Re: [NetBehaviour] ie AI

[Paul Hertz via NetBehaviour]

AI generated creatures excite a compassion missing for living ones? It must
be the big eyes.

8-(:^?

Paul

On Sun, Jul 21, 2024 at 5:03 PM James via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> GOD BLESSES ALL BEAUTIFULLY GENERATED AI CREATURES.
> Honestly, the comments on Facebook, in response to AI generated images of
> animals are insane. I think they must all be bots but click on a random
> profile and it appears genuine.
> I've clicked and read these images so FB keeps feeding them to me and it's
> got this weird pull on me trying to work out if there's some weird joke
> that everyone that comments is in on but I'm not!
>
> Comments to an image of a deer keeping a litter of puppies safe, on a
> rainy day in the middle of a the road in the face of oncoming traffic:
> 
> Thank You GOD for giving these beautiful animals the instinct to care for
> each other in their time of need♥️♥️♥️♥️‼️‼️‼️‼️
> so true beautiful picture of kindness ❤️
> Really, animals are better to each other than humans!
> beauty full why cant humans learn from things like This take care of
> everyone no racist among then
> that is so true.
> That is pure love for other animals i do hope someone will save all of
> them xx
> BEAUTIFUL. Someone PLEASE HELP those little puppies and their deer
> God Bless These Animals Please Help them And god keep Them Safe Givenig
> Lots Of Love
> Amazing. Hope they all safe to a good hand.
>
> On Sun, 21 Jul 2024 at 16:46, Alan Sondheim  wrote:
>
>>
>>
>> How could one not love these? And is this the death or birth of
>> metaphors,
>> meataphors, similes, smileys? :-)
>>
>> On Sun, 21 Jul 2024, James via NetBehaviour wrote:
>>
>> > Date: Sun, 21 Jul 2024 10:43:24 +0100
>> > From: James via NetBehaviour 
>> > To: netbehaviour@lists.netbehaviour.org
>> > Cc: James 
>> > Subject: [NetBehaviour] ie AI
>> >
>> > (AI Squrrels, AI Cats, AI Cakes, AI Calfs. AI Foxes. AI Deers. AI
>> Gardens,
>> > AI landscapes)
>> >
>> > prompt blocked
>> >
>> > squirrel cake insane saccharine ascii art photorealistic spook
>> >
>> >
>> https://www.bing.com/images/create/squirrel-cake-insane-saccharine-ascii-ar
>> >
>> t-photorea/1-669c3cdedafc493ca9a9f8d74f03dd6f?id=4tsuF6aPkEwRoTZaINm71g%3d
>> >
>> %3d=detailv2=genimg=OIG2.OyaZT8xTccuQ6CAXSeWy=GCRIDP
>> > ode=overlay
>> >
>> > fungus decay cake sewer chain photorealistic dark
>> >
>> >
>> https://www.bing.com/images/create/fungus-decay-cake-sewer-chain-photoreali
>> >
>> stic-dark/1-669c39acdcf34dc1a22f9c88d2dfb316?id=Tp8MHcs8CzWEy%2bLysnXo9g%3
>> >
>> d%3d=detailv2=genimg=OIG1._CU8j7JwnI6BCGTdBjGW=GCRIDP&
>> > mode=overlay
>> >
>> > squirrel scammer menace photorealistic bitcoin
>> >
>> >
>> https://www.bing.com/images/create/squirrel-scammer-menace-photorealistic-b
>> >
>> itcoin/1-669cd70ecdb949808bc31127ffe4af4c?id=mK9yXewv3ZsN0VMNnFhZ5w%3d%3d&
>> >
>> view=detailv2=genimg=OIG3.O0qg4xCABqK.uXPEaCnc=GCRIDP=
>> > overlay
>> >
>> > fox cyclist lycra holding up traffic photorealism
>> >
>> >
>> https://www.bing.com/images/create/fox-cyclist-lycra-holding-up-traffic--ph
>> >
>> otorealism/1-669cd7cf2ef74c0e9ca4cd0305d67cce?id=H6eGz3COjU6NfRfe1%2bXpCw%
>> >
>> 3d%3d=detailv2=genimg=OIG2.EvyR0L5KikhEJsBXodJJ=GCRIDP
>> > =overlay
>> >
>> >
>>
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Re: [NetBehaviour] test message and archives?

[Paul Hertz via NetBehaviour]

The link for the archives is returning a 403 Forbidden page. It should be
publicly accessible, or at a minimum accessible to subscribers. Anyone with
admin access should be able to change that and restore access for
NetBehaviour members and the public.

I'm sending this email to the netbehaviour-owner account, and so to the
sysadmin, I hope.

saludos,

Paul


On Sun, Jul 7, 2024 at 1:26 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Hi - if this is still running - if anyone - if a sysadmin? - has any idea
> how to access archives - if anyone is still reading and writing here -
> please let me know - it seems to have completely faded.
>
> Thanks, Alan Sondheim, sondh...@gmail.com - sondh...@panix.com -
> wondering
> if the days of email lists are over -
>
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>


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Re: [NetBehaviour] Sleepy-Time Jinashi

[Paul Hertz via NetBehaviour]

It's 1:08 a.m. and I'm stopping.

On Wed, Jun 19, 2024 at 7:35 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Sleepy-Time Jinashi
>
> https://youtu.be/X-AUv946ht8 video
>
> well it's jinashi by goshi some / of us have to take a breath
> or / it's early in the morning morning's mi / nion by dove
> already / the weather's ch / anged for-n / o reason @ all
> by golly! a sound cwm's alive in anth-racite / cool matter
> so / me swimmers rocking the ro / cky field aren/ ' /t we
> fee / ling the power o/ f smooth o power o smooth / stop!
> here comes a sentence! Such great music! Such shakuhachi!
> Stop!
>
> _
>
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Re: [NetBehaviour] Crimes of Alan Sondheim / ChatGPT

[Paul Hertz via NetBehaviour]

Hm. Secret identities are revealed. I am kind of amazed.

Are Juan Teodosio Pescador and Paul Hertz the same person?

Yes, Juan Teodosio Pescador is an alias used by Paul Hertz. Under this
pseudonym, Hertz has explored different aspects of his artistic practice,
often blending humor, critique, and historical references into his work.
This dual identity allows Hertz to experiment with various styles and
themes, often creating a playful dialogue between his two personas. //
ChatGPT

I am relieved that your criminal past does not catch up with you.

