible to comprehend what is occurring in Gaza,
> impossible to think through the violence and destruction,
> through the continuous cruelty. we don't think clearly,
> perhaps not at all, impossible but occurring, absent here
> but there, but continuous, but incessant, what is to come
> everywhere our abject fear, our fear is safe _here,_ it
> is our fear to own from _this_ distance, this safety.
> we did years ago have ongoing discussions on email lists
> set up for that purpose, war, violence, testimony. now we
> have our _safe nightmares_ as cruelty spreads everywhere.
> perhaps everything falls short of weeping, of our safety
> here, perhaps not. inside we were napalm not real here
> we are irreal bombardment, accounts, disasters, bodies,
> limbs, massacres, children, infants, so many civilians,
> we have the duty here now of _thinking inconceivability_
> to respond with art, music, writings, analyses, otherwise
> than _there,_ in different words _here_ and not _there,_
> the safety of the aporia, the moment of the trench
> adjacent to the cusp. i contribute this long-necked saz
> piece, i am useless, we watch the war inside of us, we
> survive in the safety, for now, of our bodies, our minds
> elsewhere, no where at all, the world inconceivable, lost
>
> it'simpossibletocomprehendwhatisoccurringinGaza,
> impossibletothinkthroughtheviolenceanddestruction,
> throughthecontinuouscruelty.wedon'tthinkclearly,
> perhapsnotatall,impossiblebutoccurring,absenthere
> butthere,butcontinuous,butincessant,whatistocome
> everywhereourabjectfear,ourfearissafe_here,_it
> isourfeartoownfrom_this_distance,thissafety.
> wedidyearsagohaveongoingdiscussionsonemaillists
> setupforthatpurpose,war,violence,testimony.nowwe
> haveour_safenightmares_ascrueltyspreadseverywhere.
> perhapseverythingfallsshortofweeping,ofoursafety
> here,perhapsnot.insidewewerenapalmnotrealhere
> weareirrealbombardment,accounts,disasters,bodies,
> limbs,massacres,children,infants,somanycivilians,
> wehavethedutyherenowof_thinkinginconceivability_
> torespondwithart,music,writings,analyses,otherwise
> than_there,_indifferentwords_here_andnot_there,_
> thesafetyoftheaporia,themomentofthetrench
> adjacenttothecusp.icontributethislong-neckedsaz
> piece,iamuseless,wewatchthewarinsideofus,we
> surviveinthesafety,fornow,ofourbodies,ourmind

Re: [NetBehaviour] 1. Re: Jerusalem Minefield 1962 and Music for Hell (Alan Sondheim)

[Johannes Birringer via NetBehaviour]

.
> >   There's no comparison to 9/11 definitely, and the comparison
> >   does discredit
> >   to analysis, to what actually happened, etc. in both places.
> >   What Hamas did was absolutely horrific, I can't imagine that,
> >   literally. It
> >   certainly changes the tenor of things.
> >   There's so much to blame, all the way around, and I hate the
> >   hatreds that
> >   also inflame these situations, make them worse.
> >   I can't understand Netanyahu at all, the taunting, the bowing
> >   down before
> >   Lord Trump - that's not the Judaism I know or ever want to know.
> >   "ordinary" Israeli and "ordinary Palestinian citizens are caught
> >   up in all
> >   of this...
> >   For what it's worth also, my first wife and I honeymooned in
> >   Jerusalem - on
> >   the Arab side - and it was amazing. There were these small
> >   moments of
> >   grace...
> >   Attaching a photograph of me there when I was at Hebrew U. in
> >   1962.
> >
> >   Best, Alan, and thank you and everyone, and sorry for replying
> >   like crazy,
> >   it's been weird...
> >
> >   On Thu, Oct 12, 2023 at 5:23?PM Johannes Birringer via
> >   NetBehaviour <
> >   netbehaviour@lists.netbehaviour.org> wrote:
> >
> >   > Dear Alan
> >   >
> >   > thank you for your writing, your video with these fascinating
> >   60 year old
> >   > photos, and your expression of despair.
> >   >
> >   > "That is what the world was and will be".
> >   >
> >   >  I tend to follow you here, it is a most distressing moment
> >   again, we have
> >   > wars now in the East
> >   > and the West/Middle East, with many powers involved, from Iran
> >   to the US
> >   > to Russia, I am sure, and the terrible mess will get worse,
> >   for all.
> >   > The "Nation" article is no consolation (thanks, though,
> >   Paul!), how could
> >   > it.  I am not sure I like comparisons to 9/11 and the war that
> >   followed, it
> >   > simplifies the complex Israeli history and relations to
> >   Palestine and the
> >   > surrounding neighbors who speak of annihilating Israel though
> >   recently also
> >   > offered rapprochement. Did not some US senator or Congressman
> >   today advise
> >   > 'flattening" Gaza? Bombing it out of existence?
> >   > It is also complex to read the news commentaries in the
> >   country where I
> >   > live part-time (German solidarity to Israel expressed on
> >   government level;
> >   > Muslim and Palestinian sympathizers in Berlin dancing on the
> >   streets in
> >   > jubilation!).
> >   > FAZ newspaper interviewed Isareli author Lizzie Doron (Tel
> >   Aviv), and she
> >   > said "nothing will ever be as it was before."  (?).
> >   > Another author (Deborah Feldman, who wrote "Unorthodox", a
> >   novel about her
> >   > escape from an ultra-Orthodox community in Brooklyn) was
> >   caught,
> >   > unawares, at a literary symposium, and she offered at first,
> >   hearing about
> >   > the Hamas attack, a warning - saying, "it cannot be taken in,
> >   it is too
> >   > much, there are no words to be found."
> >   > Then she suggested that this terrible crisis also has internal
> >   Israel
> >   > background contexts ? Netanyahu's policies, and attack on
> >   Israeli
> >   > democracy to limit judicial independence, now combined with
> >   "security
> >   > failures owed to moving military force to the West Bank to
> >   support
> >   > ultra-orthodox settlers there, neglecting to protect secular
> >   Jews or the
> >   > "less protection-worthy folks in the South near Gaza." This of
> >   course makes
> >   > one wonder what was known by the Military Intelligence and the
> >   Shin Bet
> >   > security service, and what was allowed to happen. I have no
> >   idea. I am
> >   > distressed, like Alan, and have no musical answer, or any
> >   answer.
> >  

Re: [NetBehaviour] Jerusalem Minefield 1962 and Music for Hell

[Johannes Birringer via NetBehaviour]

Dear Alan

thank you for your writing, your video with these fascinating 60 year old
photos, and your expression of despair.

"That is what the world was and will be".

 I tend to follow you here, it is a most distressing moment again, we have
wars now in the East
and the West/Middle East, with many powers involved, from Iran to the US to
Russia, I am sure, and the terrible mess will get worse, for all.
The "Nation" article is no consolation (thanks, though, Paul!), how could
it.  I am not sure I like comparisons to 9/11 and the war that followed, it
simplifies the complex Israeli history and relations to Palestine and the
surrounding neighbors who speak of annihilating Israel though recently also
offered rapprochement. Did not some US senator or Congressman today advise
'flattening" Gaza? Bombing it out of existence?
It is also complex to read the news commentaries in the country where I
live part-time (German solidarity to Israel expressed on government level;
Muslim and Palestinian sympathizers in Berlin dancing on the streets in
jubilation!).
FAZ newspaper interviewed Isareli author Lizzie Doron (Tel Aviv), and she
said "nothing will ever be as it was before."  (?).
Another author (Deborah Feldman, who wrote "Unorthodox", a novel about her
escape from an ultra-Orthodox community in Brooklyn) was caught, unawares,
at a literary symposium, and she offered at first, hearing about the Hamas
attack, a warning - saying, "it cannot be taken in, it is too much, there
are no words to be found."
Then she suggested that this terrible crisis also has internal Israel
background contexts – Netanyahu's policies, and attack on Israeli democracy
to limit judicial independence, now combined with "security failures owed
to moving military force to the West Bank to support ultra-orthodox
settlers there, neglecting to protect secular Jews or the "less
protection-worthy folks in the South near Gaza." This of course makes one
wonder what was known by the Military Intelligence and the Shin Bet
security service, and what was allowed to happen. I have no idea. I am
distressed, like Alan, and have no musical answer, or any answer.

Johannes Birringer

On Thu, Oct 12, 2023 at 10:04 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Jerusalem Minefield 1962 and Music for Hell
>
> https://youtu.be/kYclag76v7g video (1962, 2023)
>
> I don't know you and I don't know myself. Maybe 60 years ago it
> was different. I thought I knew something which was Wittgenstein
> and I knew nothing. I knew the world was not right and I was not
> right in the world and I acted accordingly. I acted politically.
> It meant nothing. The world was all that is the case and acted
> accordingly. I witnessed. We all acted accordingly and some of
> us were remain distorted. Not just because of that knot, but the
> world, unable to act accordingly. The few images from Jerusalem
> 1962, there are a lot more but these are over and done with. So
> I do play accordingly and to this day cannot conceive horror. I
> was young when I read the medical volumes of the Nuremberg War
> Trials and never recovered. That is what the world was and will
> be. My certainty is violent. I am damaged and damage others and
> try not to damage anyone or anything and fail. You can't witness
> this and not _be,_ an existential statement. I return to it as
> false premises, false history, as if I were someone. I'm not and
> none of us are, given the world's grit. In 1962-63 I studied at
> Hebrew University. The camera was a Minox, very small. Some of
> what I photographed could not have been otherwise. Don't think
> for a moment things have changed. This is exact. This fits like
> a glove. This is perfection. The music isn't. I efface myself to
> no avail because I constantly appear, as you do and your friends
> do as well. When we're gone, most of our images will be gone as
> well. The shadows decay in some brilliant and overpowering light
> in the future. Those who are there will be blinded by its
> insufferability.
>
> __
>
> ___
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>
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Re: [NetBehaviour] Book release Being Human . een bloemlezing . an anthology (Annie Abrahams)

[Johannes Birringer via NetBehaviour]

Yes, congratulations to you, Annie, for the book and for exhibiting in the
show "Reboot" (ominous title!)
Is your book in English or in Dutch? How is the contents of the book (the
poems) related to your
telematic performance work?

with regards
Johannes


>>
>> Message: 1
>> Date: Tue, 10 Oct 2023 13:02:40 +0200
>> From: Helen Varley Jamieson 
>> To: netbehaviour@lists.netbehaviour.org
>> Subject: Re: [NetBehaviour] Book release Being Human . een bloemlezing
>> . an anthology
>> Message-ID:
>> <25ebcdb9-abe0-4db4-8af6-8424c1879...@creative-catalyst.com>
>> Content-Type: text/plain; charset="utf-8"; Format="flowed"
>>
>> congratulations, annie! ?
>>
>> On 02.10.23 12:05, Annie Abrahams via NetBehaviour wrote:
>> >
>> > *Can the essence of a website called /Being Human/ created between
>> > 1997 and 2007, be translated into a book in 2023?*
>> >
>> > I am very happy and proud to announce the release of my book
>> > /*Being Human . een bloemlezing . an anthology*/**
>> > The book is part of the exhibition /REBOOT
>> > :
>>
>> > Pioneering Digital Art/ at the Nieuwe Instituut in Rotterdam.
>> >
>> > It contains *44 poems*, a *Fore Words* by Erika F?l?p, an *Ad Verbs*
>> > by me. The graphic design is by Alexandre Leray.
>> >
>> > A book as a derivative of something that is gone, which at least, now
>> > can no longer be experienced as in the time when it was made. ...
>> > /Being Human/ has always been a linguistic universe, in which
>> > different voices, languages, poems, codes and variables mingle into a
>> > labyrinthine whole. And so it appeared a challenge and logical to me
>> > to try to capture /Being Human/ into a book, into a collection of
>> poetry.
>> >
>> > "/A fantastic and fascinating semiotic mess.
>> > It is text. Type undefined.
>> > We bounce back and forth between languages that we understand and
>> > others we don't, between ourselves and others, between humans and the
>> > space between them, caught in the interface that connects and
>> > separates them and us/." *Erika F?l?p*.
>> >
>> > The book costs *24 euro* and will be *for sale* at NAI Booksellers
>> > (NAi Boekverkopers) in Rotterdam (next to the Nieuwe Insttuut). You
>> > can also order one with me for 24 euro + porto.
>> > ISBN: 978909037631, 160 pages, A5, hardcover.
>> >
>> > With thanks to: LI-MA, Amsterdam; the Nieuwe Instituut, Rotterdam and
>> > the Jaap Harten Fonds, Den Haag.
>> >
>> >
>> >
>> > Opening /REBOOT
>> > :
>>
>> > Pioneering Digital Art,/
>> >
>> > *Saturday October 7 *
>> > Nieuwe Instituut, Rotterdam.
>> > Free entrance, Sign up HERE
>> > <
>> https://www.eventbrite.nl/e/tickets-opening-reboot-baanbrekende-digitale-kunst-713722331707
>> >.
>> >
>> > Exposition *8/10/2023 ? 1/04/2024*
>> > Twenty ground-breaking digital artworks from the Netherlands, which
>> > helped define our societal relationships with technology, are on
>> > display, alongside new works by ten makers who take inspiration from
>> > them in looking towards the future.
>> >
>> > Works by *Annie Abrahams*, Livinus and Jeep van de Bundt, Driessens &
>> > Verstappen, Edward Ihnatowicz, JODI, Bas van Koolwijk, Lancel/Maat,
>> > Jan Robert Leegte, Yvonne Le Grand, Peter Luining, Martine Neddam,
>> > Marnix de Nijs and Edwin van der Heide, Dick Raaijmakers, Joost
>> > Rekveld, Remko Scha, Jeffrey Shaw, Debra Solomon, Steina, Peter
>> > Struycken, and Michel Waisvisz. *Contemporary responses* by Janilda
>> > Bartolomeu, Cihad Caner, Dries Depoorter, Swendeline Ersilia, Ali
>> > Eslami, Jonas Lund, Luna Maurer and Roel Wouters, Katja Novitskova,
>> > Ekim Tan, and brui5er.
>> >
>> > Curators: *Sanneke Huisman* of LI-MA and *Klaas Kuitenbrouwer* of
>> > Nieuwe Instituut.
>> >
>> > *Being Human* will be presented as:
>> > A projection of /BramTV/, *2005* (*online* version)
>> > Three screens with /BramTV/ /special Collection 1, 2 and 3/, *2006*
>> > (*offline* stand alone version)
>> > And a poetry *book*: /Being Human . een bloemlezing . an anthology/,
>> > *2023*.
>> >
>> >
>> > Best
>> > Annie
>> >
>> >
>> >
>> > ___
>> > NetBehaviour mailing list
>> > NetBehaviour@lists.netbehaviour.org
>> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>> --
>>
>> helen varley jamieson
>>
>> he...@creative-catalyst.com
>> http://www.creative-catalyst.com
>> http://www.upstage.org.nz
>> https://mobilise-demobilise.eu
>> -- next part --
>> An HTML attachment was scrubbed...
>> URL: <
>> https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20231010/21693157/attachment-0001.htm
>> >
>>
>> --
>>
>> Message: 2
>> Date: Tue, 10 Oct 2023 14:45:46 +0200
>> From: Annie Abrahams 
>> To: NetBehaviour for networked distributed creativity
>> 
>> Subject: Re: [NetBehaviour] Book release

Re: [NetBehaviour] Flooding in New York

[Johannes Birringer via NetBehaviour]

All the best to all of you affected by this!

We really do live in very uncertain and frightening times, climate change
or the elements troubling us deeply, reminding us of the planet's calamity.
What I sometimes find annoying and difficult to comprehend is the
discussion about protesters (Last Generation interventions in Germany, for
example),
as if there was any need to criminalize or condemn their actions, when they
try to point out that governments are not acting, or fulfilling their
promises
or their own pronounced policies. Do you have debates about civil
disobedience in your regions and towns? how are these debates conducted?

regards
Johannes Birringeer

On Fri, Sep 29, 2023 at 9:06 PM Catherine Daly via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> We're fine, but the flooding disrupted the entire train system in
> Brooklyn (including LIRR).
>
> Yikes!
>
> On Fri, Sep 29, 2023 at 1:04 PM Edward Picot 
> wrote:
> >
> > I've just been reading in the Guardian about the flooding and state of
> > emergency in New York and surrounding areas. Is everyone over there okay?
> >
> > Edward
> >
> > ___
> > NetBehaviour mailing list
> > NetBehaviour@lists.netbehaviour.org
> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
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Re: [NetBehaviour] Working on the Furtherfield Archives.