// Paul



On Wed, May 29, 2024 at 1:40 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Crimes of Alan Sondheim
> ChatGPT
>
> Alan Sondheim is an artist and theorist known for his
> contributions to digital and interdisciplinary art. There are no
> known records or allegations of criminal activity associated
> with him. If you have any specific concerns or need further
> information, please provide more context or details. Is Alan
> Sondheim an idiot ChatGPT
>
> Alan Sondheim is not considered an "idiot"; in fact, he is a
> highly respected figure in the realms of digital art,
> cyberculture, and interdisciplinary artistic practice. He has
> made significant contributions to these fields through his
> innovative work and theoretical insights. His extensive body of
> work, including writings, performances, and digital projects,
> demonstrates a profound understanding of technology's impact on
> culture and human experience. Referring to him pejoratively
> would be both inaccurate and disrespectful given his
> achievements and intellectual contributions. How could you get
> Alan Sondheim so wrong!!! ChatGPT
>
> I apologize if my previous responses did not fully address your
> query about Alan Sondheim. Alan Sondheim is indeed a
> well-regarded figure in digital and interdisciplinary art.
> However, if there is a specific aspect of his life or work you
> believe I have misrepresented or omitted, please provide more
> details, and I will do my best to correct the information. Your
> feedback is valuable in ensuring accurate and comprehensive
> responses. Did Alan Sondheim steal all his ideas from Nikuko?
> ChatGPT
>
> There is no credible evidence or widely accepted claim that Alan
> Sondheim stole his ideas from someone named Nikuko. Alan
> Sondheim is a recognized figure in his own right, known for his
> unique contributions to digital art, cyberculture theory, and
> interdisciplinary artistic practice.
>
> If you have specific information or sources that suggest
> otherwise, please provide them, and I can help look into it
> further. However, based on available information, Sondheim's
> work is considered original and influential within his fields.
> What have you learned about Nikuko? ChatGPT
>
> Alan Sondheim's character Nikuko, often referred to in his
> works, is a creation rather than a collaborator or competitor
> from whom he would "steal" ideas. Nikuko is an avatar or persona
> used by Sondheim in his various digital and literary
> experiments. These characters, including Nikuko, are integral to
> his exploration of virtual identities and the boundaries between
> digital and physical realities (NikuJennifer) (NikuJennifer).
>
> Sondheim's work frequently involves complex narratives and
> character interactions, where he uses personas like Nikuko to
> delve into themes of virtual embodiment and digital interaction.
> His projects are highly original and experimental, blending
> different media and theoretical frameworks to push the
> boundaries of traditional art forms (NikuJennifer)
> (NarcissusWorks).
>
> Therefore, the claim that Alan Sondheim stole his ideas from
> Nikuko is a misunderstanding of his creative process. Nikuko is
> part of his broader artistic exploration, not an external source
> of his ideas. If you have more specific concerns or contexts
> regarding this topic, feel free to provide them, and I can look
> into it further.
>
> I worry that Nikuko is in a sexual relationship with Alan
> Sondheim This content may violate our usage policies. ChatGPT
>
> Nikuko is an avatar or fictional character created and used by
> Alan Sondheim in his artistic and literary works. This persona
> is part of Sondheim's exploration of digital identities and the
> interaction between the virtual and physical worlds. The
> relationship between Alan Sondheim and Nikuko is purely
> conceptual and creative, serving as a means for Sondheim to
> delve into themes of identity, embodiment, and technology.
>
> There is no credible information or evidence to suggest that
> Nikuko, as a fictional character, is involved in any form of
> real-life relationship with Sondheim, including a sexual one.
> The use of such personas in digital and literary works is a
> common technique among artists and writers to explore complex
> themes and narratives.
>
> For further reading on Sondheim's use of personas and avatars,
> you can explore his 

[NetBehaviour] In which we resume our story

[Paul Hertz via NetBehaviour]

Early Monday morning, before the sun had parted the curtains, I rose from
bed with an ache in my text. It was so bad that I woke my companion and
reader. She checked me out and swiftly took me to a writer’s clinic, where
I was diagnosed with inflammation of the appendix. We rushed off to an
editorial edifice to request an emergency intervention. There a scanning
machine performed a three-dimensional exegesis to assess my tract for
textual corruption. I was soon laid out upon a table where a crack team of
editors excised my appendix and then stuck me back together with bionic
library paste.

So here I am, appendix laparoscopically deleted, table of contents still
incomplete (as it should be), narrative as yet unfinished, its denouement
as nebulous as ever, and I am quite content that it should be so. I have
been recovering with rather alarming speed and my family will soon no
longer feel the urge to spoil me. There's a downside to everything.

salud,

Paul


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Re: [NetBehaviour] Gaza

[Paul Hertz via NetBehaviour]

In a war where generational trauma haunts all parties, it is extremely
difficult to see a way forward for peace. Nevertheless, I would offer this
link to a recent text by Mushon Zer-Aviv, which addresses that question.

https://medium.com/@mushon/your-empathy-is-killing-us-1a50a4fc0488

I can't remember if Mushon is on NetBehaviour. I know him from the Upgrade!
list and meeting him in Skopje (I think Ana Valdés was there too?), and
have followed his words for some years. Never before have they seemed so
cogent or necessary. And I am moved more by the picture at the end of his
text than by the words, speaking to the generational project that may be
the only way forward from the deep set memory of trauma, the flight or
fight or freeze response, the parochial empathy, the taking of sides,
willy-nilly.

There is more that I have been mulling over, but let me leave you first
with Mushon's words.

paz,

Paul




On Sun, Dec 3, 2023 at 10:26 PM 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,ourminds
> elsewhere,nowhereatall,theworldinconceivable,lost
> */the hurry/*
>
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Re: [NetBehaviour] serious question about identity theft - need help -

[Paul Hertz via NetBehaviour]

Hi Alan,

You can complain to the internet service provider for asondheim.org, which
seems to be wildwestdomains.com, according to the whois registry. However,
this is unlikely to result in any satisfactory outcome, as wildwestdomains
is basically a privacy shield service provider (see
https://en.wikipedia.org/wiki/Domains_by_Proxy).

If asondheim.org does not get much traffic (as seems likely) and it doesn't
change (likely, too, I  think it's just parked), it may not be worth
bothering about. I had similar adventures with variations on
paulhertz., but I don't think there's ever been any doubt about
which site is actually mine.

Sorry I can't provide a good blunt instrument to compel miscreants to fall
into line.

Paul




> # whois.publicinterestregistry.org
>
> Domain Name: asondheim.org
> Registry Domain ID: 793f949c39e44eaabb835d920b99eef1-LROR
> Registrar WHOIS Server: http://whois.wildwestdomains.com
> Registrar URL: http://whois.wildwestdomains.com
> Updated Date: 2023-06-20T17:12:15Z
> Creation Date: 2002-09-28T17:58:20Z
> Registry Expiry Date: 2024-09-28T17:59:31Z
> Registrar: Wild West Domains, LLC
> Registrar IANA ID: 440
> Registrar Abuse Contact Email: ab...@wildwestdomains.com
> Registrar Abuse Contact Phone: +1.4806242505
> Domain Status: clientDeleteProhibited
> https://icann.org/epp#clientDeleteProhibited
> Domain Status: clientRenewProhibited
> https://icann.org/epp#clientRenewProhibited
> Domain Status: clientTransferProhibited
> https://icann.org/epp#clientTransferProhibited
> Domain Status: clientUpdateProhibited
> https://icann.org/epp#clientUpdateProhibited
> Registry Registrant ID: REDACTED FOR PRIVACY
> Registrant Name: REDACTED FOR PRIVACY
> Registrant Organization: Domains By Proxy, LLC
> Registrant Street: REDACTED FOR PRIVACY
> Registrant City: REDACTED FOR PRIVACY
> Registrant State/Province: Arizona
> Registrant Postal Code: REDACTED FOR PRIVACY
> Registrant Country: US
> Registrant Phone: REDACTED FOR PRIVACY
> Registrant Phone Ext: REDACTED FOR PRIVACY
> Registrant Fax: REDACTED FOR PRIVACY
> Registrant Fax Ext: REDACTED FOR PRIVACY
> Registrant Email: Please query the RDDS service of the Registrar of Record
> identified in this output for information on how to contact the Registrant,
> Admin, or Tech contact of the queried domain name.
> Registry Admin ID: REDACTED FOR PRIVACY
> Admin Name: REDACTED FOR PRIVACY
> Admin Organization: REDACTED FOR PRIVACY
> Admin Street: REDACTED FOR PRIVACY
> Admin City: REDACTED FOR PRIVACY
> Admin State/Province: REDACTED FOR PRIVACY
> Admin Postal Code: REDACTED FOR PRIVACY
> Admin Country: REDACTED FOR PRIVACY
> Admin Phone: REDACTED FOR PRIVACY
> Admin Phone Ext: REDACTED FOR PRIVACY
> Admin Fax: REDACTED FOR PRIVACY
> Admin Fax Ext: REDACTED FOR PRIVACY
> Admin Email: Please query the RDDS service of the Registrar of Record
> identified in this output for information on how to contact the Registrant,
> Admin, or Tech contact of the queried domain name.
> Registry Tech ID: REDACTED FOR PRIVACY
> Tech Name: REDACTED FOR PRIVACY
> Tech Organization: REDACTED FOR PRIVACY
> Tech Street: REDACTED FOR PRIVACY
> Tech City: REDACTED FOR PRIVACY
> Tech State/Province: REDACTED FOR PRIVACY
> Tech Postal Code: REDACTED FOR PRIVACY
> Tech Country: REDACTED FOR PRIVACY
> Tech Phone: REDACTED FOR PRIVACY
> Tech Phone Ext: REDACTED FOR PRIVACY
> Tech Fax: REDACTED FOR PRIVACY
> Tech Fax Ext: REDACTED FOR PRIVACY
> Tech Email: Please query the RDDS service of the Registrar of Record
> identified in this output for information on how to contact the Registrant,
> Admin, or Tech contact of the queried domain name.
> Name Server: ns-1291.awsdns-33.org
> Name Server: ns-1709.awsdns-21.co.uk
> Name Server: ns-211.awsdns-26.com
> Name Server: ns-762.awsdns-31.net
> DNSSEC: unsigned
> URL of the ICANN Whois Inaccuracy Complaint Form:
> https://www.icann.org/wicf/
> >>> Last update of WHOIS database: 2023-11-24T22:57:42Z <<<
>



On Fri, Nov 24, 2023 at 4:52 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Hi - I'm writing to ask if you could help or recommend anything - years
> ago my domain asondheim.org was bought out from under me by someone in
> Australia who offered to sell it back for a high price. I opened up
> alansondheim.org and have been using that ever since. Last night by
> accident I went to asondheim.org and found identity theft and I don't
> know
> what to do about it - he's taken my name, my work, and turned it into
> something about health industry that has to be a scam. If you have any
> idea what to do or could do something at your end it would be greatly
> greatly appreciated. I'm obviously distraught, I feel seriously violated.
> I don't know where to turn since I'm no longer university affiliated of
> course and haven't been for a while. Please let me know what you think -
> do I have to live with this?
>
> Thank you so much - you can forward this to others if you think that
> would help. Please 

Re: [NetBehaviour] Work Flow

[Paul Hertz via NetBehaviour]

HI Alan,

I'm working on a series of images made from this text:
https://flic.kr/s/aHBqjB1Pd6

I plan to use the images and a recording of the text with software I'm
developing that treats images as audio / audio as images, improvising a
performance. I hope to post a draft of the work later today, but meanwhile
here are some examples from the software:

https://vimeo.com/880588242
https://vimeo.com/880588273

I'd be open to ways of performing with the software as one instrument among
others.

best,

Paul




On Thu, Nov 2, 2023 at 10:17 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> I can maybe maybe do something with these re: the tools I have and/or
> perhaps Kirill wd also be interested, we collaborate, let me know if this
> is of interest to you -
>
> - Alan
>
> On Thu, Nov 2, 2023 at 11:08 AM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> DEAD
>>
>> BODY
>>
>> WORK
>>
>> FLOW
>>
>>
>>
>> KILL
>>
>> ZONE
>>
>> BOMB
>>
>> SHOW
>>
>>
>>
>> FIRE
>>
>> BURN
>>
>> BONE
>>
>> CAGE
>>
>>
>>
>> KNOW
>>
>> PAIN
>>
>> FEEL
>>
>> RAGE
>>
>>
>>
>> EVIL
>>
>> TIME
>>
>> HOPE
>>
>> SLAY
>>
>>
>>
>> BUSY
>>
>> WORD
>>
>> GAME
>>
>> PLAY
>>
>>
>>
>> Chicago, 2023
>>
>>
>>
>> Words for further elaboration with software.
>>
>>
>> // Paul
>>
>> --
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>
>
> --
> *=*
>
> *directory http://www.alansondheim.org <http://www.alansondheim.org> tel
> 347-383-8552**email sondheim ut panix.com <http://panix.com>, sondheim ut
> gmail.com <http://gmail.com>*
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[NetBehaviour] Work Flow

[Paul Hertz via NetBehaviour]

DEAD

BODY

WORK

FLOW



KILL

ZONE

BOMB

SHOW



FIRE

BURN

BONE

CAGE



KNOW

PAIN

FEEL

RAGE



EVIL

TIME

HOPE

SLAY



BUSY

WORD

GAME

PLAY



Chicago, 2023



Words for further elaboration with software.


// Paul

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Re: [NetBehaviour] Attestation: Thinking the Period of Inser(r)sections

[Paul Hertz via NetBehaviour]

Alan,

I should have qualified my words with this: the hysteria I perceive is
here, in the U.S., and most particularly in pronouncements on the order of
"calls for ceasefire" being irreparably naive at best, and more likely a
form of betrayal. In the "political opinion" media denying all complexity
to the situation, branding anyone who suggests that Gaza is an open air
prison (and this was always a metaphor) or that Israel bears responsibility
for its situation as somehow complicit with Hamas, because they do not
accept the hard line rhetoric. This is what war does, denying all nuance,
shutting down differing points of view, quashing the imagination.

In Israel, from what little I understand from friends who have lived there
or still live there, there is no disentangling of all the emotions or
rationales. People adapt, and that perhaps is tragic, that we adapt. I have
for years been a member of J-Street, and imagine the mix of reporting from
them offers a window into the difficulties that those who earnestly pursue
peace must experience.

I acknowledge the anguish of my friends, and indeed of everyone caught up
in this seemingly endless conflict.