[Johannes Birringer via NetBehaviour]

Agreed, it's a wonderful archaeological adventure you are describing, this
archival work.
I wish you joy, and good health.
best
Johannes Birringer



On Thu, Sep 21, 2023 at 4:37 PM Michael Szpakowski 
wrote:

> Fantastic, Marc!
>
> On Wednesday, September 20, 2023 at 11:19:46 AM GMT+1, marc.garrett via
> NetBehaviour  wrote:
>
>
> Hi Netbehaviourists,
>
> One of my main tasks at Furtherfield these days is dealing with its
> archive, which is challenging. Updating past material going back to the
> mid-90s is taking a long time. And, as you can imagine, not having massive
> budgets with an institution means less money to pay others to do the more
> time-consuming work. However, I have been enjoying reconnecting to past
> ventures with artists, writers and techies, and many are still on this
> list. It is an excellent resource of knowledge for digital, networked
> practitioners today, tomorrow, and of course, for ourselves who've been
> very much part of this amazing journey.
>
> It still needs to be finished. But it will be ready early next year. Until
> then, I'll be posting on the list and on social media various
> (re)discoveries of our shared past which I know many on here will value and
> remember warmingly.
>
> This is our history, and it was built from the ground up. Revisiting this
> rich and imaginatively diverse material of artistic, collective and
> individual energies has been an immense pleasure. It has been a privilege
> to know and work with you all, and this wild and messy history will be
> unearthed like radical folklore challenging the official and easily
> accepted narratives issued by top-down systems of hegemony.
>
> Wishing you all well.
>
> Marc
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
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Re: [NetBehaviour] 'Frugal Strategies'

[Johannes Birringer via NetBehaviour]

dear all
I had been meaning to announce a small outdoor installation/performance
project I am doing, "BirdSongTree- Drawings", at the KunstTreffpunkt
Festival in Darmstadt, 1-3 September , 8 - 10 September,  but I mention it
here tonight, in case you are interest in land/art or environmental art
that may have a digital component, as in this case where I am using about
25 bird calls/voices to be heard for the people who come to see the tree
and want to want paint/draw the voice onto the canvases.



https://www.kunsttreffpunkt.info/


 I posted a few images and a video on my facebookpage.

https://www.facebook.com/johannes.birringer#


and the concept, in brief, is:

*BirdsongTree Drawings – Listening Performance *is a site-specific
installation and interactive performance space – situated in the Darmstadt
Organgerie gardens, where a decaying tree will be revitalized with 6
smaller paintings of bird-song spectrograms that will be attached to its
stems or remaining branches, and at the same time the tree will asked to
collaborate on a performance invitation, a participatory scenography for
visitors –  where each visitor who is inclined to add a drawing of an
imagined bird song or song frequency, will be invited to a drawing
performance. The drawing performance involves the participating visitors as
actors who can use their bodies and hands to draw an imaginary spectrogram,
of whatever visual expression, on a large, extended canvas (paper roll)
that will extend from the tree outward in a circular or spiraling form.


best wishes

Johannes Birringer

>
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Re: [NetBehaviour] Campos | Temporales Video

[Johannes Birringer via NetBehaviour]

l arrival at a
>> symmetrical array as a sort of cadence. In a sense, the final animation is
>> loud while the music is quiet, or the loudness of the cadence is given to
>> the animation while the harmonic progression is given to the music.
>>
>> Will try to answer questions in your second paragraph tomorrow.
>>
>> best,
>>
>> Paul
>>
>>
>> On Fri, Aug 25, 2023 at 9:21 AM Johannes Birringer via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>>
>>> fascinating beautiful work, very inspiring, Paul!
>>>
>>> thanks also for giving a bit of insight (website documentation) into
>>> your visual process and the concept for having such visual/music, such
>>> animations
>>> and the evolving [interactive] patterning (background and foreground). I
>>> was mesmerized yet also began to question or wanting to interrogate the
>>> evolving pattern (did you and the composer develop this together or is the
>>> music irrespective of the visuals (though you mention your Rondo form)? - I
>>> guess I ask whether the music can respond to an immersive environment
>>> /projection as you seem to have created  it in this amazing glass house
>>> (the lobby of 150 Riverside Plaza in Chicago?), or rather is it
>>> fixed/controlled/composed? why so?
>>> You mention an architectural-video-installation, thus could you please
>>> expand a little, since i am interested in the historical side of your work
>>> too, when did visual music (did Eno call it that) or projected visual
>>> scenographies become coupled with architecture (Xenakis?), how did digital
>>> software artists develop this further or not? and why did you decide on
>>> what, to me (on the vimeo concert), looks a 'flat canvas', perhaps (if an
>>> art reference is permitted) a Mondrianic kind of Agnes Martin painting
>>> field becoming dynamic, motional?  (I say this as an admirer of Martin's
>>> paintings and her book "Paintings, Writings, Remembrances). Or did you
>>> perhaps see the massive 3D immersive spectacles (teamLab stuff, and other
>>> current projection environments) as a trap? How did the glass architecture
>>> change your visuals (was 150 Media Stream concert different from what you
>>> posted now?).
>>>
>>> with regards
>>> Johannes Birringer
>>>
>>> On Fri, Aug 25, 2023 at 6:29 AM Paul Hertz via NetBehaviour <
>>> netbehaviour@lists.netbehaviour.org> wrote:
>>>
>>>> I am very pleased to announce the release a video for my recent
>>>> collaborative project Campos | Temporales. Campos is an "intermedia
>>>> experience" where algorithmic animation and new music share formal
>>>> structures in time and space to create a hybrid art form. Composer
>>>> Christopher Walczak wrote the music, which was recorded at Experimental
>>>> Sound Studio in Chicago. The work originated as a large scale video
>>>> installation in a curated space in Chicago, 150 Media Stream.
>>>>
>>>> The video can be viewed on Vimeo:
>>>> https://vimeo.com/856300250
>>>> There's documentation on my website, soon to be updated:
>>>> https://paulhertz.net/projects/Campos%20%7C%20Temporales
>>>>
>>>> Duration: 15:27
>>>>
>>>> In addition to this streaming version, we have a UHD version with
>>>> concert quality audio.
>>>>
>>>> saludos,
>>>>
>>>> Paul
>>>>
>>>>
>>>>
>>>> --
>>>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>>>> http://paulhertz.net/
>>>> ___
>>>> NetBehaviour mailing list
>>>> NetBehaviour@lists.netbehaviour.org
>>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>>
>>> ___
>>> NetBehaviour mailing list
>>> NetBehaviour@lists.netbehaviour.org
>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>
>>
>>
>> --
>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>> http://paulhertz.net/
>>
>
>
> --
> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
> http://paulhertz.net/
>
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Re: [NetBehaviour] Campos | Temporales Video

[Johannes Birringer via NetBehaviour]

fascinating beautiful work, very inspiring, Paul!

thanks also for giving a bit of insight (website documentation) into your
visual process and the concept for having such visual/music, such animations
and the evolving [interactive] patterning (background and foreground). I
was mesmerized yet also began to question or wanting to interrogate the
evolving pattern (did you and the composer develop this together or is the
music irrespective of the visuals (though you mention your Rondo form)? - I
guess I ask whether the music can respond to an immersive environment
/projection as you seem to have created  it in this amazing glass house
(the lobby of 150 Riverside Plaza in Chicago?), or rather is it
fixed/controlled/composed? why so?
You mention an architectural-video-installation, thus could you please
expand a little, since i am interested in the historical side of your work
too, when did visual music (did Eno call it that) or projected visual
scenographies become coupled with architecture (Xenakis?), how did digital
software artists develop this further or not? and why did you decide on
what, to me (on the vimeo concert), looks a 'flat canvas', perhaps (if an
art reference is permitted) a Mondrianic kind of Agnes Martin painting
field becoming dynamic, motional?  (I say this as an admirer of Martin's
paintings and her book "Paintings, Writings, Remembrances). Or did you
perhaps see the massive 3D immersive spectacles (teamLab stuff, and other
current projection environments) as a trap? How did the glass architecture
change your visuals (was 150 Media Stream concert different from what you
posted now?).

with regards
Johannes Birringer

On Fri, Aug 25, 2023 at 6:29 AM Paul Hertz via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> I am very pleased to announce the release a video for my recent
> collaborative project Campos | Temporales. Campos is an "intermedia
> experience" where algorithmic animation and new music share formal
> structures in time and space to create a hybrid art form. Composer
> Christopher Walczak wrote the music, which was recorded at Experimental
> Sound Studio in Chicago. The work originated as a large scale video
> installation in a curated space in Chicago, 150 Media Stream.
>
> The video can be viewed on Vimeo:
> https://vimeo.com/856300250
> There's documentation on my website, soon to be updated:
> https://paulhertz.net/projects/Campos%20%7C%20Temporales
>
> Duration: 15:27
>
> In addition to this streaming version, we have a UHD version with concert
> quality audio.
>
> saludos,
>
> Paul
>
>
>
> --
> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
> http://paulhertz.net/
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
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Re: [NetBehaviour] Music to Listen to

[Johannes Birringer via NetBehaviour]

Monsieur Sondheim,
j'ai pris la liberté de vous envoyer chercher. Je crains d'avoir besoin de
votre assistance. Comment vous trouvez-vous en ce moment ? Je ne sais. Je
me trouve tout je ne sais comment. J'ai la tête tout étourdie, et j'ai de
la peine à me tenir sur mes jambes. Je ne suis pas bien du tout. Je me sens
bien malade. Je suis d'une faiblesse étonnante...

...oh, and you remember everything crystal clear then I got the
humorous reference wrong, I thought you were unsure who did what when
there, a long time ago..
but thanks much for your response, I really like the playing of the
keyboards.

warm regards
Johannes Birringer

On Wed, Aug 9, 2023 at 5:17 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Johannes!
>
> Thanks for this. The club wasn't obscure - it was the Starck Club and we
> chose the baseroom area, played in the closed room, people listening from
> the hallway, whatever! We did well there.
> It was David Smith who worked with Lee Murray; they were a team. He died a
> few years ago, before Lee did; they were still working on projects
> together. He had a group which is online now, around the same time, which
> broke up soon after we arrived, Mr. and Mrs. Accident - they were married
> in real life and broke up somewhat soon after we arrived, I think. Good
> music with strange back beats / lyrics. I don't remember the keyboard at
> all - the make - but it might have been a Mirage - I bought one again about
> 15 years ago, but it broke soon after. The Mirage was unique and probably
> still is; it used floppies. I don't think David had one but might have.
> Other than that, I don't remember the brand.
> He pretty much wired everything from scratch. Btw, wasn't messing w/ the
> keyboard - playing it.
> The tapes sound identical to the way they sounded then. I'm sure of that.
> Things survive far longer than they're supposed to - the Acker tapes are
> far earlier and made it through.
> I'm against disintegration because things become permanently lost that
> way. Everything I think depends on storage conditions. Storing various
> tapes in metal containers keeps magnetic fields away from them. Tape
> splices are always brittle, decay.
> I did lose a lot of early computer tapes as well as some audio etc., all
> of which were stored at my parent's house in Pennsylvania; when the
> Susquehanna flooded in the 70s, they were destroyed along with so much else
> -
> As you know Murray's films, w/ David as well, are up on Lee Murray's
> website that Barbara Simcoe created somewhat recently. They're utterly
> brilliant.
>
> Best, Alan, and thank you so much - oh not the Midi pioneer!
>
> On Wed, Aug 9, 2023 at 6:47 AM Johannes Birringer via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>>
>> Hallo,
>> Alan thanks for this music from old times. It's wonderful.
>> I was not in attendance, but distinctly remember another concert night in
>> Dallas, around 1986, where you were eating or playing audio tape that you
>> had ripped from the reels and torn around the room like a mad obsessionist.
>> I think the concert was in an obscure underground club in Deep Ellum.
>>
>> I checked on your reference, "Guide de la Conversation Francais-Anglais,
>> A L'Usage des Voyageurs et des Etudiants," as it intrigued me and one of my
>> younger sports friends is preparing to travel to Paris next week; I found
>> an excerpt in Bellenger's (& Poppleton?) edition of 2015:  [p.208]
>>
>> « Monsieur, j'ai pris la liberté de vous envoyer chercher. Je crains
>> d'avoir besoin de votre assistance. Comment vous trouvez-vous en ce moment
>> ? Je ne sais. Je me trouve tout je ne sais comment. J'ai la tête tout
>> étourdie, et j'ai de la peine à me tenir sur mes jambes. Je ne suis pas
>> bien du tout. Je me sens bien malade. Je suis d'une faiblesse étonnante.‎
>> »
>>
>>
>> Please tell us about David Smith (or was it Dave Smith?, the midi
>> pioneer?)
>> what keyboard instruments were you messing with?  I really love the sound.
>>
>> On another note, re: preservation. I am surprised the tapes survived and
>> you can play them, or do they now also sound different, with mulch?  A
>> Canadian friend of mine passed in early 2023, and for his memorial we are
>> trying to exhibit some of his early work, video and audio tapes from the
>> 80s; his son wants to digitize the early works, but has been warned that he
>> may only have one shot before old brittle tape disintegrates. (Not that I
>> am against disintegration, don't get 

Re: [NetBehaviour] Music to Listen to

[Johannes Birringer via NetBehaviour]

Hallo,
Alan thanks for this music from old times. It's wonderful.
I was not in attendance, but distinctly remember another concert night in
Dallas, around 1986, where you were eating or playing audio tape that you
had ripped from the reels and torn around the room like a mad obsessionist.
I think the concert was in an obscure underground club in Deep Ellum.

I checked on your reference, "Guide de la Conversation Francais-Anglais, A
L'Usage des Voyageurs et des Etudiants," as it intrigued me and one of my
younger sports friends is preparing to travel to Paris next week; I found
an excerpt in Bellenger's (& Poppleton?) edition of 2015:  [p.208]

« Monsieur, j'ai pris la liberté de vous envoyer chercher. Je crains
d'avoir besoin de votre assistance. Comment vous trouvez-vous en ce moment
? Je ne sais. Je me trouve tout je ne sais comment. J'ai la tête tout
étourdie, et j'ai de la peine à me tenir sur mes jambes. Je ne suis pas
bien du tout. Je me sens bien malade. Je suis d'une faiblesse étonnante.‎ »


Please tell us about David Smith (or was it Dave Smith?, the midi pioneer?)
what keyboard instruments were you messing with?  I really love the sound.

On another note, re: preservation. I am surprised the tapes survived and
you can play them, or do they now also sound different, with mulch?  A
Canadian friend of mine passed in early 2023, and for his memorial we are
trying to exhibit some of his early work, video and audio tapes from the
80s; his son wants to digitize the early works, but has been warned that he
may only have one shot before old brittle tape disintegrates. (Not that I
am against disintegration, don't get me wrong.)

with warm regards
Johannes Birringer
Outrenoir*

(Just found out about Pierre Soulages's work, now on view at Musée Soulages
in Rodez. Fascinating)











On Wed, Aug 9, 2023 at 7:45 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Music to Listen to
>
> https://youtu.be/A4eF9yfkgf8 video
>
> David Smith and Alan Sondheim, Dallas, 1985-1987
>
> "Was the concert numerously attended last night? The house room
> was so full that we were suffocated with heat. In that case I am
> glad not to have been there. My dear it is a great pity for you.
> That concert was highly interesting. I did not see the program;
> but I had heard that very remarkable artists were to be there.
> It was so; the most distinguished performers in this country and
> several famous Texan and Pennsylvanians virtuosos were there.
> The pieces of music were as well selected as could be. They
> began with the Symphony and chorus. I don't like that style and
> that music always great upon my ears. And yet he attained great
> success that night. The first flute at the opera delighted us.
> The organ concerto was executed brilliantly. In find the
> orchestra was accompanied with rare precision ." (19th cent.
> Guide de la Conversation Francais-Anglais, A L'Usage des
> Voyageurs et des Etudiants, L. Smith, modified.)
>
> Dallas Texas, David Smith's Mac electronic music studio
>
> Unsure who did what here, a long time ago. He had the most
> brilliant, streamlined, intense, sound manipulation / creation /
> recording system I've ever seen. And he's passed on, like our
> equally brilliant friend Lee Murray, filmmaker, who collaborated
> with him. The studio was one room, a very large empty U-shaped
> desk, a very large monitor and speakers, everything white or tan
> or beige as I recall, very sparse, a couple of chairs, computer
> keyboard, mouse, music keyboard. From what I remember.
> Everything I think may be wrong.
>
> I found cassette tapes of the two of us, from a long time ago.
> They were pristine. I played them back on my Sony TC-152SD
> cassette machine which still functions well after 45 years.
> Line out went into a Zoom H2.
>
> I detect the long moments of exhalation which would have come
> from me. There's no way I can tell at this point, but what is
> true, the music is wonderful, and this would have been recorded
> while I was teaching at University of Texas, Dallas, sometime in
> 1985-87.
>
> Glad that the tapes survived. The single image is of a slime
> mold after a fairly violent storm.
>
>
> +++
>
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Re: [NetBehaviour] plesae note - need feedback - this is not released on Facebook etc. yet and may not be. Thank you - Alan (fwd)

[Johannes Birringer via NetBehaviour]

hello  Alan,

ChatGPT: textamony and testimony -- [your] strangest post in a while,
strangely unsettling and also not (given what we read and hear about AI and
'language models" and the 'dim cheat's predictive algorithmic
essay-writing tools', as Colin Burrow called them recently), yet now I'm
sure whether you wanted us to repeat to your posts also using ChatGPT in
the style of any of us? say, in the
style of Zak's Charamaynne, or Foofwa d’Imobilité's movement?
I was amused when I read a piece by this Colin Burrow, in which he mentions
asking ChatGPT to write an essay on Shakespeare's sonnets in the style of
Colin Burrow, and then smiled at the AI tool speaking like a nice
algorithmic "fanboy."