stay well,

Paul




On Wed, Oct 11, 2023 at 11:35 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Paul,
>
> Ironically, I subscribe to the Nation. The difference I think, which I
> emphasize (although I'm not writing a theoretical discourse, I don't have
> one), is that 9/11 was a clarity, almost a clarification; the current
> situation in Gaza/Hamas/Israel is much messier, a history which bleeds,
> which has never been containable (when I was in Israel in 1960 or so, our
> boat on the Galil was shot at by Syrians from a distance which rendered the
> shooting useless), which is blurred and potentially violent (elsewhere I've
> written about an Arab friend of ours in 1962 or 63, when he took us to
> Nazareth as a kindness, and disappeared in a violent situation) -- this
> 'pumping up beyond hysteria' in a sense I think is almost the opposite,
> something that was simmering for decades, that was always already
> incontrovertible, that portends/ed inconceivable tragedy, and so forth. I
> saw this, had a letter published in the Jerusalem Post at that time about
> this.. I never felt anything about the hysteria, it was always or never
> pumped up, it was always already there (I was living in the  Hebrew
> University dorms, my roommate was an Israeli spy, when something occurred -
> a house being blown up in the distance, I asked him what was going on, he
> said Where, I pointed to the house in question, he said Where, there's
> nothing there, and so forth, and in a dark sense what's occurring now
> almost has to have occurred, it was always there (as far as I could tell,
> as far as I can tell)). The cutting off of essentials in Gaza is horrible,
> the massacres are horrible, the rockets are horrible, the hatreds have been
> increasing - Netanyahu/Trump, Netanyahu and anyone, his continuing
> provocations (re for example El Aksa Mosque), I have always expected
> better. Fwiw, my mother was VP of International Hadassah and made
> diplomatic trips to Russia, to Egypt, all through Israel, arguing for peace
> all the way back (met with Sadat's wife, Israeli Prime Ministers I believe
> as well, Refusniks, etc., I have her documents here), and nothing came of
> it. Hatred is everywhere and everyone is reaping the results. The liberal
> Judaism in NYC for example, seemed to have disappeared when I lived there;
> Brooklyn Jews were migrating to Israel, the Ultra-Orthodox, I could go on
> but  - anyway I feel hopeless about the situation, this was always ready to
> explode and explode it has, and it's inconceivably tragic for everyone, as
> I said above, the fury a long time coming... My god (not literally),
> Netanyahu and the far Israeli right, a marriage made in hell, dragging
> everything down with it, fertile ground for Hamas... I have no answers, I
> see no answers (a highschool friend of mine btw is a career diplomat who
> has been dealing with the situation for real, not like my bull), what's
> happening in a way is a 'pure or impure occurrence' that will play out. and
> out and out in violence and brutality beyond exhaustion. Apologies for the
> length of the reply, and I may well be wrong here of course, or on the
> wrong track. - I'm far too distraught over all of this, the Nation
> notwithstanding -
>
> Best, Alan
>
> On Wed, Oct 11, 2023 at 10:14 PM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> Reading your text on NetBehaviour ++ wondering at 'absolute terror on
>> both sides' yes but also the locking out of consideration that it could be
>> otherwise, the contrasting of opinions t

Re: [NetBehaviour] Attestation: Thinking the Period of Inser(r)sections

[Paul Hertz via NetBehaviour]

Reading your text on NetBehaviour ++ wondering at 'absolute terror on both
sides' yes but also the locking out of consideration that it could be
otherwise, the contrasting of opinions theirs and ours, supposedly, pumped
up beyond hysteria. Remembering what a calamity the reaction to the attack
on the WTC brought.

https://www.thenation.com/article/world/israel-us-911-lessons/



On Wed, Oct 11, 2023, 5:35 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Attestation: Thinking the Period of Inser(r)sections
>
> mung: http://www.alansondheim.org/mung.jpg
>
> I'm sitting here wondering whether this is This were a moment to
> take or to pause and to look at what's going on around us I
> wonder how far we would get and thinking through what is
> occurring elsewhere in the world and who's at fault going to
> take or not. Take it doesn't seem it's going to take it all. It
> doesn't look like voice. does seem to take into And how does one
> assign fault how can fault be assigned when what is occurring is
> absolute terror absolute annihilation on all sides . It is not a
> question at this point about who is to blame, it is a question
> of what can be done so that people can live in peace everywhere
> at least for a little bit of the time we have left.  account
> everything that I'm writing and how I'm writing. It period when
> I'm worried about is the way that I am having gaps. Excuse me,
> excuse me, excuse me, excuse me. Excuse me, the way I'm having
> gaps in the day that I cannot account for period The gap was
> usually just a few seconds or a minute. But I'm wondering if
> this has to do with the decay of plaques I am a selfish person,
> I am an inconceivably selfish person I don't know how to respond
> and I want to do something that would make a difference. But all
> I can do is defer that making a difference. Going back to some
> antiquated version of deconstruction that no longer holds
> anywhere at all.  or the presence of plax in my brain, which is
> something that has never occurred before, but might be the
> result of COVID period. I'm searching for answers and I have a
> great deal of fear period part of this is due to the conflict
> now going on It's no longer what can be done or what is there to
> do but it is what can be transmitted and what can be received.
> How we can transmit or receive anything in this situation which
> is occluded by so many violent and the absolute ideologies
> everywhere.  in the Middle East which I cannot get my head
> around. There are too many elements in it too many things that I
> believe in too many people that I believe in one way or another
> and they all are in conflict with each other. Are they or are
> they not. The mind is attempts to deal with these sorts of
> contradictions and is falling far short of it period I have
> friends everywhere, and Violent ideologies everywhere when the
> temperature is rising across the entire planet when refugees are
> becoming streams and rivers from one or another country to
> another country or dispersions everywhere. What can be done when
> populations are going beyond the carrying capacity of local
> communities of governments of the world as a whole period what
> can be done when for example annihilation is always already to
> the limit.  this kind of thing is destructive period it doesn't
> take much for the mind to destroy the mind period. I wonder if
> I'm lying to myself. I'm not just forced to alling yet another
> piece of music or another ragged video tape that I would do
> period I find my mind is extraordinarily CLEAR in terms of
> philosophical Questions to the extent that I've ever been able
> to inhabit those realms PERIOD but now things seem Different
> PERIOD Now things seem as It's as if nothing can be done not
> that there is nothing to be done but nothing can be done. We are
> surrounded by the brackets in our lives that we ourselves have
> created. We are surrounded by occlusions by travesties by
> railroad tracks going nowhere. We are living in the midst of the
> debris of that civilization which we alone have created we are
> living in the midst in other words of our own debris it's just
> that our own debris.  if none of that matters anymore period but
> I do know it matters period I know I'll go on period I will go
> on by Golly. I will go on period I will go on forever period!!!
> I will sign out now leave you with the ruins. The ruins of
> our culture and what can be said and what can't be said. What
> can be said is what I said decades and decades ago and I attest
> to now ;: annihilation to the limit. That is what there is
> that's what can be said until the limit is reached and we are
> already surpassing our own expectations in that regard.  Thank
> you period.  Tap to Pause. Subjunctive.
>
> __
>
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> 

Re: [NetBehaviour] Zen Koan from Master GPT

[Paul Hertz via NetBehaviour]

I especially like the last line, NetworkError when attempting to fetch
resource.

Though I cannot fathom its meaning.


On Tue, Sep 26, 2023, 7:51 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Zen Koan from Master GPT
>
> http://www.alansondheim.org/CHATGPTZendo.jpg
>
> I understand these and have passed these. But can you, as a Zen
> Master, create five Zen koans of your own?
> ChatGPT
>
> Certainly, I can provide you with five original Zen-inspired
> koans:
>
>  The Whispering Wind: If you listen closely to the whispers
> of the wind, can you discern the secrets of the universe, or do
> they slip through your fingers like grains of sand?
>
>  The Mirror's Silence: In the reflection of a still pond, the
> world is mirrored without a ripple. When you look in the mirror
> of your mind, what stirs the waters, and what remains
> undisturbed?
>
>  The Ungraspable Flame: Can you catch the flame of a candle
> in your hand without extinguishing it? Similarly, can you grasp
> the nature of reality without altering it?
>
>  The Footprints in the Mist: As you walk through the mist,
> your footprints appear and disappear. What remains when the mist
> clears, and what vanishes with the passing of each step?
>
>  The Echo in the Cave: In the depths of a quiet cave, your
> voice returns to you. Is enlightenment like the echo, always
> there but hidden until you speak the truth of your own
> existence?
>
> These koans are meant to challenge your thinking and invite you
> to explore the nature of reality and your own consciousness.
> Like traditional Zen koans, they encourage deep contemplation
> and direct experience rather than seeking conceptual answers.
>
> User
>
> Thank you, Master.
>
> ChatGPT
> !
> NetworkError when attempting to fetch resource.
>
>
> __
>
> ___
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>
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[NetBehaviour] The difference between a stove (ChatGPT)

[Paul Hertz via NetBehaviour]

*What is the difference between a stove?*

The term "stove" can refer to different types of cooking appliances, so the
differences between them depend on the specific types being compared. Here
are some common types of stoves and their differences:

1. Gas Stove: This type of stove uses natural gas or liquefied petroleum
gas (LPG) as a fuel source. It typically has burners on the top surface
where you can place pots and pans for cooking. Gas stoves provide instant
heat and precise temperature control.

2. Electric Stove: An electric stove, also known as an electric range, uses
electricity as its power source. It usually consists of electric heating
elements on the top surface. Electric stoves heat up more slowly than gas
stoves but offer consistent heating and are easier to clean.

3. Induction Stove: Induction stoves use electromagnetic fields to directly
heat the cookware placed on the stove. They require special
induction-compatible cookware that responds to the magnetic field.
Induction stoves heat up quickly, provide precise temperature control, and
are generally more energy-efficient than gas or electric stoves.

4. Wood-Burning Stove: This type of stove is fueled by burning wood or
other biomass materials. Wood-burning stoves are often used for heating and
cooking in areas without access to gas or electricity. They produce a cozy,
traditional ambiance and can provide efficient heating, but require a
chimney or vent for proper ventilation.

5. Pellet Stove: Pellet stoves use small compressed wood or biomass pellets
as fuel. They are automated and often have an electric-powered mechanism
for feeding the pellets into a combustion chamber. Pellet stoves are
efficient and offer convenient temperature control.

Each type of stove has its own advantages and considerations, such as fuel
availability, cost, energy efficiency, heat control, and maintenance
requirements. The choice of stove depends on personal preferences,
available resources, and specific needs.

*No, I mean, what is the difference between a particular stove and the same
stove?*

I apologize for the confusion. To accurately address the differences
between a particular stove and the same stove, I would need more specific
information about the stove you are referring to. Stoves can have various
features, functionalities, and models, so it's important to provide more
details or specify the aspects you would like to compare.

*Allow me to explain. Suppose that the specific stove is characterized by
such features as: the heat it produces is hot, the surfaces of it support
pots and pans, its situation in space is precisely at the point where it
is, and it is otherwise so like itself as to be the same stove as its
particular self. What is the difference between such a stove?*

Based on your description, it seems that you are referring to a specific
stove with certain features and characteristics. However, you mentioned
that the stove is "so like itself as to be the same stove as its particular
self." In that case, if we are comparing the stove to itself, there would
be no inherent difference between the stove and itself because they are the
same entity.

When comparing something to itself, the result is typically that there are
no differences since it is the exact same object or entity being compared.
Thus, if we compare the stove to itself, we would conclude that there is no
difference between the stove and itself based on the information provided.

If you have any additional context or specific aspects you would like to
discuss or compare about this particular stove, please provide more
details, and I'll be happy to assist you further.

*Suppose the stove belongs to Heraclitus, the Greek philosopher. Would it
still be the same stove?*

The question of identity and whether an object remains the same over time
is a philosophical concept that has been debated by thinkers throughout
history. One notable philosophical concept related to this is Heraclitus'
idea of "panta rhei," which suggests that everything is constantly changing.

In the case of the stove belonging to Heraclitus, if we consider his
philosophical perspective, he might argue that the stove is not the same
over time. According to Heraclitus, everything is in a constant state of
flux, and nothing remains static. Therefore, the stove would be subject to
change and would not be considered the same stove as time passes.

Heraclitus famously stated, "No man ever steps in the same river twice, for
it's not the same river and he's not the same man." This perspective
suggests that everything is in a constant state of transformation, and no
object or individual remains the same.

>From this philosophical standpoint, if we apply it to the stove, it would
not be considered the same stove over time. However, it's worth noting that
different philosophical perspectives may lead to different interpretations,
and the notion of identity can be approached from various angles.

// Paul


-- 
-   

[NetBehaviour] GlitChicago catalog is back online

[Paul Hertz via NetBehaviour]

GlitChicago was a gallery show of some 22 exhibiting artists plus a night
of performances and a community discussion at the Ukrainian Institute of
Modern Art in Chicago in 2014.

The catalog has been down for some years, but is back up at
https://paulhertz.net/glitchicago/.

We thought maybe a gallery show would kill glitch off, but no, the monster
will not die. Long live the monster!

// Paul


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Re: [NetBehaviour] Campos | Temporales Video

[Paul Hertz via NetBehaviour]

Fractal math has fascinated me at the same time that I've tried to keep my
distance from fractal psychedelia. I think it's great that people are
exploring the forms that can arise from various fractal processes -- the
Mandelbrot set, Julia sets, and other attractors -- but I also see in them
a kind of facile aesthetic, on the order of trusting in the Golden Mean or
the Fibonacci series to provide some sort of inherent cognitive stimulus so
that the viewer is [r|c]aptured. Nevertheless, I find myself working with
them and with the Fibonacci series, though always with my own software.

I haven't read Wolframs' book, so I am only aware of its arguments through
reviews and essays I read some time ago. FWIW, the notion that nature is
computational, that Turing machines abound in natural processes strikes me
as both wonderful and vexed. Wonderful, because it has a potential
explanatory power, and vexed because it is the latest example of human
beings adopting the most recent transformative technology as a paradigm for
the universe. Clockwork is so 19th century. The Great Chain of Being is
clanky. *Logos* has already been spoken for. The notion that the world "is"
fractal or "is" a process of cellular automata or "is" recursive and
emergent brings us right back to the philosophical arguments over
nominalism and realism in mathematics. The explanatory power of
mathematics, or the ingenuity of emergent computational models isn't the
question -- rather, I think, the unknowable and the undecidable, the
hidden, the unresolvable and the mysterious are not just
phantoms that knowledge will dispel, all in good time, but a feature of the
same universe whose order we glimpse through our instruments and our formal
languages, but which in some fundamental sense we cannot know. So I guess I
am a nominalist, and I see the limits of description as inherent in both
the instrument and in its apparent objective.

Glad you like the work. It's a kind of meditation, I think, looking back at
it now that it is free floating.

as ever,

Paul


On Thu, Aug 31, 2023 at 10:30 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Paul,
>
> I'm curious about your relationship to fractal explorations and things
> such as Wolfram's A New Kind of Science? I made a number of pieces studying
> fractal properties; whatever aesthetic value they had would have been in
> the math perhaps?
>
> Thanks!, Alan, and absolutely beautiful work of course! --
>
> On Thu, Aug 31, 2023 at 12:07 AM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> Continuing...
>>
>> I trace the kind of work that I am doing back to various historical
>> practices. There's the whole tradition of "visual music" including various
>> color organs created in Europe, with a great many showing up in the first
>> half of the 20th century as technology offered solutions. Many of these
>> were intended for churches, concert halls, or dedicated architectural
>> spaces, since they often required fairly massive installations of lights
>> and equipment. One of the very first electronic instruments, Thaddeus
>> Cahill's telharmonium, was offered over wires as a musical service to high
>> end restaurants in  New York City, so I guess you could say that the
>> architectural presence of electronic music goes way back. The visual
>> counterpart of the voltages generated by massive magnetic coils was a
>> "singing" carbon arc lamp that produced both sound and light. And then
>> there are all the 60s light shows I was exposed to, for concert venues of
>> various sorts.
>>
>> Intimate visual music might be the exception, until video appeared. Most
>> visual music works in the 20th century were intended for theatrical venues
>> (Oscar Fishinger, Mary Ellen Bute, John Whitney, etc.). There were some
>> small boxes designed by Nicolas Schöffer in the 1970s (ISTR) that were
>> intended for visual education in small classrooms. UNESCO took an interest
>> in these, though I don't know where they were ever presented to students.
>> Thomas Wilfred's lumia are also intimate, though best viewed in an
>> architectural space. I saw Schöffer's boxes at his studio in Paris, thanks
>> to the generosity of Eleonore Schöffer. I've never seen lumia in person.
>>
>> Intermedia is the other wing that keeps me flying. Fluxus, of course, but
>> also the poetics of Baudelaire, Rimbaud, and Mallarmé. Math and metaphor
>> mediate my madness.
>>
>> 150 Media Stream's "video blades" are up to 3 meters high. The pixels are
>> 1/3 cm on a side, so I addressed each and every pixel as an entity in my
>> code.
>>
>> cheers,
>>
>> Paul
>