regards
Johannes Birringer


On Sat, Jun 24, 2023 at 7:35 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> ChatGPT: textamony and testimony
>
> PLEASE NOTE: ACCOUNTS BELOW ARE ENTIRELY FICTIONAL
>
> http://www.alansondheim.org/chatting.jpg
>
> Please generate an authentic account of a Holocaust survivor.
>
> ChatGPT
>
> (Note: The following account is a fictional narrative created by the
> AI language model. While it aims to depict a realistic portrayal of a
> Holocaust survivor's experiences, it is important to remember that the
> Holocaust was a tragic and deeply personal historical event. The
> account below does not reflect the real experiences of any specific
> individual.)
>
> My name is Sarah Klein. I am a Holocaust survivor, and the memories of
> that dark chapter in history are etched in my soul. I was born in a
> small village in Poland, surrounded by a close-knit Jewish community.
> Our lives were filled with joy, traditions, and dreams for a brighter
> future. But that innocence was shattered when the Nazi regime cast its
> dark shadow upon our lives.
>
> In 1942, when I was just a young girl of twelve, my family and I were
> forced into the cramped confines of the Lodz Ghetto. The once-thriving
> streets were now lined with barbed wire, and the air was heavy with
> despair. Disease, hunger, and fear became our constant companions as
> we struggled to survive.
>
> Eventually, the Nazis transported us to Auschwitz-Birkenau. The
> horrors I witnessed there are beyond words. The dehumanization, the
> cruelty, the constant specter of deaththese became the fabric of our
> existence. I witnessed loved ones ripped away from me, their voices
> silenced forever.
>
> Survival became a daily battle. I endured grueling labor,
> malnutrition, and the constant fear of selection, never knowing when
> it would be my turn to face the gas chambers. I clung to the memories
> of my family, the warmth of their love, and the dreams we once shared.
> It was that unwavering love that fueled my determination to survive.
>
> Miraculously, I managed to escape during a chaotic moment of
> liberation. The war had ended, but the scars remained. I was a
> survivor, but the weight of loss and trauma was immeasurable.
> Rebuilding my life was a daunting task, but I refused to let the
> darkness define me.
>
> Years later, I found solace in sharing my testimony. I spoke at
> schools, community centers, and Holocaust remembrance events. It was
> my duty to ensure that the world never forgot the atrocities that
> occurred. Through my words, I hoped to inspire compassion, tolerance,
> and a fervent commitment to justice.
>
> The journey towards healing was a long and arduous one. But with the
> support of fellow survivors and my own resilience, I discovered that
> there is strength in unity and in the power of storytelling. Each time
> I shared my testimony, it became an act of defiance against those who
> sought to erase our existence.
>
> Today, as I reflect upon my life's journey, I am filled with both
> sorrow and hope. The pain of loss still lingers, but it is intertwined
> with a sense of resilience and a determination to build a better
> world. The Holocaust was a dark chapter in history, but it is our
> responsibility to remember, to learn, and to ensure that such horrors
> are never repeated.
>
> My story, like those of countless others, stands as a testament to the
> indomitable human spirit. Through the darkest of times, we can find
> light. And in sharing our stories, we honor the memory of those who
> perished and inspire a future filled with compassion and
> understanding.
>
> ---
>
> Write an essay in the style of Alan Sondheim on the difference between
> testimony and textamony
>
> ChatGPT
>
> Testimony and Textamony: An Exploration of Verbal and Written
> Discourse
>
> In the realm of language and communication, the interplay between
> testimony and textamony unveils a fascinating duality. These two modes
> of expression offer distinct perspectives on the relationship between
> individual subjectivity and the shared realm of discourse. To delve
> into the essence of this dichotomy, we must engage with the rich
> tapestry of Alan Sondheim's thoughts, which resonate with intellectual
> r

Re: [NetBehaviour] NetBehaviour Digest, Vol 1862, Issue 1

[Johannes Birringer via NetBehaviour]

- thanks for your reply Suzon,
and good luck at the Prague Quadrennial, let us know how "Assemble" went
and what impressions you gained there.
I almost would've gone there too, as I had submitted my book "Kinetic
Atmospheres" to their design book exhibition. But as with Paris / ISEA, I
think
it's sometimes good to stay near the river in my valley.

As to atmospheres of black screens (when you only hear voices) or screens
with talking heads, I had such a zoom experience you describe last Monday,
though somewhat different.
You wrote
> - Zoom breakout rooms which allowed immediate possibility for strangers
(in small numbers) to interact and have more intimacy than if they would be
in a theatre,
> - to remove the visuals for a while (black screen), to attract
the  attention to the auditive aspect to create an imaginary space for
all...
>
and my questions would address precisely an assumed intimacy amongst
strangers, and the ability to listen, and to hear (especially in a context
of performing with disabilities);
our meeting was called by Felipe Monteiro (Brasil) who suffers from a
debilitating degenerative disease, and several participants joined, from
far away locations in Canada, Eastern Europe, France, Germany, etc, to help
discuss the foundation of the new Centro Antonin Artaud in Maceió, Brasil.
We had a small agenda, on fundraising, project development/management, the
setting up of a non-profit cultural association with legal statute, financial
management, research interests, Internet, website implementation, social
media, etc.
Naturally, it was like a business meeting, though we also talked about our
interest in Artaud and "expanded theatre and cinema", new media, health
sciences, somatics and the legacies of Artaud's writings. But what I also
noticed were the "somatic alarms" you – and perhaps others here in this
netbehavior community –  noticed, and that made interaction between us
strangers quite difficult,  as it was even amongst colleagues (which I felt
during the pandemic, when still working at university): difficult and
cumbersome, many misunderstandings happened, many suppressions or failed
connections.

It would interest me if others would report on their somatic alarms, or
whether performing together (Alan might argue on behalf of this?) was in
fact enhanced by isolating and  debilitating networked (zoom) conditions
imposed upon us?

respectfully,
Johannes Birringer



On Wed, May 31, 2023 at 2:29 PM Suzon Fuks via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> dear Johannes,
> i am about to go to Prague Quadriennal with my new work ASSEMBLE. A bit
> hectic with some life drama around me.
> I will try to articulate more of my thoughts in writing about my
> understanding of somatic alarms when i will return, end of June.
> Embodiment and mediations, collective and/or individual are important to
> me.
>
> sending love,
>
> Suzon
> +61439929028
> +32 489 55 24 34
>
> *ASSEMBLE *- installation performance - 8-18 June 2023 at PQ10 - Prague
> Quadrennial - Performance Space Exhibition - with the generous support of
> the ASEKOL compliance scheme for lending e-waste
> *VOICES OF HAKKA WOMEN* - Finalist of Her Vision Film Festival and
> Special Mention from Asia South East Short Film Festival - Finalist of
> Toronto's Asian Feedback Film Festival -trailer
> https://youtu.be/ZAQYmRFaskM
>
>
>
> *I acknowledge the country, culture and traditional custodians of the land
> upon which I walk, work and live, the Turrbal and Jagera peoples.It takes
> 12000 litres of water to make 500 grams of chocolate! http://suzonfuks.net
>  | https://www.instagram.com/suzonfuks
>  | http://igneous.org.au
>  | http://wetlandwander.net
> *
>
>
> On Wed, 31 May 2023 at 12:08, 
> wrote:
>
>> Send NetBehaviour mailing list submissions to
>> netbehaviour@lists.netbehaviour.org
>>
>> Today's Topics:
>>
>>1. Re: 'Frugal Strategies', lesser satisfactions (Johannes Birringer)
>>
>>
>> --
>>
>> Message: 1
>> Date: Tue, 30 May 2023 14:03:31 +0200
>> From: Johannes Birringer 
>> To: NetBehaviour for networked distributed creativity
>> 
>> Cc: Suzon Fuks 
>> Subject: Re: [NetBehaviour] 'Frugal Strategies', lesser satisfactions
>> Message-ID:
>> > ifmeqo6jpu_p...@mail.gmail.com>
>> Content-Type: text/plain; charset="utf-8"
>>
>> Thanks to all who responded to my post, recently, I was very happy to hear
>> from you. (And was sorry to see I confused being quiet with being quite).
>> Suzon, I just reviewed
>> the short film you were instrumental in creating, on a kind of recent
>> history (before Zoom came a popular meeting space during the pandemic) of
>> networked performance; and I appreciate your reference to your own
>> performance "Be Like Body?Obsolete".
>>
>> Please share more how you understand somatic alarms, an

Re: [NetBehaviour] 'Frugal Strategies', lesser satisfactions

[Johannes Birringer via NetBehaviour]

   > q...@mail.gmail.com>
>> Content-Type: text/plain; charset="utf-8"
>>
>> dear all,
>> greetings, and sorry for having been quite for quite a while, adjusting to
>> a few things after moving to the countryside.
>> For those of you who've heard of ISEA or attended the annual ISEA events,
>> well this year, it's held in the lovely city of Paris.
>>
>> [image: image.png]
>>
>> I decided not to attend the whole spectacle anymore, as it overwhelmed,
>> irritated me last year in Barcelona. Some friends from Greece formed a
>> panel, which took place yesterday and I participated virtually. Our panel
>> was held at the Forum des Images and titled: "Networked Collaborative
>> Performance: Frugal Strategies and Cultural Impact of Technology."  If
>> you're interested in my 3-minute provocation (we were eight people and
>> given very little time), I include the link to the video*.
>> The overall approach of our panel was to raise questions and stimulate
>> discussion of the frugal (i am not quite happy to speak of innovation
>> here):
>>
>> "As open-source software and human-machine-interaction hardware become
>> more
>> accessible, more culturally diverse groups put them to artistic uses.
>> However, collaboration across cultural and disciplinary borders poses a
>> host of problems not just of technical but also of cultural communication.
>> In this context, the proposed panel investigates the impact of internet
>> collaboration with live coding and other live interaction technologies on
>> culture and the new kinds of art forms that arise from it, especially
>> under
>> the perspective of frugal innovation, i.e. the combination of technical
>> skills, DIY economy of means and an intuitive approach to technology. The
>> premise that this panel ultimately intends to raise as a challenge, is
>> that
>> such work requires a global approach on the technical, organizational,
>> social and cultural aspects in order to be sustainable..."
>>
>> * https://youtu.be/gBBYoPLQnqU
>>
>> regards
>> Johannes Birringer
>> Interaktionslabor
>> http://interaktionslabor.de
>> -- next part --
>> An HTML attachment was scrubbed...
>> URL: <
>> https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20230519/32b33690/attachment-0001.htm
>> >
>> -- next part --
>> A non-text attachment was scrubbed...
>> Name: image.png
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>> Size: 13053 bytes
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>> URL: <
>> https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20230519/32b33690/attachment-0001.png
>> >
>>
>> --
>>
>> Message: 2
>> Date: Fri, 19 May 2023 15:30:47 +0200
>> From: Annie Abrahams 
>> To: NetBehaviour for networked distributed creativity
>> 
>> Subject: Re: [NetBehaviour] 'Frugal Strategies'
>> Message-ID:
>> > fmz3f...@mail.gmail.com>
>> Content-Type: text/plain; charset="utf-8"
>>
>> thanks Johannes!
>>
>> On Fri, May 19, 2023 at 3:18?PM Johannes Birringer via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>>
>> > dear all,
>> > greetings, and sorry for having been quite for quite a while, adjusting
>> to
>> > a few things after moving to the countryside.
>> > For those of you who've heard of ISEA or attended the annual ISEA
>> events,
>> > well this year, it's held in the lovely city of Paris.
>> >
>> > [image: image.png]
>> >
>> > I decided not to attend the whole spectacle anymore, as it overwhelmed,
>> > irritated me last year in Barcelona. Some friends from Greece formed a
>> > panel, which took place yesterday and I participated virtually. Our
>> panel
>> > was held at the Forum des Images and titled: "Networked Collaborative
>> > Performance: Frugal Strategies and Cultural Impact of Technology."  If
>> > you're interested in my 3-minute provocation (we were eight people and
>> > given very little time), I include the link to the video*.
>> > The overall approach of our panel was to raise questions and stimulate
>> > discussion of the frugal (i am not quite happy to speak of innovation
>> here):
>> >
>> > "As open-source software and human-machine-interaction hardware become
>> > more accessible, more culturally diverse groups put them to arti

Re: [NetBehaviour] 'Frugal Strategies'

[Johannes Birringer via NetBehaviour]

dear all,
greetings, and sorry for having been quite for quite a while, adjusting to
a few things after moving to the countryside.
For those of you who've heard of ISEA or attended the annual ISEA events,
well this year, it's held in the lovely city of Paris.

[image: image.png]

I decided not to attend the whole spectacle anymore, as it overwhelmed,
irritated me last year in Barcelona. Some friends from Greece formed a
panel, which took place yesterday and I participated virtually. Our panel
was held at the Forum des Images and titled: "Networked Collaborative
Performance: Frugal Strategies and Cultural Impact of Technology."  If
you're interested in my 3-minute provocation (we were eight people and
given very little time), I include the link to the video*.
The overall approach of our panel was to raise questions and stimulate
discussion of the frugal (i am not quite happy to speak of innovation here):

"As open-source software and human-machine-interaction hardware become more
accessible, more culturally diverse groups put them to artistic uses.
However, collaboration across cultural and disciplinary borders poses a
host of problems not just of technical but also of cultural communication.
In this context, the proposed panel investigates the impact of internet
collaboration with live coding and other live interaction technologies on
culture and the new kinds of art forms that arise from it, especially under
the perspective of frugal innovation, i.e. the combination of technical
skills, DIY economy of means and an intuitive approach to technology. The
premise that this panel ultimately intends to raise as a challenge, is that
such work requires a global approach on the technical, organizational,
social and cultural aspects in order to be sustainable..."

* https://youtu.be/gBBYoPLQnqU

regards
Johannes Birringer
Interaktionslabor
http://interaktionslabor.de
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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Johannes Birringer via NetBehaviour]

dear Alan

happy birthday wishes to you,
ordinarily I wouldn;t use a public list to send congratulations to a friend, 
but you are and have been ever present here and active with all your creative 
forces and imaginations, and thus I think it is upon us here, as subscribers 
and occasional contributors, to acknowledge your leading role and your stamina. 
I wish you many more years of playing your music, writing your texts, and 
making your animated videos, and sharing them with us.

best
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 08 February 2023 17:02
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim; Daniele Minns
Subject: Re: [NetBehaviour] My 80th birthday video containing all aspects of my 
work in 14'03"

Thank you greatly for this and thank you everyone again.

Best, Alan, still working after all these years


On Wed, Feb 8, 2023 at 12:00 PM Daniele Minns via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
Happy 80th Alan and congratulations on making it there! I'm a bit late as have 
been somewhere remote with only occasional solar power and WiFi. Love the 
soundtrack, it sounds in turn Hindu Indian and Wild West! And the breathing and 
the background white noise . . . And the pixellation impressionism of the 
visuals and the traces with your face watching everything go by. Thank you for 
making/sharing this!
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--
=
directory http://www.alansondheim.org tel 347-383-8552
email sondheim ut panix.com, sondheim ut 
gmail.com
=
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Re: [NetBehaviour] Coltrane tribute

[Johannes Birringer via NetBehaviour]

Yes, I also agree, thanks much Simon,
I so enjoyed listening to your tribute and your interpretation

best
Johannes


From: NetBehaviour  on behalf of 
Paul Hertz via NetBehaviour 
Sent: 26 July 2022 18:06
To: NetBehaviour for networked distributed creativity
Cc: Paul Hertz
Subject: Re: [NetBehaviour] Coltrane tribute

Thanks for this!

-- Paul

On Mon, Jul 25, 2022 at 7:46 PM Simon Mclennan via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
I recorded a version of A Love Supreme today... after many years...
First had the record when I was 20ish and had my first band, but we never 
attempted the song.
I enjoyed this... doing the guitar and bass in one take each and adding 
electric drums and two voices after -
And juggling a video on a tripod to get the takes then
Splicing and syncing sound in post...
https://youtu.be/aupNiDf2e5k

Thanks,
And if any Netters are near Brighton on Saturday my trio
Are playing at the Brunswick
In Hove - be nice to meet some lurkers...!

S x
Sent from my spyphone
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--
-   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
http://paulhertz.net/
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Re: [NetBehaviour] Jubilee Texts

[Johannes Birringer via NetBehaviour]

thank you Edward,
your non-celebratory writings were a welcome provocation, thank you!
best
Johannes


From: NetBehaviour  on behalf of 
Edward Picot 
Sent: 04 June 2022 14:18
To: netbehaviour@lists.netbehaviour.org
Subject: [NetBehaviour] Jubilee Texts

Dear all,

Something non-celebratory for the celebratory weekend.


1.

A 70-word poem for Queen Elizabeth, on the occasion of her Platinum Jubilee


Dear Queen Elizabeth,

you’re such a familiar figure -

the same age as my Mum -

it’s difficult not to like you.

Especially now you’re starting to look

suddenly frail.


Or to admire

your lifelong dedication

to your role.


But people are saying

you symbolise the nation.