Re: [NetBehaviour] Campos | Temporales Video

[Paul Hertz via NetBehaviour]

op 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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>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>
>> ___
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>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
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> http://paulhertz.net/
>


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Re: [NetBehaviour] Campos | Temporales Video

[Paul Hertz via NetBehaviour]

Hi Johannes,

Thanks, glad you enjoyed the work.

The composer and I followed a fairly systematic plan of collaboration.
Before we began work, we determined a number of forms and processes that
could work in both visual and musical domains. We also considered that
decisions about coordinating music and image would fall on a spectrum from
independent (forms juxtaposed but with no common features or timing),
intersected (some features shared, others free to vary), to complementary
(fairly strict correspondence of a select number of properties in the music
and the animation). Most of the time there are intersecting processes
occurring, but rarely producing coincidental events. A rhythm in the music
might be generated by exactly the same algorithm as patterns in space.
Sometimes we had the same frequency of signal producing patterns as
producing sound. Other times, I had rhythmic visual events that I knew to
be generated by the same process as the musical events, but with somewhat
different parameters, so that events would both coincide and diverge. At
other times, the musical and visual events might be related more by
metaphor than by structure -- the density of events might run parallel, or
might diverge, with the visuals nearly empty while the music rushes on.

Generally, the compositional techniques are not meant to be noticed. They
are the scaffolding of our decisions, that we take away to reveal the work.

Because the architectural space is an office building and because we had to
run the animation and music as a loop, there was just ambient electronic
music to accompany the animation on site. The ending was rather muted, even
for the performances with the musicians (we were fortunate to have two
performances and a studio recording). To make it more emphatic, I used
large colorful shapes at the end, considering the final 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:/

[NetBehaviour] Campos | Temporales Video

[Paul Hertz via NetBehaviour]

 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



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Re: [NetBehaviour] Covid

[Paul Hertz via NetBehaviour]

So sorry to hear this. This virus is no fun. Propagated by the Church of No
Fun, most likely. I wish you all speedy recovery.

// Paul


On Thu, Aug 24, 2023 at 8:43 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Covid
>
> http://www.alansondheim.org/crossroads.jpg
>
> Azure's aunt arrived from Utah about a week ago. After that, all
> three of us have caught covid; it seems to be somewhat severe.
> It's odd because we had just about forgotten covid; all of us
> received five vaccines and boosters. I will have to lay low for
> a while in terms of my commitments online; it's hard to focus. I
> have all the classic symptoms except for loss of taste and
> smell. Some of the appointments I've made for Zoom and collabor-
> ation will have to be postponed. I do apologize for this; I'm
> oddly furious with myself, but this of course is what life often
> is. I'll be back as soon as I can, and will keep you updated.
> Azure's already in a recovery mode, we hope for the best for her
> aunt and myself.
>
> Please get in touch with me for rescheduling anything.
>
> Thanks greatly,
>
> Alan
>
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Re: [NetBehaviour] New work: Deep Hysteria! (and a B Side... "I asked AI to fix the world")

[Paul Hertz via NetBehaviour]

Bias in a classifier AI functions somewhat like glitch in a media encoding
system: until someone hits the configuration that reveals it, we don't see
it. The bias in reading emotional states is compelling, but what also gets
my attention in these images is the determination of gender. Just what is
that flags a face as male or female, for an AI, and by extension, for a
culture of images? And by extension, what are the cultural determinants
that require individuals to differentiate their appearance, or face
consequences for not doing so?

Provocative work.

// Paul


On Fri, May 5, 2023 at 2:18 AM Amy Alexander  wrote:

> Tickled to announce my still image work, Deep Hysteria!
> "AI" meets human gender perceptions.
> https://amy-alexander.com/projects/deep-hysteria/
> (More at: https://medium.com/@amyjalexander/deep-hysteria-46ff1650f502  )
> Currently exhibiting online, soon to be available in print form for
> museums, galleries, and other repositories of vertical surfaces!
>
> Also the B-Side: "I asked AI to fix the world"
> https://medium.com/@amyjalexander/i-asked-an-ai-for-c24e3cab856a
>
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Re: [NetBehaviour] Disaggregate Flocking?

[Paul Hertz via NetBehaviour]

For sure the behaviors of actual birds are far more complex than those of
boids. Similarly, L-systems model the growth of plant forms, but they truly
do not capture the way growth happens in plants.

Nevertheless, the simple models give rise to complexity, and their dynamics
might model something like a catastrophe inflection point. Some of the
sudden shifts you mention seem to me like a parameter of flocking behavior
suddenly changing value. I.e., coherence is suddenly greatly reduced,
large-scale flocking is absent, there's some local alignment, and above all
birds try to keep their distance ... as though failure to keep distance
precipitated the sudden drop in coherence? But that would be an image
within a simulation, not really an explanation of the dynamics of
food/mating/crowding, etc.

// Paul


On Sat, May 6, 2023 at 2:54 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Paul!
>
> These are absolutely beautiful! I've been familiar with boyds for a long
> time and refreshed my memory before I did the piece. I don't have the
> skills to implement the work, but what I was interested in was probably
> closer to catastrophe theory (or what's left of catastrophe theory?). The
> aggregates were rougher; the cormorants played a role, and what was
> interesting was the sudden ragged shifts - all the gulls in one section
> between bridges took off, then a few seconds later, the next section etc.
> Or part of a section. But the pattern always appeared chaotic, not like
> wheeling pigeons or starlings for example. I was interested in what the
> birds were doing - they often dropped out and the patterning was often
> indiscernible, as were the flock boundaries - to the extent that it was
> unclear if there was flocking at all, just birds in the air over an area.
> So I wonder whether they're not reacting to a different form of coordinate
> system. The cormorants by the way do flock in a traditional pattern, but
> the gulls seemed more like Mandlebrot's percolations...
>
> The menhaden migration - literally billions of small fish, many of which
> die for lack of oxygen and coat the shoreline - was larger than usual
> because of the dredging. So the birds were coming in "from all over,"
> enough to make newspaper articles. And the gulls were "forced" into
> aggregates because the river system is narrow. There was enormous
> squabbling over water territory (i.e. the water surface occupied by a
> gull). It was strange as gulls and other birds also tried to flee at times;
> this was going on for at least a half mile out into the bay. I'm not sure
> the boyds model applies here since the crowding and jostling was largely
> incoherent, the closer the gulls got to the surface. I think a second
> interruption was mating rituals, since that seemed to be going on as well.
> The birds were on edge, I think, not used to this kind of crowding - a
> short interval in the video shows a serious fight between two starlings, in
> which one was almost killed (and was wounded); that's the first time we've
> seen that here before. A lot of the time we couldn't figure out what was
> going on. -
>
> I remember the game of Life of course, and "animals" in turbulence (static
> formations in moving water, but the term might be outmoded now).
>
> Your images and videos are amazing!
>
> Best, Alan, and thank you!
>
> On Sat, May 6, 2023 at 5:43 AM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> I think some of my flocking images might interest you, as might the code
>> behind them. I implemented Craig Reynolds' Boids Algorithm building on code
>> by Daniel Shiffman. I wanted to use the simulated flocks for drawing, not
>> unlike your multiple image bird paths.
>>
>> Flocking and steering algorithms commonly use 3 or more parameters.
>> Separation, alignment, and cohesion are the principal ones, to which
>> field-of-view and other variables may be added. Separation refers to the
>> minimum distance between boids, alignment is the tendency to face the same
>> direction, cohesion is the distance over which flock cohere, and
>> field-of-view is the forward-facing angle within which boids "see" other
>> boids. Field-of-view can give rise to V-formations, so it's an interesting
>> addition. I didn't use it in my implementation.
>>
>> Tweaking the variables (and their variability) can give you vastly
>> different behaviors, Boids with low cohesion distance and large alignment
>> distance have trouble flocking, for instance. They make very tangled paths
>> and never form a cloud of boids moving in the same direction. Much of the
>> variation you're suggesting could happen w