What you actually symbolise

is something more problematic:

tradition, continuity,

public service,

conservatism,

remnants of Empire,

inherited wealth,

inherited privilege,

the class system.


2.

Hiding underneath the Azot chemical factory, more than 3000 beacons in the key 
eastern Ukrainian city mark the start of the Queen's jubilee celebrations. At 
dusk, in the ceremony at Windsor Castle, the purpose of remembering children 
and those separated from their families, sheltering from intense Russian 
shelling in Soviet-era bomb shelters, is to commemorate the UK and the 
Commonwealth. Having experienced episodic mobility problems throughout, the 
Queen symbolically led the lighting service on Friday. 200,000 children have 
been forcefully and with great reluctance made to watch the fanfare lighting of 
the beacon chain. Around 800 people will be attending the national service of 
thanksgiving at St Paul’s Cathedral. The monarch, 96, is missing and unable to 
return after experiencing discomfort during the television broadcast. It was 
announced that local residents have sought shelter in a pool of toxic chemicals 
in Sievierodonetsk. Ukrainian President Volodymyr Zelenskiy, speaking in 
Buckingham Palace, said all the aid the Queen was able to offer was the 
trooping of the colour. Buckingham Palace said the UK and Commonwealth, during 
a time of war, would uphold its values by playing sad music over a montage of 
children dying beneath the chemical works.


3.

The same people at the top. The same people to run everything. They know the 
system and the idea of it. The system requires a level of show, a show of 
equality, a show of flexibility. The layers of it, the ossification of it, the 
churning and stasis of it, that moment in the 1980s, those children of the 
1980s, the debating societies at Oxford and Cambridge, those people who now run 
everything. It's the same people, the same system, with inflection points every 
few years. History is very complex, but ossified. There is something ossified 
about a system that keeps private schools going, the Civil Service, the 
Diplomatic Service, Oxford and Cambridge, the City, the Bank of England, the 
same people at the top. The same people. It's the system, it's a system of 
control.


4.

Putin confirms the bombings and the attacks have stopped. Reports to the 
contrary are lies and scaremongering. His authority is God. The latest to be 
abducted in an attack overnight is the Orthodox world’s spiritual leader, 
Bartholomew I. President Volodymyr Zelenskiy has been kidnapped by Russian 
forces, according to a delegate, and is wounded and in hospital. In any further 
assault it is key to prevent any significant future. In Britain, anti-war 
protests could be in the tens.  While praising the Ukraine's people, President 
Putin confirmed that Russians could use chemical weapons on food and water for 
more than 14,000 people in 112 cities, and it would not constitute a war crime. 
Nine thousand people were killed in airstrikes. Gove has called for a 
“game-changer” in the conflict. The UK chancellor, Rishi Sunak, has confirmed 
that history is stuck. Kyiv has fled into the country. Ukraine’s human rights 
ombudsman has claimed Russia used banned phosphorus in the southern Ukrainian 
port city of Mariupol. The embattled city is confirmed as a legitimate target. 
A Russian airstrike has killed and massacred the entire Black Sea coast. A 
Polish statement issued alongside a video said talks had come to nothing less 
than 10 miles from suffering people, their suffering could be heard, in Popasna 
in eastern Ukraine. Let the cry of the military base in Yavoriv come unto thee, 
O Lord. At least 35 people killed and 134 wounded. The Kremlin confirmed that 
they would stop the massacre by killing all civilians. 30 miles west of Lviv, 
with the government believing it was in its final hours, 3,000 visas were 
granted to Ukrainian refugees, away from the city, and a 400,000 two-week 
supply of food in a supply convoy was abducted by Russian forces. The Chinese 
government has granted licenses for new investments in Russia. The port of 
Odesa has been evaporated. In the the town of Irpin, outside Kyiv, an 
independent human rights body has disappeared. P

Re: [NetBehaviour] presenting at Posthuman Assemblages and Technologically Enabled Performances - TaPRA event

[Johannes Birringer via NetBehaviour]

dear Suzon and Helen

thanks for these announcements, and a special thanks for making the e-book 
available to us, Suzon.
I just downloaded it and also listened to one of the podcasts ("Dust" by Annie 
Abrahams) - and am fascinated.

I registered for tomorrow but the event seems to run 09:45 - 16:00 BST  -
could you tell us when your two presentations are scheduled?

thanks, and best wishes
Johannes Birringer


From: NetBehaviour  on behalf of 
Helen Varley Jamieson 
Sent: 26 May 2022 15:40
To: netbehaviour@lists.netbehaviour.org
Subject: Re: [NetBehaviour] presenting at Posthuman Assemblages and 
Technologically Enabled Performances - TaPRA event

& just before suzon at the same event, i am presenting the new UpStage 😁

On 25.05.22 02:50, Suzon Fuks via NetBehaviour wrote:
Dear all,

I am presenting the making of 'Be Like Body–Obsolete' this Saturday 28 May, in 
the context of a TaPRA event, which is happening online and at Queen Margaret 
University in Edinburgh. The theme is Posthuman Assemblages and Technologically 
Enabled Performances. FREE - booking essential!

https://www.eventbrite.co.uk/e/posthuman-assemblages-and-technologically-enabled-performances-registration-341366766187

cheers,

Suzon
+61439929028

BE LIKE BODY–OBSOLETE
- download free e-book http://suzonfuks.net/be-like-body-obsolete-4
- Sept - Mestiza Chile Festival
- Aug - 30th Colombian Intl. Festival Mujeres En Escena Por La Paz 2021
- June - Bodies:On:Live Magdalena:On:Line 2021 Festival

I acknowledge the country, culture and traditional custodians of the land upon 
which I walk, work and live, the Turrbal and Jagera peoples.
It takes 12000 litres of water to make 500 grams of chocolate!

http://suzonfuks.net   | http://igneous.org.au 
  | http://wetlandwander.net 





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--

helen varley jamieson

he...@creative-catalyst.com
http://www.creative-catalyst.com
http://www.upstage.org.nz
https://mobilise-demobilise.eu
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Re: [NetBehaviour] Online Performance Practice short course opportunity

[Johannes Birringer via NetBehaviour]

dear Suzon
I was alarmed to read your post about the floods in your area, and the 
increasingly catastrophic effects of climate change,
  and of course the political instabilities, the wars, and ongoing refugee 
crisis in this world we live in, it is incredibly
disheartening. And work?  Please tell us more about 'Be Like Body-Obsolete'..

best wishes
Johannes Birringer


From: NetBehaviour  on behalf of 
Suzon Fuks via NetBehaviour 
Sent: 06 May 2022 14:28
To: NetBehaviour for networked distributed creativity
Cc: Suzon Fuks
Subject: [NetBehaviour] Online Performance Practice short course opportunity

Oh, great Annie, that all the selling, packing, moving, fall into place
Must be a relief!

Enjoy your in between liminal period. ;-)

Here, we have been told to be prepared for a third flood, next week! The entire 
East coast is going to have a "weather event". I can't imagine our friends and 
family in Lismore, particularly,  going through that again... they still didn't 
recover from the previous floods, just cleaned more or less their houses, for 
those which are still standing. The town looks like a warzone. Main streets and 
CBD completely abandoned, with buildings ready to collapse.
A few thousands of people homeless, refugees at some friends' houses that are 
on hills, displaced in hotels, some in caravans. No work anymore, no way of 
cooking, wow...  this is just the beginning of climate change consequences!
And as the icing on the cake, we have elections in 2weeks.

So I have been busy cooking for people and now volunteering for the greens to 
prepare the elections. Crossed fingers!
In between, I am trying new things to make wearables, soldering, and developing 
new installation and performance possibilities extending 'Be Like 
Body-Obsolete'.
Let see... one week at a time, one day at a time bz Sz








Message: 4
Date: Thu, 5 May 2022 10:15:31 +0200
From: Annie Abrahams mailto:bram@gmail.com>>
To: NetBehaviour for networked distributed creativity

mailto:netbehaviour@lists.netbehaviour.org>>
Subject: Re: [NetBehaviour] Online Performance Practice short course
opportunity
Message-ID:

mailto:esmscgf4cfhn41mptx9karrzhdn%2bu-qff11vkqnu...@mail.gmail.com>>
Content-Type: text/plain; charset="utf-8"

Nice Suzon!
Good luck!
I hope you are fine!

I don't know if I told you already, but our house has been sold. We will
leave here August 15, will be without domicile fixe for two weeks and then
take "possesion" of our house in the Netherlands. Big changes.
Because we are not that far now, we profit from our time left here to go
and visit Portugal for a few weeks. (leaving in a bit more than 1 week)
Although worldwide things are bad - very bad - things for me are ok even
exhilarating, enjoyable so far. Of course moving will be stress but before
...

All the best Suzon
hugs
Annie





On Wed, May 4, 2022 at 11:39 PM Suzon Fuks via NetBehaviour <
netbehaviour@lists.netbehaviour.org>
 wrote:

> Dear all,
>
> I will be part of this great short course on online performance, being
> offered by Queen Margaret University.
>
> Helen Varley Jamieson, Karla Ptacek, course leader Bianca Mastrominico and
> I will share our decades of experience.
>
> 6 Saturdays beginning 21st May.
> More info below. Cheers.
>
>
> Suzon
> +61439929028
>
> http://suzonfuks.net | http://igneous.org.au | http://wetlandwander.net
>
> I acknowledge the country, culture and traditional custodians of the land
> upon which I walk, work and live, the Turrbal and Jagera peoples.
>
> It takes 12000 litres of water to make 500 grams of chocolate!
>
> -- Forwarded message -
> From: Mastrominico, Bianca 
> mailto:bmastromin...@qmu.ac.uk>>
> Date: Thu, 5 May 2022, 02:52
> Subject: Online Performance Practice short course opportunity
> To: sc...@jiscmail.ac.uk 
> mailto:sc...@jiscmail.ac.uk>>
>
>
> Dear Colleagues,
>
>
>
> Please find below information on the Online Performance Practice short
> course at Queen Margaret University, Edinburgh, which I am running on
> Saturdays from 21st May to 25th June together with digital artists Helen
> Varley Jamieson  (UpStage, Creative
> Catalyst), Karla Ptacek  (Artificial
> Stage) and digital ?artivist? Suzon Fuks .
>
>
>
> We are delighted to deliver digital skills in online performance making
> for emerging and established artists in Scotland and beyond.
>
>
>
> The course content includes the pioneering practice of cyberformance
>  developed by Jamieson, who will be
> working on the newly revamped UpStage platform ,
> improvisation and devising on Zoom through Digital HotSpot training
> developed by my company Organic Theatre
> , hands on sessions on

Re: [NetBehaviour] telematic performance "The river of no one" - now online

[Johannes Birringer via NetBehaviour]

dear all
we have now launched a real-time mix of our telepresence stage work
'The river of no one' - created last week: 

https://vimeo.com/690708304 


with regards, 
Johannes Birringer
DAP-Lab
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Re: [NetBehaviour] For Lee Murray, brilliant film/videomaker, writer

[Johannes Birringer via NetBehaviour]

just started to watch 'Stenography', and have the same reaction as Edward;
spell-binding...
thanks for drawing attentio to this body of work, Alan,
best
Johannes Birringer


From: NetBehaviour  on behalf of 
Edward Picot 
Sent: 18 January 2022 18:29
To: netbehaviour@lists.netbehaviour.org
Subject: Re: [NetBehaviour] For Lee Murray, brilliant film/videomaker, writer

I've just been looking at Stenography. I haven't watched it all the way 
through, but goodness me! It's extraordinary!


On 1/17/22 11:12 PM, Alan Sondheim via NetBehaviour wrote:
Agreed - I really love Stenography with its bizarre complexity; they're all 
strange!

Alan -

On Mon, Jan 17, 2022 at 1:56 PM Edward Picot 
mailto:edw...@edwardpicot.com>> wrote:
Alan,

I just watched 'Answer' and 'Duckboy' - 'Duckboy' was particularly
wonderful!

Edward

On 1/16/22 11:27 PM, Alan Sondheim wrote:
>
>
> For Lee Murray
>
> Lee Murray is, was, a brilliant filmmaker/videomaker/writer,
> thinker, who died a year ago; today there was an online
> memorial. I wrote and read the following for it. Please check
> out his work. Thank you.
>
> http://www.dionzeek.com/ (Lee's site)
>
> ...
>
> What to say, that he was a good friend for decades.
>
> "Got" him shows in New York and Atlanta.
>
> Meticulous and always a difficult path.
>
> His coordinates so often slanted.
>
> What I mean is that the images were jagged, edged the same with
> texts filling the void with inconceivable narratives
>
> The stories couldn't be the stories / the stories were elsewhere
>
> He was always breaking new ground by hand, the hard way,
> breaking with this sense of hand-craftedness, so many things
> that appeared digital were physically constructed, so many
> things that seemed analog were short-circuited in the digital.
>
> He breathed film and performance.
>
> His basement studio was a labyrinth of architecture and his
> mind.
>
> One might sum it up, badly, the tethering and untethering of the
> mind.
>
> It was difficult to walk with him sometimes, he was wayward and
> I am sure in pain.
>
> His harmonicas were played too hard, almost breaking the reeds;
> he gave them to me for the soft touch.
>
> We never worked together but we talked and thought together and
> ran I think to our respective caverns of idiosyncratic thought.
>
> His speech was always stops and starts and exact, his sleeping
> difficult and troubled, as was his world and perhaps the world
> to come.
>
> I felt so close to him! His work spoke to me, even the veering
> of it, a lariat gone amuck, a horizon of vacuum tubes and
> secrecies, monologs keeping the dark away while plunging into
> it.
>
> I think of stenographers drowning.
>
> Some of us are solitary creatures in the midst of the world, the
> darkness never dissipates. But one sees the world and sees it
> true.
>
> I think perhaps we walked somewhat the same edges, even in the
> midst of the kindness of others.
>
> Darkness within us.
>
> The illumination of technology and his wonder within it,
> 16 millimeter, 8 millimeter, super 8 millimeter, all with their
> families and brilliant ways.
>
> And Azure and I always felt comfortable and welcome with them
> and those conversations that wove among what otherwise might
> have been sentences of loneliness.
>
> He was carving, always, worlds beneath whatever surfaces he
> found in the world.
>
> Always at the edge of perfect articulation, the motions of
> thought coming through, like a plate tilting, water, running off
> the edge.
>
> Maybe more than water, memories of war, violence, as if he, we,
> were refugees from ourselves.
>
> To say he will be missed is almost to miss the point.
>
> He will be missed, an Atlantis, beautiful and incandescent
> thinker.
>
> I can't go on, I write this now, ahead of time, the production
> of speaking, this memorial, always his own, always thought,
> always silence, in the midst of silence, now silent,
>
> living on.
>
> Thank you.
>
> https://www.youtube.com/watch?v=FCe-WRap-zI (my memorial video)
>
> http://www.dionzeek.com/ (Lee's site)
>
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
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--
=
directory http://www.alansondheim.org tel 347-383-8552
email sondheim ut panix.com, sondheim ut 
gmail.com
=



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Re: [NetBehaviour] looking back in time into absences

[Johannes Birringer via NetBehaviour]

dear Alan, and all:

Thanks for your reply on the Watts Telescope launch, and you are enlightening 
me about your confidence in astronomy's reach back in time, 13+ billion years 
you think? reaching out to the furthest reaches of the universe, catching what 
exactly? light rays or waves that stretch back in time to darker matter, at the 
infancy of the universe? birth pains of all this, what you acknowledge might 
put "us" into perspective --  you mean humans and our earth and how we have 
steadily managed to destroy or damage it?  
I think my comment about the 'interested engineer' who is not nervous was a 
question; not about idealisms in the search you see in astronomers who build 
telescopes, rather I marveled at the arrogance of a technological/mathematical 
mind set of programmability  ("when you see a problem you develop a plan to 
overcome it and we've done that")  that, in my view, contributes to the 
extraction, domination and colonization policies that will have led to the 
demise of the earth. And also to death (Frank Wilderson, in his book on 
Afropessimism, probably would call this mindset "presumptive logic", and 
structurally permanently damaging). 

with regards
Johannes Birringer






From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 28 December 2021 00:37
To: NetBehaviour for networked distributed creativity


Hi Johannes,

I don't think the engineer was arrogant at all; given the enormous parameters 
and difficulty of the launch, it's fantastic. And yes, the telescope is meant 
to look back into billions of years, 13+, given that I think it's around 14 
billion or somewhat under - this will give us an indication of the various 
origin models, more information (I think) about dark matter, the overall 
structure of the universe, all these things to put us in perspective, if we 
listen. It's primarily infrared, and it records than at much longer wavelengths 
that can reach us with more information than the usual visual spectrum. It will 
complement gravitation wave astronomy on one end and radio astronomy as well; 
the more is seen, the more can be learned. There are a lot of great accounts 
online about what it means and NASA had a two hour program carried on 
space.com<http://space.com> which must be available on YouTube, explaining all 
of this during the launch. Sometimes, just briefly, the world feels filled wit
 h wonder...

love Alan and Happy Holidays, if such is possible, and even if not, to everyone 
-

On Mon, Dec 27, 2021 at 6:32 PM Johannes Birringer via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
dear all
Alan's writing has made me want to throw out a question about looking back (not 
Wittgenstein in the imaginary car, this time).

>
you feel absence. absence is no longer silent, disappeared, beyond
the pale. you are beyond the pale...
>

if we are beyond such pale, as I think it's true to say, then what are the 
space agencies up to with their 10 billion dollar J Webb Telescope?
I arrived in Houston a few days ago, and my old NASA friends talk about it, 
somewhat vividly, but I realize I'd been unawares. So this telescope
is meant to look back into a deep past, millions of years? near the beginnings 
of the universe, following fossilized light?
how does that work - do we have astronomers amongst us? And what are they 
trying to find?

ps. on the monitors that track the flight of Ariane 5 rocket, the yellow line 
exactly followed its programmed green path. Meticulously.
The chief scientist/inventor of this nicely designed gadget was asked if he'd 
be nervous during the launch and deployment, and he surprised everyone by 
simply saying "No, not nervous, interested. We've broached every problem that 
we can foresee, when you see a problem you develop a plan to overcome it and 
we've done that. So this is a test of whether we came up with the right 
answers."

So this is an interested engineer's arrogant response, I'd guess?


regards
Johannes Birringer





___
From: NetBehaviour 
mailto:netbehaviour-boun...@lists.netbehaviour.org>>
 on behalf of Alan Sondheim mailto:sondh...@panix.com>>
Sent: 26 December 2021 22:29

Text for forthcoming video on technology and testament

name AI

http://www.alansondheim.org/breathing.jpg

sun 00 00:00:00  it's dirty everywhere, isn't it? the world
is dry here. liquid is necessary for life / at least for the
activities of life. what remains pooled, desiccated, goes
nowhere. the skin shrivels; there are scars, blemishes. you're
never the same again. you hang by your hands tethered to the
ceiling. nothing is out of reach.sun 00 00:00:00  skin world
skin postures. yes yes yes.sun 00 00:00:00  the posture of
your skin is not your own. not your body. y

Re: [NetBehaviour] wood and leaves from wood

[Johannes Birringer via NetBehaviour]

dear Alan
just to say that I really loved you writing here, it was moving and very 
thought-provoking to me,
and I took the liberty to share it with my digital students, they have to do a 
leaves and tree performance this week,
and I gave them your poem to look at, together with a poem I found on the floor 
of an exhibition in Seoul, a few years ago.
I mean the poem was printed out (in a digital photography exhibition), and 
about a hundred sheets or more lay on the floor;  I stole one to take home.


WHEN  I  WAS  A  TREE
WHEN  I  WAS  A  CHAIR

WHEN  I  BORE  FRUITS

WHEN  I HEALED

WHEN  I  LEFT  A  SHADOW  BEHIND

WHEN  I  EMBRACED   THE   LAND


IF  I BECOME  A  FIRE

AS A  PAPER,  I  AM  CONTENT



(Jae Eun Choi, Seoul, 2012)


with regards
Johannes Birringer
DAP-Lab, London




From: NetBehaviour  on behalf of 
Alan Sondheim 
Sent: 11 November 2021 02:31
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] wood and leaves from wood


wood and leaves from wood

http://www.alansondheim.org/leaves.jpg
https://youtu.be/DPbLHUkmV0s video

It would be wooden leaves from wood. Don't mistake the wood for
wood and don't mistake the leaves for leaves . Don't mistake the
wood for leaves and don't mistake the leaves for wood. The sound
is the sound technological brutalism . No no no no no, it is the
sound of kindness . Everything is messaged and everything is
massage . Is that what I spoke or is that what I wrote or is
that what I thought . I no longer know but I do know that I can
read what I wrote and what I thought I can speak . In that way
my thinking is speech and the world gives me infinite signs . I
am in infinite sign of the world . A leaf is an infinite sign of
the world . But the world is not in the leaf and the world is
not in me . You can't see the world in a leaf . You can't see
the world in the stars . You can't see the world in anything .
You can't see the world . But you can listen to the modulated
wooden leaves from the wood and the leaves from the woods . And
the stars see nothing . The stars see nothing at all .

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Re: [NetBehaviour] Thirteen Ways of Looking at a Blackbird

[Johannes Birringer via NetBehaviour]

dear Edward - thanks for sharing this beautiful work, and re-covering it!

we have not much talked about resurrections here, of older work, older 
media/vehicles, although it does come up from time to time, but I think on the 
CRUMB list they talk about it a lot (Curating digital art - www.crumbweb.org ) 
--  and if this is something that interests, you, I could find a challenging 
text recently sent to me from the EMPAC director, Johannes Goebel, to share

THE COMPUTER AS UNIVERSAL TIME MACHINE
  Time beyond and for Perception
  Freezing Movement While Propelling the Still
  Keeping: A Digital Time Capsule

as I remember it, the first part was a more general, philosophical reflection 
on time and time-based media, very insightful and stimulating,
whereas the last part deals with digital preservation and recuperation (the 
part i have not yet read)...

best
Johannes Birringer
Interaktionslabor
http://interaktionslabor.de


From: NetBehaviour  on behalf of 
Edward Picot via NetBehaviour 
Sent: 12 August 2021 20:10
To: NetBehaviour for networked distributed creativity
Cc: Edward Picot
Subject: [NetBehaviour] Thirteen Ways of Looking at a Blackbird

Dear all,

With the help of the amazing people at Ruffle (https://ruffle.rs/), I've
managed to get my Flash version of Thirteen Ways of Looking at a
Blackbird back online and working more or less the way it was.

There was an issue with the cursor disappearing and not coming back
every time one of the little animations was launched, which made it
impossible to launch another one. I sent this as a bug report to Ruffle,
and they fixed it!

There's still a slight issue with the titles in the bottom right-hand
corner disappearing off-screen, but other than that it's pretty much
back to its old self.

http://edwardpicot.com/thirteenways

Edward

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Re: [NetBehaviour] analogy and AI poetry

[Johannes Birringer via NetBehaviour]

ay on my way back 
home to the city:

"Art should be like Nature."
The Garment is like Nature.
The Garment is then what
Art should be, and Art.

and:

"Esperienza is universal analogy."

To find a visual image alluding to what he has argued above, Calvino cites 
Leonardo's marvelous fragment (which he revised three times, much as a poet 
would):  "O quante volte fusti tu veduto in fra l'onde del gonfiato e grande 
oceano, a guisa di montagna quelle vincere e sopraffare, e col setoluto e nero 
dosso solcare le marine acque, e con superbo e grave andamento!"  This is both 
a scientific reflection on the origin of marine fossils at high elevations and 
a poetic invocation Calvino believes Leonardo "presented almost as a symbol of 
the solemn force of nature," which "gives us an inkling of how Leonardo's 
imagination worked."  Why "almost"?  I must again quote Calvino, who in his 
planning to give his remarks as a lecture to Harvard undergraduates in 1985 
wrote "I leave you this image at the very end of my talk so that you may carry 
it in your memories as long as possible, in all its transparency and its 
mystery."

Thanks again for the great links and info!

Max







From: NetBehaviour  on behalf of 
Graziano Milano via NetBehaviour 
Sent: Friday, July 23, 2021 7:12 AM
To: NetBehaviour for networked distributed creativity 

Cc: Graziano Milano 
Subject: Re: [NetBehaviour] analogy and AI poetry

Dear All,

Alan Sonfist’s Time Landscape was his first historical sculpture to introduce a 
key environmentalist idea of bringing nature back into the urban environment as 
part of Environmental Art. Another amazing artwork by Alan Sonfist is Circle of 
Time (1986-89) based in Florence, probably close to where Leonardo Da Vinci was 
born and grew up.

Environmental Art is a range of artistic practices encompassing both historical 
approaches to nature in art and more ecological and politically motivated types 
of works. More info about Environmental Art and artists involved in it is here: 
https://en.wikipedia.org/wiki/Environmental_art

The V&A Museum has in its collections five of Leonardo da Vinci's notebooks. On 
its website page – Leonardo da Vinci: Experience, Experiment, 
Design<http://www.vam.ac.uk/content/articles/l/leonardo-da-vinci-experience-experiment-design/>
 – the V&A says that:

“For Leonardo, sight was the noblest and most certain sense. It provided access 
to 'experience', which shows us how nature works according to mathematical 
rules. Any knowledge that could not be certified by the eye was unreliable. He 
investigated the relationship of the eye to the brain. He proposed a system in 
which visual information was transmitted to the intellect via the receptor of 
impressions and the 'common sense', an area where all sensory inputs were 
coordinated.”

That's how our Naturalist Intelligence works and develops our creativity. Here 
our 9 Essential Skills of Naturalist Intelligence (And How They Help Us):

1. Observation
2. Pattern Recognition
3. Sensory Awareness
4. Empathy
5. Mental Clarity
6. Critical Thinking
7. Curiosity & Investigative Ability
8. Appreciation & Respect For Nature
9. Care-taking & Stewardship

More detailed info about these 9 Essential Skills of Naturalist Intelligence: 
https://nature-mentor.com/naturalist-intelligence-skills/

But our natural environment is now under threat as temperatures rise and 
pollution increases, wildfires, floods and extreme winds have battered many 
parts of the world in the last six months. You can see 50 photos of recent 
extreme weather around the world here:
https://www.theguardian.com/world/gallery/2021/jul/19/climate-crisis-weather-around-world-in-pictures-wildfires-floods-winds

That's really terrible as many people died and our natural environment is under 
threat.

Regards,
Graziano

On Tue, 20 Jul 2021 at 05:26, Alan Sondheim via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
I think you could find a lot of info on Sonfist's work. I don't think 
'rewilding' was used at the time. It was a landscape reflecting earlier times 
when there was a different ecology. It's still there and quite beautiful, 
fenced off near NYU. You don't enter it.

Watching a lot of narrow boat and urban archeologists treading the English 
landscape, all those narrow corridors between, among fields, that seem 
intensely wild and elsewhere, amazing. And amazing, not trashed, unlike places, 
say in RI, where plastic and other garbage is often found, even parts of cars. 
There are still shorelines that look pristine but the ecology's deeply stressed.

I never thought of Sonfist as a research artist per se, but as someone, like 
another alan, Alan Saret, creating a kind of grace... even a possibility of 
becoming

- Alan

On Mon, Jul 19,

Re: [NetBehaviour] faux pas, out the window

[Johannes Birringer via NetBehaviour]

[Danielle Imara via NetBehaviour]


https://www.instagram.com/p/CQL8M5FA_ag/


thanks for this, wonderful, I had to smile but somehow my mind reconnected with 
a catalogue
I once picked up from an exhibit ("Art, Lies and Videotape: Exposing 
Performance") which featured a trick image
on the cover, "Yves Klein's leap into the void"  - and the exhibition looked 
into photography/video as documentation
of performance or acts that may or may not have taken place.

If you permit, Danielle, I changed the subject line as I am getting a bit 
annoyed at the idea of members of this list having to
confess or announce whether they are happy or unhappy lurkers, the latter term 
to me, as a non native-speaker, having a sinister ring to it. 
I would wish for us to move on and leave this whole faux pax/discussion behind; 
we are the commons, and whether someone is quiet is really none of our 
business; we would
not want to control our neighbors either, would we, sticking our heads too far 
out of the window?

respectfully
Johannes Birringer
dap-lab


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Re: [NetBehaviour] "Re-embodiment and Dis/abilities" - workshop - invitation

[Johannes Birringer via NetBehaviour]

I n v i t a t i on :


"Re-embodiment and Dis/abilities"

Artaud Performance Center Online (Zoom) / Brunel University London
https://bruneluniversity.zoom.us/j/91557619589
Meeting ID: 915 5761 9589
Passcode: 1835021672


This research workshop-symposium, the second of two (April 28/June 16) is 
intended to challenge our assumptions about bodies, difference and notions of 
'otherness' in the arts. It is above all meant to “unmute" our bodies, to 
challenge troubled ontologies and the freedom to move in this era of pandemics. 
The term dis/abilities also needs unlabeling; we believe it is important to 
explore practices and discussions around how mixed ability and disability are 
defined in the arts and in our culture – as well as in the current shift to 
online/zoom conferencing & teaching. Who is 'included' when we talk about 
'other' bodies or 'non-normative' practice, who is talked over, which lives 
matter, what can we learn from un-labeling, and overcoming isolation, how we 
can collectively imagine our re-integrations into presence and corporeal 
interaction in inter-pandemic society. 

++
Wednesday June 16, 202114:3o – 21:oo  (UK-time)

 Roundtable provocations & dialog:
14:3o:  Welcome: Opening remarks, Johannes Birringer, DAP-Lab (organizer) with 
Petra Kuppers and Vera Rosner
15:oo- 16:40 Kate Marsh / Scott deLahunta  / re-embodiment & the ethics of 
dance intelligence -
Ram Samocha / Yohai Hakak with Pauline Cooper, Kieran Moran and Debbie Thomas / 
drawing & disability tech
16:45-17:30 Funmi Adewole  / Thomas Kampe  /  cultures of the body /  beyond 
forgetting
17:35-18:25 Mariza Dima / Maria Kastrinou /  rituals of heritage and 
intervention for racial justice
18:25- 19:15  Dinner break
Workshop 19:15 - 21:oo
Prof. Petra Kuppers  (University of Michigan)  //  ecosomatics and collective 
ritual:
1. Keynote address: “Memorials of Life: Journey to the Holocaust Memorial 
in Berlin"
2. followed by one hour Amoeba Dances: Tunneling Open - physical workshop.


This project is supported by DAP-Lab and Brunel University Research Seminar 
Series Award.
Performance and Ephemeral Sustainabilities in Public Space Research Group
Research Lead: Prof. Johannes Birringer
Centre for Health and Wellbeing across the Lifecourse
 
https://www.brunel.ac.uk/research/Groups/Performance-and-Ephemeral-Sustainabilities

+++
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Re: [NetBehaviour] FurtherList No.24 June 4th 2021

[Johannes Birringer via NetBehaviour]

thanks for this Marc,

and greetings to you all at Furtherfield, along with a big hug
best
Johannes


From: NetBehaviour  on behalf of 
marc garrett via NetBehaviour 
Sent: 04 June 2021 12:06
To: NetBehaviour for networked distributed creativity
Cc: marc garrett
Subject: [NetBehaviour] FurtherList No.24 June 4th 2021

📣🕵️ FurtherList No.24 June 4th 2021

A list of recommendations, reflecting the dynamic culture we are part of, 
straddling the fields of art, technology and social change.

Exhibitions, events, conferences, books, articles, blogs, interviews, across 
networked communities, web & beyond.

Compiled by the co-founder of Furtherfield Marc Garrett 🌏 Check it out & share!

https://bit.ly/3pit9Yu

--
Wishing you well

Marc

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Re: [NetBehaviour] Like Buses

[Johannes Birringer via NetBehaviour]

I agree with Alan on this, obviously;
and only now realize the initial question, by Ruth, which i missed, it being my 
first long weekend where i can be outside and relax ('bank holiday', this being 
London).
I completely like, adore and support this list
and i hope it goes on forever,
as I value the open platform community here,

best
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 31 May 2021 15:48
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim
Subject: Re: [NetBehaviour] Like Buses

Hi Ruth and others,

To be honest, it might be better to let Netbehaviour go, if you feel like this; 
the great thing about it, for me, is that it is a completely open platform; 
people can post what they want to it. When you talk about being "someone else's 
guest" you're talking about a very different structure like empyre, which has 
guests and topics. Netbehaviour has been and at least for me continues to be 
more of a community. To "hangout" as well implies themes or something like 
Discord channels.

I've found Netbehaviour invaluable; I wouldn't have gone personally in the 
directions of blockchains, Larf, the work others are doing here - and that's 
what makes it so important - that it's a level playing field. If you do want to 
end it, please do of course. For me, I value the community.

Precisely because Annie objects, it feels like that, like a community. And I 
think we need all sorts of viewpoints; it feels open, and people come and go 
when it's functioning well. I was thinking that this list had less activity 
because of Covid, but the two (smaller) lists I run have bounced back.

Of course if you find it a burden, Ruth, that's another issue altogether. For 
me I don't want people to "take the list in another direction" or any direction 
at all. The value is that it's not a stream, that it's not dedicated one way or 
another. I'm interested in seeing not what it might become, as you say, but 
what it is. It reminds me of when I was at Furtherfield; people did all sorts 
of things...

And of course I'm willing to have the list disappear if that's what people 
want; I'm running two lists, Cybermind and Wryting-L; these are communities and 
have been for decades. Wryting-L is dedicated to people's 
writing/writhing/wreathing in - creative work, Cybermind is much quieter now, a 
community that began in 1994 with me Michael Current who died at a very young 
age. But we continue on and it's incredibly rewarding.

Best, Alan

On Mon, May 31, 2021 at 6:46 AM Ruth Catlow via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
Dear All,

Thanks for raising the question Alan.

I agree with Edward that art as conversation has moved to platforms like 
Instagram. I follow a lot of early (and not so early) personal net art 
inspirations there - Auriea Harvey, Kate Southworth, Gretta Louw and Marc 
Garrett;) - whose work seems to be turning away from reflexive and 
media-critical concerns and returning to image production for a million reasons.