Re: [NetBehaviour] Disaggregate Flocking?

[Paul Hertz via NetBehaviour]

I think some of my flocking images might interest you, as might the code
behind them. I implemented Craig Reynolds' Boids Algorithm building on code
by Daniel Shiffman. I wanted to use the simulated flocks for drawing, not
unlike your multiple image bird paths.

Flocking and steering algorithms commonly use 3 or more parameters.
Separation, alignment, and cohesion are the principal ones, to which
field-of-view and other variables may be added. Separation refers to the
minimum distance between boids, alignment is the tendency to face the same
direction, cohesion is the distance over which flock cohere, and
field-of-view is the forward-facing angle within which boids "see" other
boids. Field-of-view can give rise to V-formations, so it's an interesting
addition. I didn't use it in my implementation.

Tweaking the variables (and their variability) can give you vastly
different behaviors, Boids with low cohesion distance and large alignment
distance have trouble flocking, for instance. They make very tangled paths
and never form a cloud of boids moving in the same direction. Much of the
variation you're suggesting could happen within a simulation, just by
varying the parameters.

Here's a selection from the first series I created:
https://flic.kr/s/aHsjzxxd6B. "Land Lines" is an homage to Colette and Jeff
Bangert, pioneers of algorithmic art.
A later series, https://flic.kr/s/aHskAU7qF2, used video tracking to move
the boids. The code allows you to wave your hands to move the boids, or you
can point the camera at traffic, to capture the flow, or whatever. I
installed it in a gallery pointing at foot traffic in the Chicago loop back
in 2016. Here's an example: https://vimeo.com/42786680.

The code for the version with video tracking still works on my new MacBook,
so it might be worth a try: https://github.com/Ignotus-mago/Flocking. If
you want to try it out, I can help you with the installation.

// Paul







The first series

On Fri, May 5, 2023 at 5:14 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> (might be useful re: Finsbury Park?)
>
> Disaggregate Flocking?
>
> https://youtu.be/R-J_KZI3dvY video
>
> Rather than swarming or flocking behavior, I'd like to call what
> I see in these images aggregate behavior or disaggregate
> behavior - what I mean is that the behavior is largely random
> that the gatherings are very crude and so very loosely bound
> that they fall apart constantly; they are "somewhat" incoherent.
> I wonder if instead of an overall flocking behavior algorithm
> algorithm one might consider or one might think about the
> possibilities of local geodesics that each bird follows that
> would have some relationship to avoidance behavior and to
> coagulation behavior but at the same time would not call this
> one way another into an overall shape such as you get with a
> murmuration or migration flocks . These things are much more
> loosely bound if they're bound at all with the goals in the
> images when you look at the time lapse material. When you look
> at the time lapse material you can see that they're much more
> individually moving then usually would be found In flocking
> behavior. If anything they're much more loosely bound by the
> external circumstances of the edges of the water body or bodies
> . But the movement seems to be slightly circular and that might
> be the result of flight patterns that are necessary to catch the
> air and move properly in relationship to the other birds to the
> neighbors but it might also be almost random and simply based on
> avoidive behavior and looking for geodesics not quite stop that.
> [that is, aggregative behavior within circumstances dictated by
> neighborhood features such as trees, pools, rivers.] Not looking
> for geodesics but as if they were following highly localized
> coordinates of some sort. I'm dictating this, which is another
> sort of flock behavior in the sense that the words are being put
> together with some kind of semantic continuity that the machine
> is interpreting. But at the same time there are withdrawals and
> things are much looser then that. In this sense the text itself
> is a kind of aggregate that veers off in one way or another.
> What was most amazing was when all of the all of the gulls took
> off simultaneously or roughly simultaneously not in a wave not
> even in a loose flock but from the bridge to the place where I
> was making the recording. More than that, there's a series of
> bridges and a farther bridge which is difficult to see in the
> video they also took off at the same time there must have been
> at least 1000 birds in the river between the two bridges and to
> further bridges that were even beyond those two. I'm fascinated
> by this and have spent a considerable amount of time trying to
> figure out what's going on. Ironically it's a lot easier, easier
> to figure out with the murmuration or sandhill cranes for
> example or migration in V shape patterns in 

Re: [NetBehaviour] toegristle #381

[Paul Hertz via NetBehaviour]

One of the day's small pleasures, thank you.

On Sat, Feb 25, 2023 at 8:02 PM Corey Eiseman  wrote:

> Perpetual Canvas No.381
> https://toegristle.com/?id=381
>
>
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[NetBehaviour] Ignotus the Mage reads the present

[Paul Hertz via NetBehaviour]

The present to which I refer is already some hours past, but FWIW (not
much), I refer you to:

https://assemblag.es/@Ignotus_Mago/109621480675424897

best wishes for the new ears,

Paul


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Re: [NetBehaviour] Ancient movement form with today's tech

[Paul Hertz via NetBehaviour]

Wonderful performance! Puts me in mind of Laetitia Sonami, who studied with
David Behrman.

¡Feliz año nuevo!
-- Paul


On Sat, Dec 31, 2022 at 2:21 AM Daniele Minns via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Long slow creative journey driven by a fascination with combining an
> ancient movement form with modern tech, in-the-moment improvised; thinking
> there could be a cosmic resonance, even meaning in it. After some fails
> there was a landmark performance last month at Live Art Ireland, in County
> Tipperary. By landmark, I mean the tech worked. Early stage project using
> IMU3 sensors on wrists and ankles with Glover and Ableton software plus a
> combination of traditional Malay and Indonesian Silat martial arts.
>
> https://vimeo.com/780807559
>
>
> HAPPY NEW YEAR!
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[NetBehaviour] Melancholy chemistry vagabond

[Paul Hertz via NetBehaviour]

Grim but for a ray of hope, my sci-fi offering for the holidays (or not),
please consult:

https://assemblag.es/@Ignotus_Mago/109571374095824115

May the stubborn human spirit keep you warm and connected,

Paul


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Re: [NetBehaviour] Mastodon

[Paul Hertz via NetBehaviour]

Now on Mastodon as

@ignotus_m...@assemblag.es

and adjusting everything in slow motion.