Congratulations Rhea, for your contribution to artistry and explanation in the 
tough-to-navigate terrain of art blockchain and NFTs - I find your Southebys 
video an example of clarity and generosity. The breadcrumbs show looks very 
lively!

I find the sharing of links an excellent way to have a kind of conversation 
because it allows people to port into different conversations where they occur 
(in their native territory). It's laborious to try and convey all the contexts 
if everyone isn't involved in the same explorations. I find it harder to follow 
long textual conversations here in-list.

Annie, if you have questions I don't understand why you start with a 
declaration of hate. I did try (very imperfectly) to respond to questions about 
NFTs and energy, earlier this year, and I thought we had built some shared 
understanding in the process. One of the things I struggled with at that time 
was the realisation that Netbehaviour no longer functioned for me as a 
community of practice. By which I mean we are no longer united by a spirit of 
common investigation - where people learn, critique, explore together - the 
polarisation is too strong. I participate in a number of telegram and discord 
channels for this purpose now, but I give the most energy to those projects in 
which I am an active participant. My favourite "conversations" are inter-media 
and they co-create artistic community. I'd happily talk more about some 
examples of these (maybe I'll send some links soon;)

This list is still very important to me personally - but it somehow sits 
outside of time and production. This sense is emphasised by Alan's use of it as 
a daily performance platform- this keeps the list alive and sets a particular 
tone. I feel it is peopled by a longstanding community of artist, techie and 
thinker friends, connected by a shared experience of the early web, who are al

Re: [NetBehaviour] email lists -

[Johannes Birringer via NetBehaviour]

hello dear friends

i use this address, as I know a few of you, or a certain number of you, and 
have worked and corresponded with you. I value this list, and like Alan, or 
Annie, and others i recently communicated with (for example with Max Herman on 
the Mona Lisa), I enjoy learning about your work, your ideas, your experiences. 
I am not sure anything has changed, at least not for me. I look forward to 
postings here, my only other regular outlets are the dance tech community, a 
debate forum called MOCO, and CRUMB, I have lost interest in empyre (too 
academic and correct-theory speak driven, elitist and unaware of its own 
elitism) but read it in on occasion, for distraction, and I try to avoid 
instagram and facebook as a discussion forum, as one cannot take them 
seriously. I am an older choreographer; so Alan I read you, I mean I hear your 
rersponse, but 'old' means little. I felt young yesterday, the sun laughed, 
people milled around, i was in central London for the first time in 14 months, 
visiting an 
 odd exhibit at the 'Royal Academy' called Emin/Munch,  what more can one ask 
for...

take good care
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 30 May 2021 23:52
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim
Subject: Re: [NetBehaviour] email lists -

I'd be sorry to lose that as well; I wish I could do something about it. It 
seems to me, having just come out of the Electronic Literature Conference, that 
new media work is more evident than ever, but perhaps Netbehaviour is no longer 
the place for it - but as far as e-lists go, I see nothing equivalent :-(

Best, Alan, thank you for this --

On Sun, May 30, 2021 at 3:32 PM Edward Picot via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
Alan and Annie,

I think it's partly because people aren't posting their new work, or notices 
about their new work, on here as much as they once did - which is partly 
because a lot of people have moved away from New Media Art and gone more into 
old-fashioned things like "pictures" and "writing", and NetBehaviour doesn't 
necessarily feel like the right vehicle for those. I'm spending a lot of time 
on Instagram these days, which I much prefer to Facebook or Twitter, and I see 
that Michael Szpakowski and Simon McLennan are both on there publishing new 
stuff on a regular basis.

But I think NetBehavour still has this capacity to suddenly go from being very 
quiet to being incredibly voluble and fast-moving if somebody happens to raise 
a subject that really gets people thinking and talking. I've never known 
another online forum quite like it as a vehicle for debate, and I'd be very 
sorry to lose that.

Edward



On 30/05/2021 19:59, Alan Sondheim via NetBehaviour wrote:
Dear Annie and netbehaviourists

I do feel differently; I've had amazing exchanges with you and Johannes 
Birringer and many others, and I can't imagine these occurring on Facebook; the 
very phenomenology of the stream mitigates against that. I don't know what you 
mean by "old" "intellectuals" since a number of people on the lists are also 
young. The list isn't sex, but sex is and sex is a lot faster than a list. It's 
the idea of "old" that bothers me; on Facebook where I post, as I mentioned, I 
get numbers of likes or loves to an image, but texts aren't taken seriously.

Which for me reflects the whole intellectual apparatus of at least the US and 
possibly Europe - the need to be an academic or gallery- or magazine- 
affiliated. I have none of these and at ELO I felt for example as a total 
outsider. And that's a real problem. There are constant money issues, access 
issues, equipment issues, travel issues, survival issues, health issues, 
audience issues, etc. that are available if not taken for granted if you work 
at a university or tech company. Those issues dominate. My equipment is 
seriously poor at this point. God knows what happens in the rest of the world, 
where there may be no equipment at all. And these issues are fundamentally 
class issues: the intellectual class, old or not, is defined and siloed by its 
connections and potentials for connections. I wake up sometimes thinking 
critically and artistically I'm dead and why continue at all. And if I feel 
that way, again - God knows what happens in the rest of the world.

I don't read everything on mailing lists, but I take the time to at least skim. 
And when I do reply (and I will always reply if I can to you, for example), 
I'll do more than click stupidly on like/love/care/angry and other emoji (which 
I use as well) (and which are frankly insulting - someone takes the time to put 
up something that make take hours, weeks - and the reply is a click??

It's the stream stream stream stream stream which is NOT flow but inherently 
violent, sexist, racist, ageist, and anything else that excludes. Influencers 
bet on it: become part of th

Re: [NetBehaviour] Woven Qin, wood, atlas, wailing

[Johannes Birringer via NetBehaviour]

dear Alan, Max, and all

sometimes I am left speechless and don't know how we can respond, and then I 
imagine -- this list is actually a place where people are free to think aloud 
and share their artwork, their thoughts and their research; so Alan's long 
response on the qin music and the instrument, or Max's pondering the method 
inside Warburg's Bilderatlas or how the Mnemosyne constellations (image 
juxtapositions, rather than 'explanations' of what/how he collected these 
images) could inspire his own further work, into Dante, Leonardo, 
Benjamin..., all this give more inspiration to reflect.
Alan, I loved your meticulous description of your learning about these 
instruments or finding out about age of wood, type of wood. the cultural 
traditions, and the physical performance challenges, the tuning, the types of 
strings, the use of fingers, the sensitivity towards the resonances of the 
sound created.. I also found it very moving (sorry for being sentimental 
here) when you admitted to feeling humble towards the age of your instruments 
("Most of mine are old and I feel - I know this might sound absurd - but I have 
to honor their age and provenance") -- i love this.

Makes me want to share an impression from yesterday; i had pondered the 
paintings and body self-portraits of a artist I  work with, and I have to keep 
this private of course; but something struck me about these difficult body 
figurations in the paintings,  contorted, probing, reflective of the darkness 
and obscure-ness of flesh and emotions, vulnerable fleshness,, exposed-ness, 
openness, trusting, wanting, hurting, flailing. It made me think how twisted we 
are in our mindbodies, often aching, yearning-aching, dissolving, Baconesque. 
Then i suddenly realize, yesterday afternoon, i had noted a fallen tree branch, 
in the park where I jog, strangely/incoherently broken off its main stem, and 
when I tried to move it, it ached, making strange sounds, it wailed.  I was so 
struck by this that I later, after sun down, went back to record the sound. Not 
sure what to make of it,.

regards
Johannes Birringer
 

From: Alan Sondheim 
Sent: 11 April 2021 01:15


Hi Johannes,

I love erhu; I have one which I've used with our group, as well as a Cambodian 
tro, which is similar (and rare, thanks to Pol Pot's destruction of 
instruments).
The qin is amazing; wooden ones have been found buried in the Marquis of Yi's 
tomb - that are 2400 years old. When I was at Brown, I heard a concert given on 
a Tang dynasty one, around a thousand years old. Mine has been dated from the 
Qing dynasty, 1636-1912, most likely 200-400 years old. Stephen Dydo, a qin 
player who on occasion plays with me on a variety of instruments, brought it 
back to life. It's a wonderful meditative instrument; you can get modern ones 
from Eason Music in the U.S. 
https://www.easonmusicstore.com/collections/all-things-guqin - there must be 
similar stores in Europe. Of course there is a Facebook page devoted to the qin.
I was at a loss for playing, literally, until the Net brought a variety of 
sites to light. I also knew Frederic Liebermann whose 1983 A Chinese Zither 
Tutor, a translation, introduced the music and technique to the West; he also 
warned me away from the instrument, saying I'd never be able to play it (no 
training). Earlier, Van Gulik wrote The Lore of the Chinese Lute, which gives 
enormous religious and cultural background about the instrument.
I couldn't string or tune it; now, I can't string it properly myself, but I can 
keep it in tune (you have to pull the strings tight by hand without gearing). 
When I started playing with Stephen, he helped greatly and continues to help 
me. We've played concerts together and recorded together for ESP a cd, Dragon 
and Phoenix, in which we play a variety of instruments, but the focus is on the 
qin itself. He has amazing and expensive qin (also called guqin, ancient qin), 
and I can give a general warning (the same for shakuhachi), beware of 
inexpensive ones or ones made to look "antique" - they're out there. I was 
really lucky here as well - I found my qin at a antique shop somewhere in New 
England decades ago for $18; when I paid for it, the clerk asked what I wanted 
"the board" for.
You can find amazing qin music online; it's often played very slowly and 
meditatively; it's tuned pentatonically, and harmonics are used a lot. There 
are no frets; the body of the instrument is also a fretless fingerboard for the 
strings.
The proper positions on the strings - even with position markers, it is so easy 
to play horribly out of tune. A lot of glissando and harmonics are used. The 
board is like an ocean. The wood is very very old; Van Gulik describes the type 
used. The instrument figures in a lot of Chinese and even some Japanese 
painting (it's no longer played in Japan). The lacquer use is hand-made with a 
very complex process and composition to create a playing

Re: [NetBehaviour] Woven Qin, wood, atlas, wailing

[Johannes Birringer via NetBehaviour]

dear Alan, Max, and all

sometimes I am left speechless and don't know how we can respond, and then I 
imagine -- this list is actually a place where people are free to think aloud 
and share their artwork, their thoughts and their research; so Alan's long 
response on the qin music and the instrument, or Max's pondering the method 
inside Warburg's Bilderatlas or how the Mnemosyne constellations (image 
juxtapositions, rather than 'explanations' of what/how he collected these 
images) could inspire his own further work, into Dante, Leonardo, 
Benjamin..., all this give more inspiration to reflect.
Alan, I loved your meticulous description of your learning about these 
instruments or finding out about age of wood, type of wood. the cultural 
traditions, and the physical performance challenges, the tuning, the types of 
strings, the use of fingers, the sensitivity towards the resonances of the 
sound created.. I also found it very moving (sorry for being sentimental 
here) when you admitted to feeling humble towards the age of your instruments 
("Most of mine are old and I feel - I know this might sound absurd - but I have 
to honor their age and provenance") -- i love this.

Makes me want to share an impression from yesterday; i had pondered the 
paintings and body self-portraits of a artist I  work with, and I have to keep 
this private of course; but something struck me about these difficult body 
figurations in the paintings,  contorted, probing, reflective of the darkness 
and obscure-ness of flesh and emotions, vulnerable fleshness,, exposed-ness, 
openness, trusting, wanting, hurting, flailing. It made me think how twisted we 
are in our mindbodies, often aching, yearning-aching, dissolving, Baconesque. 
Then i suddenly realize, yesterday afternoon, i had noted a fallen tree branch, 
in the park where I jog, strangely/incoherently broken off its main stem, and 
when I tried to move it, it ached, making strange sounds, it wailed.  I was so 
struck by this that I later, after sun down, went back to record the sound. Not 
sure what to make of it,.

regards
Johannes Birringer
 

From: Alan Sondheim 
Sent: 11 April 2021 01:15


Hi Johannes,

I love erhu; I have one which I've used with our group, as well as a Cambodian 
tro, which is similar (and rare, thanks to Pol Pot's destruction of 
instruments).
The qin is amazing; wooden ones have been found buried in the Marquis of Yi's 
tomb - that are 2400 years old. When I was at Brown, I heard a concert given on 
a Tang dynasty one, around a thousand years old. Mine has been dated from the 
Qing dynasty, 1636-1912, most likely 200-400 years old. Stephen Dydo, a qin 
player who on occasion plays with me on a variety of instruments, brought it 
back to life. It's a wonderful meditative instrument; you can get modern ones 
from Eason Music in the U.S. 
https://www.easonmusicstore.com/collections/all-things-guqin - there must be 
similar stores in Europe. Of course there is a Facebook page devoted to the qin.
I was at a loss for playing, literally, until the Net brought a variety of 
sites to light. I also knew Frederic Liebermann whose 1983 A Chinese Zither 
Tutor, a translation, introduced the music and technique to the West; he also 
warned me away from the instrument, saying I'd never be able to play it (no 
training). Earlier, Van Gulik wrote The Lore of the Chinese Lute, which gives 
enormous religious and cultural background about the instrument.
I couldn't string or tune it; now, I can't string it properly myself, but I can 
keep it in tune (you have to pull the strings tight by hand without gearing). 
When I started playing with Stephen, he helped greatly and continues to help 
me. We've played concerts together and recorded together for ESP a cd, Dragon 
and Phoenix, in which we play a variety of instruments, but the focus is on the 
qin itself. He has amazing and expensive qin (also called guqin, ancient qin), 
and I can give a general warning (the same for shakuhachi), beware of 
inexpensive ones or ones made to look "antique" - they're out there. I was 
really lucky here as well - I found my qin at a antique shop somewhere in New 
England decades ago for $18; when I paid for it, the clerk asked what I wanted 
"the board" for.
You can find amazing qin music online; it's often played very slowly and 
meditatively; it's tuned pentatonically, and harmonics are used a lot. There 
are no frets; the body of the instrument is also a fretless fingerboard for the 
strings.
The proper positions on the strings - even with position markers, it is so easy 
to play horribly out of tune. A lot of glissando and harmonics are used. The 
board is like an ocean. The wood is very very old; Van Gulik describes the type 
used. The instrument figures in a lot of Chinese and even some Japanese 
painting (it's no longer played in Japan). The lacquer use is hand-made with a 
very complex process and composition to create a playing

Re: [NetBehaviour] Woven Qin

[Johannes Birringer via NetBehaviour]

Alan,
it's beautiful music, and I can sense the intensity
(and surely one sees it in the photo).
i wondered how you approach/ed such instruments in the first place, if 
(presumably) you taught yourself
or started to play them kinetically, intuitively, and shifted your growing 
musical and physical knowledge across/around
the string instruments (and keyboards) I have seen you play. You worry about 
"the proper positions of  fingers on the strings.."?
i wonder why you indeed worried (surely not covid induced) - it interests 
really me how you hold up and sustain your tremendous continuum/commitment to 
play these difficult instrumentsand get yourself into them and their 
particularities so emphatically!

Now, it was you who inspired me to look for such Chinese instruments, I wanted 
to include one in our DAP-Lab "Mourning for a dead moon" dance, performed in 
London in late December 2019, before Covid. One of our Chinese 
dancer/performers volunteered to play the qin, and off I went looking for one, 
during a trip to Berlin in November.  I found a fabulous Turkish-German music 
instrument store in Kreuzberg, and after a few hours I left, feeling very 
excited, not really knowing what I had bought. The young man convinced me it 
was a qin, but back in London, my dancers explained I had bought an erhu ( 二胡; 
pinyin), a very elegant and beautiful instrument, just 2 strings Our dancer 
Helenna Ren played the erhu in two short scenes, we miked the instrument & 
processed the sound in Max/Msp in addition to the live playing.  That concert, 
with live audience, seems ages ago now, unbelievably.

regards,
Johannes Birringer
Dap-Lab


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 10 April 2021 16:22
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim
Subject: Re: [NetBehaviour] Woven Qin

Thank you! That means a lot to me, the qin is always difficult for me and oddly 
you have to let go of that difficulty in order to play it -

Best, Alan

On Sat, Apr 10, 2021 at 10:28 AM Simon Mclennan via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
This is a nice piece of qin music. I listened in a meditative mood of afternoon 
drizzle and cold
English weather. The mood
Was enhanced as my feet
Toasted under a wooden blanket and my nodding head
Started to nod even more.
Thanks Alan!
S

Sent from my spyphone

> On 10 Apr 2021, at 00:21, Alan Sondheim 
> mailto:sondh...@panix.com>> wrote:
>
>
>
> Woven Qin
>
> http://www.alansondheim.org/woven.mp3
> http://www.alansondheim.org/woven.jpg
>
> My qin has a problem on the fourth highest string which is that
> there is a ringing sound coming from it and I think I know now
> that the ringing sound is from a very slight band in the string
> about 2-3 cm from where it attaches to the lower bridge . I've
> worked to try to get this straightened out but I will live with
> it because it is too difficult and the tension is too delicate
> to do anything but live with it . in the mean time I'm having
> constant difficulties trying to find the proper positions of my
> fingers on the strings . 7 strings and any number of positions
> which I get it to some extent by the dots that represent the
> harmonics . but on the other hand was happening is that I'm
> forgetting the in between positions and the relative positioning
> of each string in relationship to the others particularly at the
> lower end of things. I've been working and working on this and
> wondering if something is going in my mind yet again so that the
> positioning isn't becoming tacit knowledge but instead is
> something I have to constantly calculate and re calculate. you
> have no idea how depressing this can be . it means I can't play
> naturally my hands dancing on the strings but have to think have
> to think every so often and slow up and rework the positioning
> of my hands to be correct . sometimes I'll draw it a complete
> blank period . sometimes I'll draw a complete blank . I don't
> know what that means when that happens but I think it's
> connected with covid with the epidemic. In any case here is some
> music that I think turned out alright. I've placed the qin on
> some softe cloth in order to somewhat subdue the upper harmonics
> where the problem is lying with the fourth string or the third
> depending on which end you're counting from. Thank you and have
> a listen, this has been a struggle.
>
> __
>
>
> Did You Know ? Every hour grows up to be an hour and a half !!
>
> ___
>
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
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Re: [NetBehaviour] Mnemosyne Atlas question

[Johannes Birringer via NetBehaviour]

Hi Max

the Warburg ''Bilderatlas" (Mnemosyne), I remember, is a late work of this 
researcher/collector, and there are a number of panels now freshly reprinted 
(in an expanded book/catalogue) and also exhibited from the Mnemosyne Atlas. 
This last project of the German Jewish cultural scientist Aby M. Warburg 
(1866-1929), is an unfinished attempt to map the pathways that give art history 
and cosmography associated signifinces or, one might say, evoke constellations? 
. Warburg imagined as this visual, metaphoric encyclopedia, and I was 
fascinated that he just seemed to use the images, without text or 
explanations..

Bernd Scherer, who's from my home region in the Saarland and has been Intendant 
of Haus der Kulturen der Welt, talks wonderfully about the book in his video 
presentation: that video was produced on the occasion of the exhibition: "Aby 
Warburg: Bilderatlas Mnemosyne. The Original" curated by Roberto Ohrt and Axel 
Heil in cooperation with the Warburg Institute, Hais der Kulturen der Welt, 
Berlin (04.09.- 30.11.2020).

https://www.youtube.com/watch?v=hhEqGc7_few&feature=emb_logo


For a rich interpretive reading of the exhibit, I can recommend an article 
published in London Review of Books, Vol. 42 No. 21 · 5 November 2020
"At the HKW", by Chloe Aridjis
https://www.lrb.co.uk/the-paper/v42/n21/chloe-aridjis/at-the-hkw


best wishes
Johannes Birringer
DAP-Lab
London


From: NetBehaviour  on behalf of 
Max Herman via NetBehaviour 
Sent: 24 March 2021 15:08
To: NetBehaviour for networked distributed creativity
Cc: Max Herman
Subject: [NetBehaviour] Mnemosyne Atlas question


Hi all,

Is anyone familiar with this rather unusual, and unfinished, work by Aby 
Warburg?  I have just started looking at his career and this work as part of 
researching his lectures about Leonardo.

https://warburg.sas.ac.uk/aby-warburgs-bilderatlas-mnemosyne-virtual-exhibition

The Warburg Institute is also doing a series of lectures online to commemorate 
Dante's 700th:

https://warburg.sas.ac.uk/whats-on/readings-dantes-divina-commedia

All best,

Max

PS -- Thursday March 25 is also International Dante Day.  🙂
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Re: [NetBehaviour] We're still alive

[Johannes Birringer via NetBehaviour]

dear all
well, not sure how alive i feel right now, but these comments made here were 
refreshing and also pertinent, it seems there is a need (in the day and age of
current Zoom stuff) or at least a potential to remember history and cycles, or 
the track back to early adapters and folks we remember paving the way -- indeed 
remote performance and early telematics goes back a whole while (Suzon Fuks 
contacted me last December to ask me when I did my first telematic performance, 
and i think it was in 1999 or 2000 -- very clunky and very much fun, and I was 
younger of course, did not know what I was doing with multi-sited a/synchronous 
remote dance-  though Hellen Sky taught me a lot). 

But last night, it was riveting to partake in Mark Coniglio and Dawn 
Stoppiello's Troika Ranch/Troikatronix Guru talk session on Past and Future 
"remoteness"... 

https://www.youtube.com/watch?fbclid=IwAR1hS34KKK8gR7xCIjMaFS8gyTAPaKtHy5hvAaVPwuwEIvuUKuxOJg_CsOI&v=U0jl8mS4EpE&feature=youtu.be
 
and Dawn and Mark showed some old footage (now archived in California) of their 
early work, and they told the story of bumping into Kit Galloway and Sherrie 
Rabinowitz at the Electronic Cafe (1980) when the latter prepared the 3-day 
remote performance of "Hole in the Space"  --- I didn't realize our friends 
Mark and Dawn were there, and I was too young to know anything about these 
early pre-Internet satellite performance hook ups.   Wonderful stuff.  (I think 
Steve Dixon records these events in a chapter on "Conjoining Remote Performance 
Spaces" in his book (with Barry Smith) on "Digital Performance." pp. 419 ff. )  
Mark noted that Kit and Sherrie's work is not remembered enough, and I very 
much tend to agree. Thanks to Mark and Dawn!

regards
Johannes Birringer
DAP-Lab







From: NetBehaviour  on behalf of 
Ruth Catlow via NetBehaviour 


So good!
Thanks for this burst of bitter-sweetness Edward.

Reminds me of a couple of years back when I participated as an artist in 
residence alongside a short course about art and the internet. The (fantastic) 
course leader presented work by people who we all know (and some members of 
this list) in the same way I had been taught about the abstract expressionists. 
It was a very strange sensation like getting my foot caught in history.

Ruth




On Thu, Jan 21, 2021 at 7:25 PM Edward Picot via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
I was just talking via Zoom to a student named Aidan Walker, who's
writing a research project about New Media literature at Reed College in
Oregon. He got in touch to talk to me about my version of Thirteen Ways
of Looking at a Blackbird. At first he was just researching new media
literature online, he said, and he was intending to write his project
without doing any interviews, but then it occurred to him - 'A lot of
you guys are still alive'.

That sense of suddenly belonging to a previous generation! Whoosh!

Edward



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Re: [NetBehaviour] Noo Werk

[Johannes Birringer via NetBehaviour]

indeed very unusual and absorbing, thanks for sharing these!
 -
Johannes


From: NetBehaviour  on behalf of 
Edward Picot via NetBehaviour 
Sent: 17 January 2021 18:36


I these! Very absorbing. My favourite was the one by Annie Abrahams, which had 
a kind of playful wistfulness to the writing, and homunculus look to the 
character design.

Edward

On 13/01/2021 02:38, Rob Myers wrote:
Heya Netbehaviourists.

New work!

I am extremely happy with how Mez has arranged the words she requested to flow 
with her awesome art here :-)

https://twitter.com/mezbreezedesign/status/1347293010841767941

- R.




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Re: [NetBehaviour] dah dah da dah and tunneled

[Johannes Birringer via NetBehaviour]

dear Alan and all

sure I listen to you, whenever i can  and you and Azure's dahdahdah.mp3  
brought a big smile.
Thank you. It also sent me back in time, well, yesterday my niece asked me to 
sent an audio song to her daughter
, for her birthday, so I concocted my own kind of dahdahdah,. Not as good as 
yours,
But it had a spike, probably not recognizable to my grand-niece, age 5. 
I sang happy birthday dahdadah to my adaptation of The Nice's 1968 version of 
"America"  --  da   da dada   da dada  da da..

https://www.youtube.com/watch?v=gNbn561-1bg&feature=emb_logo

which some of you may recall, if you were an avid listener to prog rock and 
keyboard players (I trained on the piano, Bach, Schubert),
its performance was a perverse & fantastic adaptation Keith Emerson did of 
Bernstein's silly scene in the West Side Story:

"“la la la,everything free in America..."  etc

at the end of Emerson, playing at Royal Albert Hall where he burnt the US flag 
and was subsequently banned for life from playing there,
bass guitarist Lee Jackson recites:

"America is pregnant with
promises & anticipation,
but is murdered by the hand of the inevitable"


last week, watching the frighteningly grotesque scenes on Capitol Hill, my 
innocent years as a teenager seemed awfully distant, listening to music,
in the year when Martin Luther King and Robert Kennedy were assassinated.

Johannes Birringer


Alan Sondheim 
Sent: 12 January 2021 05:47

dah dah da dah and tunneled

http://www.alansondheim.org/tunneled.mp3
old sarangi, processing, 5 amazing minutes
earphone, this will soothe you
http://www.alansondheim.org/dahdahdah.mp3
azure carter, vocals, alan sondheim, guitar,
this will bring a smile
http://www.alansondheim.org/dahdahdah.jpg

or should it be the other way around, f or q,
free query introductory that lasts 1' 06" ad
hoc ad lib add liberty for your listening
pleasure not to mention (for no one in fact
is listening) your listening delight, what
might in fact be called The Succubus of the
Pleasure of Listening Thought.


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Re: [NetBehaviour] electric dance

[Johannes Birringer via NetBehaviour]

dear all:
I may have mentioned it when I published the reference to my 'Gravel 
Maraboutage' film
a while ago, but here is a second context for it, a short essay:
as part of a discussion about whether there is theatre after the pandemic. 

http://www.critical-stages.org/22/electric-dance-or-how-to-talk-with-birds/

best wsihes
Johannes Birringer

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Re: [NetBehaviour] 12:43 AM next theoretical installment:

[Johannes Birringer via NetBehaviour]

dear Alan

your "next theoretical installment" yesterday was a wonderful start into the 
Klaus day;
probably the most humorous and scrupulous text & reflection on doing things 
(such as writing) &
on not answering to yourself or others, you've shared with us in a while, I 
enjoyed it much
regards
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim 
Sent: 06 December 2020 06:06
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] 12:43 AM next theoretical installment:



12:43 AM next theoretical installment:

http://www.alansondheim.org/ohtheory.jpg

So I immediately came into the back room and decided that I would
dictate as usual we're not as usual what this piece is going to be
which was a kind of theoretical demonstration and reply to someone
who thought what I was usually doing is poetry. I never think of
my work or almost never think of my work as poetry. Unless it is
rhymed. It seems to me that it's a way of doing philosophy and
Theory without having to call on the minions of references that
appear in ordinary theoretical discourse. I am answering to no
one. I'm not even answering to myself. I am not questioning anyone
else or critiquing anyone else. I am critiquing or questioning
only my help. It is a way of proceeding with an inner dialogue
that obviously references in my own mind the reading or work that
I am doing in terms of more traditional Philosophy. For example
now I have been looking at Saint Anselm has logic. I've been
looking and thinking a little bit about Whitehead. I've been
thinking and looking at the talmud. These are just older antique
references but they form a kind of constellation that I can
proceed from. I'm also thinking about electrical circuits and the
way that circuits and their notes add up to in various ways in
various configurations various numbers of branches. There's always
an electrical connection. What we do is based on electrical
connections. From one end of a wire to another there are things
going on internally that are fairly well understood but the
information that might be carried by this things might not be that
well understood. There is also a grounding a cable that is dropped
from the circuit that can drain it almost immediately. All
information is lost. This is what's called the fragility of good
things. It's something that appeared as a phrase in catastrophe
Theory. Catastrophe theory. In particular a book by Arnold that
used it as a way of indicating that whatever goes on properly is
only a minuscule microscopic or less amount of what can
conceivably go on. Popularly more things can go wrong as I can go
right. To go right is a knife-edge no matter how right is defined.
So this was not the topic of what I came back here to think about
and to write to you about. Back here or means back into another
room where I have Solace and quietude and the ability to think
through these dialogues. Which are monologues. Although they may
not seem as monologues. When I came back here to dictate the
dialogue or the monologue however I found that what had happened
was as a result of fatigue and exhaustion and anxiety and
depression and a Wandering mind was I forgot the topic I had
initially intended to discuss. I still no longer remember the
topic. I don't remember a single bit of what I was going to talk
about. So that philosophy that philosophical direction is lost and
replated replaced that's that. That's single philosophical
direction is lost and replaced by this enormous influence of wrong
directions. Sorry immediately came into the back room and decided
that I would dictate as usual or not as usual what this piece is
going to be which was it kind of theoretical demonstration And
reply to someone who thought what I was usually doing is poetry. I
never think of my work or almost never think of my work as poetry.
Unless it is rhyme. It seems to me that it's a way of doing
philosophy and theory without having to call on the minions of
references that appear in ordinary theoretical discourse. I am
answering to no one. I am not even answering to myself. I am not
questioning anyone else or critique in anyone else. I am
critiquing or questioning only myself. It is a way of proceeding
with an inner dialogue that obviously references in my own mind
the reading or works that I am doing in terms of more traditional
philosophy. For example now I have been looking at Saint and Selms
logic. I've been looking and thinking a little bit about
Whitehead. I've been thinking and looking at the Talmud. These are
just older antique references but they form a kind of
constellation that I can proceed from. I'm also thinking about
electrical circuits and the way that circuits and their nodes add
up to in various ways in various configurations to it various
numbers of branchings. There's always an electrical connection.
What we do is based on electrical connections. From one end of a
wire to another there are thing

Re: [NetBehaviour] Gravel Maraboutage

[Johannes Birringer via NetBehaviour]

thanks to all of you who wrote feedback on my small film,
it's much appreciated and encouraging; 

i just finished rehearsal in the dance studio with Zhi Xu, who's working
in his last year for the phd, on a piece called "Unexpected Bodies."  
We were literally the only people in the theatre building, it all feels like a 
ghost town.

it's all becoming more and more unexpectable.
best wishes to you all out there 
Johannes Birringer


From: NetBehaviour on behalf of 
Edward Picot via NetBehaviour 


I really enjoyed this! I kept thinking it was finished, and then it
would start something new; and I kept thinking I knew where it was
going, and then it would change direction. Beautifully composed: every
shot has a really nice shape to it. I loved the poem at the end.

Many years ago, early one morning when there was nobody around,  I saw a
man doing Tai Chi in the car park outside the surgery where I work. It
reminded me of that.

Edward

On 09/11/2020 21:43, Johannes Birringer via NetBehaviour wrote:
> dear net list:
>
> sharing my new performance work with you,
> &   I welcome your feedback
>
> ‘Gravel Maraboutage'
>   a/v work,  13:11 min 2020
>
> https://www.youtube.com/watch?v=UlfTUpFYP48&feature=youtu.be
>
>
> thank you for watching
>
> Johannes Birringer
> DAP-Lab, London
>
> ___
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Re: [NetBehaviour] Gravel Maraboutage

[Johannes Birringer via NetBehaviour]

dear net list:

sharing my new performance work with you, 
&   I welcome your feedback

‘Gravel Maraboutage'
 a/v work,  13:11 min 2020

https://www.youtube.com/watch?v=UlfTUpFYP48&feature=youtu.be


thank you for watching

Johannes Birringer
DAP-Lab, London

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Re: [NetBehaviour] good news

[Johannes Birringer via NetBehaviour]

is it decided (in the US)?  finally? can we breathe?
I am glad and hope that peace will come
best
J


From: NetBehaviour  on behalf of 
Max Herman via NetBehaviour 
Sent: 07 November 2020 18:20
To: NetBehaviour for networked distributed creativity
Cc: Max Herman
Subject: [NetBehaviour] good news


No matter what, beauty and love are stronger than lies and hate.

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Re: [NetBehaviour] Basis

[Johannes Birringer via NetBehaviour]

Alan, what beautiful music and image you share with us, thank you, and
hang in there, allow your body to breathe through your playing.
yes there is a thin thread or threshold, we all can see that;
but the mail-in ballots will be counted; and there's got to be
an end to the absurd shenanigans.
best
Johannes


From: NetBehaviour  on behalf of 
Alan Sondheim 
Sent: 05 November 2020 15:48
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] Basis



Basis

http://www.alansondheim.org/basis.jpg
http://www.alansondheim.org/basis.mp3

Well today after the election and at this point my anxiety is
through the roof but in order to ground myself last night I was
just playing t e r z guitar and I've came across it just happened
I came across a small sequence that had been in my mind for at
least half a century. And I thought I'd better record this
immediately. I had played something similar on the base sauce.
Saws s a z. But I hadn't really been able to come to grips with
it. Originally I heard it on a 78 record that I found in
Providence Rhode Island and gave to Brown University. It was an
Ethiopian record. And the tune the song has stayed with me since
then. So finding it and it's very simple finding it under the terz
guitar was a side at least in a small part of the universe as a
basis for feeling that things might turn out all right. It's been
the worst couple of days I think we've had in a long long long
long long time. It seems that there was a choice being made
between fascism and democracy and fascism has on its side the idea
of raw power and judicial shenanigans. It seems on our side is
only mail-in ballots to consider. And then they case I can just
say it's taking a toll and a rather brutal toll on my body and on
the bodies of everyone I know at this point. We feel we're living
in the regime that could easily turned into a form of outright
fascism related to nazism and its use of propaganda and it's the I
don't know the word attraction of Refugees and People of Color and
Jews and Muslims and anyone who is not white Christian and male.
It's very hard to live like this day in and day out. We don't get
out because of covid. The illness is getting to us. So here is the
basis which was for a few moments and kind of calming calming
calming tune her melody but really more like a kind of root
structure for everything I do and it just occurred and I played it
with the recorder balanced on my knee. I didn't want to move and
forget anything about this tune. I hope it does something for you.
It did for me. Thank you for listening.



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Re: [NetBehaviour] ‘insisting to remember’

[Johannes Birringer via NetBehaviour]

dear Antye (AGF), 
thank you for sharing your new soundpoem, 
it cuts into the skin, and is indeed disturbingly powerful, especially as it 
builds up the urgency  of the multiplied and resonating voices, a kind of 
lament chorus. The protest you express, against femicide, is like a powerful 
quilt, an intensifying, and endless protest against such violence against 
women's bodies;
I listened to the video link version, and was not sure about the visual graphic 
stream. But the color brought up largely buried memories, and associations,
to a Diamanda Galás vocal concert I witnessed in Chicago in the early 90s, her 
Plague Mass, where she performed with her body covered in the red color of 
blood.
Maybe that association also came because you mentioned the older lament 
traditions in cultures where women (in Greece for example) come to mourn a 
deceased, on behalf of the family? and I connected that to Antigone (yes, it's 
her brother she buried, I realize). 

regards
Johannes Birringer
dap-lab


From: NetBehaviour  on behalf of 
Edward Picot via NetBehaviour 
Sent: 25 October 2020 19:11


That's really powerful.


On 25/10/2020 12:48, AGF poemproducer wrote:
> dear net list
>
> sharing my new sound work with you
> I welcome your feedback
>
> ‘insisting to remember’
> a/v work 13.54min 2020
> #feministsonictechnologies
> https://rec-on.org/insistingtoremember.html
>
> direct video link
> https://rec-on.org/video/InsistingToRemember241020.mp4
>
> thank you for listening
> agee
>
>
>
>
>
>
>
> ⟿ REC-on ↭  rec-on.org
> twitter: @reconsound
> email: so...@rec-on.org
>
> recon - short form audio
> https://rec-on.org/recon.html
>
> ↳ r1 ON OPPRESSION
> https://rec-on.org/onoppression.html
>
> ↳ r2 ON FEMICIDE
> “insisting to remember”
> rec-on.org/onfemicide.html
>
> ↳ r3 ON FRONTEX
> https://rec-on.org/onfrontex.html
>
> ↳ r4 ON DIRECT DEMOCRACY
> https://rec-on.org/ondirectdemocracy.html
>
>
> FEMINIST SONIC TECHNOLOGIES
> #feministsonictechnologies
> https://rec-on.org/feministsonictechnologies.html
>
> °1 @seaisthenewland
> https://rec-on.org/seaisthenewland.html
> in urdu: https://karachibeachradio.net/blogpost.php?id=8&lang=urdu
>
> FST °2 'insisting to remember’ by AGF
> https://rec-on.org/insistingtoremember.html
> https://rec-on.org/video/InsistingToRemember241020.mp4
>
>
> AUDIO COLLECTIFNESS
>
> Sukiotoa O Namau °1
> @sukitoaonamau
> https://rec-on.org/sukitoaonamau.html
>
> Meira Asher °2
> @meiraasher
> https://rec-on.org/meiraasher.html
>
> @resonatecoop
> beta.resonate.is/artists/12205
>
> +
>
> sitemap
> https://rec-on.org/index-sitemap.html
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour


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Re: [NetBehaviour] Distant Movements @NODE

[Johannes Birringer via NetBehaviour]

thanks Annie 

for letting us know, about your new Distant Movement
- especially in  these times we are experiencing, your work has
been an inspiration, also for my students.  We started to work
in the studio again tentatively, under our masks. I could not breathe
well during the warm ups...

with regards
Johannes Birringer



From: NetBehaviour  on behalf of 
Annie Abrahams via NetBehaviour 
Sent: 06 October 2020 09:27
Subject: [NetBehaviour] Distant Movements @NODE

Do you want to join us to examine what it means to «dance together» in an 
environment where bodies are entangled with machines?

Join us Oct 8 16h CEST for a 20 min long Distant Movements session in the frame 
of the Choreographic Coding Lab Online meetup organised by Naoto Hiéda for 
NODE20.

8/10 16h – 16h20 Paris time

[image]

Online.
Find URL 
here.

You will be guided into movement by Daniel Pinheiro, Muriel Piqué and Annie 
Abrahams.
We will privilege:
an inner gaze / body awareness
slowness, in order to favor the perception of the experience
awareness of the presence of others, even if you don’t see them (the session 
will be recorded)

You can’t do anything wrong

We will start with an activation of the body through “balancing” with the eyes 
open – we will close our eyes …

During the last 10 minutes only qualitative incentives:
don’t forget to breathe
your toes move too
remember flexibility

Open to all.

You are welcome
Annie

ps
26/09 – 24/10 Distant Feelings is presented in 
APPEARANCE 
Exhibition, Upstream Gallery. Curated by Josephine Bosma.

09/10-12/12 The Big Kiss and Constallations - the vidéo presented in MELTING 
POINT, 
expo Accès)s(, Bel Ordinaire, Pau.

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Re: [NetBehaviour] AS ABOVE, SO AS BELOW

[Johannes Birringer via NetBehaviour]

dear Alan, Azure
uplifting salvation army performance, makes me start the day with great
optimism*, thank you!
best
Johannes Birringer

(especially after reading Frank Wilderson's new book, and glancing at the 
"Post-Democracy" articles appearing in Germany on the US postal service
debate. Did you know that in the 1850s you could send babies or small children 
along with the post (Pony Express)? 





 Alan Sondheim via NetBehaviour 

almost like salvation army or derelict, felt that way out there -

love the song as well



On Wed, Aug 26, 2020 at 5:00 AM marc garrett via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
Hi Alan,

I love how immediate, punky and folk it is at the same time.

Azure has that kind of voice that crosses over - great song !-)

On Sat, 22 Aug 2020 at 04:27, Alan Sondheim 
mailto:sondh...@panix.com>> wrote:
>
>
> AS ABOVE, SO AS BELOW
>
> http://www.alansondheim.org/asabovesoasbelow.jpg
> https://youtu.be/c-XruLa9QJQ VIDEO
>
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Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

correct link:https://findersrecords.com/UPC/602508645600

apologies




dear all
just found a music/video by Shabaka Hutchings from the newly released "We are 
sent here by history,"
i think it's the track "Go my heart, go to heaven,"
please have look here:

https://findersrecords.com/UPC/60250864560

the Sphinx in the plastic museum of old bones. I am impressed with these 
visuals and the music, the leather masks, the dance of
grim laughter, haunting really!

regards
Johannes Birringer
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Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

dear all
just found a music/video by Shabaka Hutchings from the newly released "We are 
sent here by history,"
i think it's the track "Go my heart, go to heaven,"
please have look here:  

https://findersrecords.com/UPC/60250864560

the Sphinx in the plastic museum of old bones. I am impressed with these 
visuals and the music, the leather masks, the dance of
grim laughter, haunting really! 

regards
Johannes Birringer
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Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

hello Michael
after more reflection, I don't go with you after all, never mind what you call 
the false dichotomies you thought I set up -  i think my questions were 
actually sound, regarding the zoom concert and the unmuting and the pretense, 
and I shared with you some concerns and worries, or critiques, about how one 
might in fact think of how the zoom room affects us, how see see it facing us, 
and in the case you shared with us you argue it was not only different but 
added new depth, and I questioned that, would you perhaps be willing to respond 
more or tell us why you thought it added depth?
thanks
respectfully
Johannes Birringer


From: Johannes Birringer 
Sent: 07 July 2020 09:46
Subject: Re: [NetBehaviour]  go tell it to the mountains

Hallo Michael;
yes, I'd go with you then, and am sorry for having gotten lost in translation, 
i think I was trying to say something completely different, but various zoom
sessions had dried up most of my sense of humor. I had never even been to 
Darmstadt's new music scene, though I performed an installation there once, in 
a garden, during the 'Vogelfrei' Biennial, with a small fish in a long 
elongated glassbowl shaped like a bassoon, the fish generated the sound through 
its movement which was monitored with a small camera sending the motion data to 
the software.  The fish performed wonderfully,
with regards
Johannes


From: Michael Szpakowski 
Sent: 07 July 2020 00:52
To: netbehaviour new netbehaviour; Johannes Birringer
Subject: Re: [NetBehaviour]  go tell it to the mountains

Hi Johannes
well I'd resist the setting up of what for me are false dichotomies -either 
Darmstadt ( and I think Cage would have had something strong to say about being 
subsumed *there*) or Solange Knowles, either the digital or corporeal. I don't 
think that Zoom made the performance of 4 33 better, just interestingly 
different and thereby in a sense added new depths to what we might expect from 
the work.
I'm of the Harry Hill school - this or that , which is better? only instead of 
the *FIGHT* ! I'd just say well ..er.. both are better
cheers!
Michael

On Tuesday, July 7, 2020, 12:15:28 AM GMT+1, Johannes Birringer 
 wrote:


Hi Michael and all:

enjoyed your comment!  looked/listened in again. I looked at the faces and 
persons playing (this is a Scottish/Uk ensemble, based in Edinburgh?), and 
pondered why I responded to a Cage concert with my note on Stockhausen. New 
music, right??  Darmstadt tradition, how odd.  Not sure anything can get 
transcended.

I had actually been reading about Shabaka Hutchings and the new album just 
released, "We Are Sent Here by History"  (Shabaka and the Ancestors), and 
following the discussions swirling around in our societies. do we start 
questioning our traditions, allegiances?  is the anti-black curriculum 
dismantable? chamber music in helicopters, good heavens. This is a different 
discussion for sure, but I wish to pick up your faith or enjoyment of the zoom 
concert and question it, if you permit... I watched many musicians in this 
fragmenting multiroom Red Note zoom pretending not to play, and on occasion 
heard some rambling, wonderfully interfering noises, someone had unmuted their 
mic, nice,  but why were they not all unmuted?  You felt there was community? 
ambient world? Could we even imagine this ambient contingent world, looking at 
all the instrumentalists in these tiny zoom frames?  Mind you, I am actually 
trying to raise a larger question, which came up in the Lab of Dance conference 
in Warsaw last week (https://sites.google.com/view/labofdance) - do you like 
dancing by yourself in front of camera? Do you like seeing yourself?  can you 
teach dance in a zoom ? create choreography, meet audience, exchange vibrations 
and energies with real people in organic space? Liberating openness or 
frustrating closedness?


It might be interesting to discuss this further, if some of you are teaching or 
preparing to do hybrid stuff in the fall. One of the dancers in Warsaw told me 
(the format was arranged like this:  you watched the 5 video 
lectures/presentations beforehand, on youtube, then the panelists met with 
audience in zoom at 6pm
for Q & A, yet discussion was moderated via facilitator who read questions in 
chat, then translated them) that she had not mustered the attention or 
energy to watch all the video lectures, others confessed they get tired in 
front of zoom. Others reported from the summer semester dance classes: Working 
with camera as partner, trying things (how do you do Community Dance in zoom?). 
 How can public space be merged with virtual space,  how can dance be 
connecting,
creating dialogues? students tried all manner of things, danced in their 
kitchens, their balconies, created audiowalks, online work-books; networked 
performances, learning more about combination online-offline, etc. There was 
ambition, a

Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

Hallo Michael;
yes, I'd go with you then, and am sorry for having gotten lost in translation, 
i think I was trying to say something completely different, but various zoom
sessions had dried up most of my sense of humor. I had never even been to 
Darmstadt's new music scene, though I performed an installation there once, in 
a garden, during the 'Vogelfrei' Biennial, with a small fish in a long 
elongated glassbowl shaped like a bassoon, the fish generated the sound through 
its movement which was monitored with a small camera sending the motion data to 
the software.  The fish performed wonderfully,
with regards
Johannes


From: Michael Szpakowski 
Sent: 07 July 2020 00:52
To: netbehaviour new netbehaviour; Johannes Birringer
Subject: Re: [NetBehaviour]  go tell it to the mountains

Hi Johannes
well I'd resist the setting up of what for me are false dichotomies -either 
Darmstadt ( and I think Cage would have had something strong to say about being 
subsumed *there*) or Solange Knowles, either the digital or corporeal. I don't 
think that Zoom made the performance of 4 33 better, just interestingly 
different and thereby in a sense added new depths to what we might expect from 
the work.
I'm of the Harry Hill school - this or that , which is better? only instead of 
the *FIGHT* ! I'd just say well ..er.. both are better
cheers!
Michael

On Tuesday, July 7, 2020, 12:15:28 AM GMT+1, Johannes Birringer 
 wrote:


Hi Michael and all:

enjoyed your comment!  looked/listened in again. I looked at the faces and 
persons playing (this is a Scottish/Uk ensemble, based in Edinburgh?), and 
pondered why I responded to a Cage concert with my note on Stockhausen. New 
music, right??  Darmstadt tradition, how odd.  Not sure anything can get 
transcended.

I had actually been reading about Shabaka Hutchings and the new album just 
released, "We Are Sent Here by History"  (Shabaka and the Ancestors), and 
following the discussions swirling around in our societies. do we start 
questioning our traditions, allegiances?  is the anti-black curriculum 
dismantable? chamber music in helicopters, good heavens. This is a different 
discussion for sure, but I wish to pick up your faith or enjoyment of the zoom 
concert and question it, if you permit... I watched many musicians in this 
fragmenting multiroom Red Note zoom pretending not to play, and on occasion 
heard some rambling, wonderfully interfering noises, someone had unmuted their 
mic, nice,  but why were they not all unmuted?  You felt there was community? 
ambient world? Could we even imagine this ambient contingent world, looking at 
all the instrumentalists in these tiny zoom frames?  Mind you, I am actually 
trying to raise a larger question, which came up in the Lab of Dance conference 
in Warsaw last week (https://sites.google.com/view/labofdance) - do you like 
dancing by yourself in front of camera? Do you like seeing yourself?  can you 
teach dance in a zoom ? create choreography, meet audience, exchange vibrations 
and energies with real people in organic space? Liberating openness or 
frustrating closedness?


It might be interesting to discuss this further, if some of you are teaching or 
preparing to do hybrid stuff in the fall. One of the dancers in Warsaw told me 
(the format was arranged like this:  you watched the 5 video 
lectures/presentations beforehand, on youtube, then the panelists met with 
audience in zoom at 6pm
for Q & A, yet discussion was moderated via facilitator who read questions in 
chat, then translated them) that she had not mustered the attention or 
energy to watch all the video lectures, others confessed they get tired in 
front of zoom. Others reported from the summer semester dance classes: Working 
with camera as partner, trying things (how do you do Community Dance in zoom?). 
 How can public space be merged with virtual space,  how can dance be 
connecting,
creating dialogues? students tried all manner of things, danced in their 
kitchens, their balconies, created audiowalks, online work-books; networked 
performances, learning more about combination online-offline, etc. There was 
ambition, and then ambivalence, critique. Capacities are now nearly exhausted; 
fragmentation ever-present; non verbal communication is stopped; energies not 
shareable, shadows are missing, so are sweat and smell. There is no substitute 
for flesh.  Sadness and frustration.

I feel almost exactly as in these last observations, and could do without zoom, 
for sure.

with regards
Johannes Birringer

___
From: Michael Szpakowski 
mailto:m...@michaelszpakowski.org>>
Sent: 06 July 2020 17:27
Subject: Re: [NetBehaviour] online performance of 4' 33"

Cheers Johannes! Thanks for sharing it. It struck me that the final thing 
transcended in a number of interesting ways the original idea which had a 
quality of a ‘rather good wheeze’ about it, something light and fun and 
amusing. That remained ,sure enough, but

Re: [NetBehaviour] online performance of 4' 33"

[Johannes Birringer via NetBehaviour]

thanks Michael

rather wonderful and curious.  And I shared your link with friends and 
colleagues
(from music and theatre) who had alerted me last week to a streaming of 
Stockhausen's 6-hour
 "Mittwoch aus Licht"  --  Birmingham's first staging of an opera that was 
previously considered unstageable;  truly extraordinary and could be of 
interest. It’s being streamed on Saturday from 5pm

https://www.birminghamopera.org.uk/coming-up?fbclid=IwAR3tWZDsGRgPhDfg5FmT35wDA1pAa3fM2t4QnTfOhwKqf01dT1RfhMt-2II

you probably have heard of the helicopter string quartet, part of "Mittwoch aus 
Licht".
well it's in here (https://vimeo.com/435367416)

they apparently flew it.

best
Johannes Birringer




From: NetBehaviour  on behalf of 
Michael Szpakowski 
Sent: 03 July 2020 15:25
To: netbehaviour new netbehaviour
Subject: [NetBehaviour] online performance of 4' 33"

Hi
I just participated in this Zoom performance of Cage's 4' 33'' organised by the 
splendid Red Note Ensemble. I play sopranino recorder doubling mbira in the 
second movement .
https://www.youtube.com/watch?v=UMAz9V-65Zo

cheers!
Michael


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