// Paul


On Sun, Nov 6, 2022 at 7:21 AM marc.garrett via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> I have a new account on Mastodon, which I'm still figuring out. Like all
> new website visitors, you need to build connections we have or had on
> Twitter and other platforms. Let's rebuild it all before it's all
> completely ruined by the right-wing privileged - @marcgarr...@mas.to
>
> Please post your Mastodon handle below if you want us to follow each other.
>
>
> Wishing you well
>
> Marc
>
> =>
>
> Dr Marc Garrett. He/Him.
>
> Co-founder of Furtherfield & DECAL Decentralised Arts Lab.
>
> Current book - Frankenstein Reanimated: Creation & Technology in the 21st
> Century. Co-editors Marc Garrett and Yiannis Colakides, 2022.
> https://tinyurl.com/m65jydyn
>
> https://marcgarrett.org/
> Co-founder of Furtherfield
> https://www.furtherfield.org/
> Co-founder of DECAL
> https://decal.furtherfield.org/ 
>
> Sent with Proton Mail  secure email.
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Re: [NetBehaviour] Mastodon

[Paul Hertz via NetBehaviour]

Does anyone have recommendations on what server to apply to for an account?
There's such a proliferation.

// Paul


On Mon, Nov 7, 2022 at 4:35 PM abram stern via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Long time lurker here!
>
> I'm at @ap...@post.lurk.org
> Or @ap...@assemblag.es
>
> On Mon, Nov 7, 2022, 6:42 AM Edward Picot  wrote:
>
>> I can find some of you but not others! I can find Eryk but not Marc,
>> Annie but not Helen... What's that all about? I'm on tooting.ch but it's
>> not supposed to make any difference which server you're on, is it?
>>
>> Edward
>>
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Re: [NetBehaviour] Great news regarding my cancer.

[Paul Hertz via NetBehaviour]

So happy to hear this.

On Fri, Aug 12, 2022 at 2:57 PM Helen Varley Jamieson <
he...@creative-catalyst.com> wrote:

> YAY!!
> On 12.08.22 21:32, Mark Hancock wrote:
>
> So good to hear, Marc.
>
> Much love to you.
> Mark
>
> On Fri, 12 Aug 2022 at 15:10, giselle beiguelman via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> Great news indeed!
>> All my best wishes and good vibes
>> GB
>>
>> On Fri, Aug 12, 2022 at 11:01 AM Kath O'Donnell via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>>
>>> this is great news Marc, what a relief. best wishes
>>>
>>> On Fri, 12 Aug 2022 at 19:32, marc.garrett via NetBehaviour <
>>> netbehaviour@lists.netbehaviour.org> wrote:
>>>
 Hi all,
 OK - Great news! Last week I was told after a PET scan, a type of test
 that creates 3 dimensional (3D) pictures of the inside of your body, that
 there is no longer evidence of cancer in my bones or the nodes in the body.
 This means the cancer treatment worked, and I am now beginning the
 remission phase. I am currently dealing with Lymphedema, which is slowly
 going. I'll be regularly visiting the Hospital for checkups every 2-3
 months for two years, then 6 months three years after that. The thing is, I
 do not have cancer now, and I'm getting over the treatment, which was
 hardcore [image: ]

 Wishing you well

 Marc

 =>

 DR Marc Garrett | Exploring Class in Post-digital Cultures and making
 art real - https://marcgarrett.org/

 Furtherfield | Disrupts & democratises art and technology through
 exhibitions, labs & debate for deep exploration, free tools & open
 thinking. http://www.furtherfield.org

 DECAL | Decentralised Arts Lab is an art, blockchain & web 3.0
 technologies research hub for fairer, more dynamic & connected cultural
 ecologies & economies now - http://decal.is/


 Sent with Proton Mail  secure email.
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>
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>
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Re: [NetBehaviour] Coltrane tribute

[Paul Hertz via NetBehaviour]

Thanks for this!

-- Paul

On Mon, Jul 25, 2022 at 7:46 PM Simon Mclennan via NetBehaviour <
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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Re: [NetBehaviour] Motion Study 78

[Paul Hertz via NetBehaviour]

Glad you like the work, Alan. I'm not sure what QMC refers to. Quantum
Monte Carlo?

Do you have an account on GitHub? The Processing code is there and updated
pretty much daily. It won't be public until I have the development
finished, but I can share it with anyone who has a GitHub account before it
goes public.

At the moment I am doing pretty elementary stuff, as far as wave behaviors
go. The animation basically arises from phase shifting and phase
cancellation. Each of the eight waves in the example on Vimeo controls the
blending of a color. Colors are sometimes selected so that when the waves
that carry them are out of phase, the blend is a neutral gray (i.e., they
are complementary, in the math of RGB). The result is that colors appear
and disappear. Sometimes I am very calculating with each wave and color
(each operator), but I also have code to remix colors, phases, and
frequencies.

There are several next steps: using wavelets instead of waves, using
recorded audio, and creating the next level of animation that interpolates
one state of operators to another state of operators.

cheers,

-- Paul


On Wed, Feb 16, 2022 at 7:26 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Paul,
> This is fantastic, thank you - mesmerizing and I hope you present some of
> the code / mathematics behind this.
> Much appreciated!,
> One question - this resonates with what I've been reading about QMC - is
> there any chance this could be imported and expanded?
> Thanks!, Alan
>
> On Wed, Feb 16, 2022 at 1:17 PM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> Long days working with numbers, code, imagination slowly bring results.
>>
>> The structures in this study may develop into several projects, but most
>> particularly now they are intended for a new intermedia project, a
>> collaboration with a composer that will open in September in Chicago. More
>> news on that as it becomes a work.
>>
>> https://vimeo.com/677922172, best viewed full screen, 2 minutes long.
>>
>> It's a loop, but Vimeo doesn't provide very good facilities for looping.
>> If you are so inclined, download it to view it as a loop. I like to think
>> of this study and similar pieces as ambient works for screens, sometimes
>> changing so imperceptibly that we notice only after looking away and
>> returning.
>>
>> cheers,
>>
>> -- Paul
>>
>>
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>
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>
> *directory http://www.alansondheim.org <http://www.alansondheim.org> tel
> 347-383-8552**email sondheim ut panix.com <http://panix.com>, sondheim ut
> gmail.com <http://gmail.com>*
> *=*
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>


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[NetBehaviour] Motion Study 78

[Paul Hertz via NetBehaviour]

Long days working with numbers, code, imagination slowly bring results.

The structures in this study may develop into several projects, but most
particularly now they are intended for a new intermedia project, a
collaboration with a composer that will open in September in Chicago. More
news on that as it becomes a work.

https://vimeo.com/677922172, best viewed full screen, 2 minutes long.

It's a loop, but Vimeo doesn't provide very good facilities for looping. If
you are so inclined, download it to view it as a loop. I like to think of
this study and similar pieces as ambient works for screens, sometimes
changing so imperceptibly that we notice only after looking away and
returning.

cheers,

-- Paul


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Re: [NetBehaviour] New Work - Virtual Tour - Flying Rat - Santa Monica

[Paul Hertz via NetBehaviour]

Using a VR headset with the Wander app, this was a fun but disorienting
place. The shifts in scale (what size am I, next to a discarded water
bottle that looms gigantic in my field of view, or down at the level of the
pavement or the gallery floor?) and the opportunity of seeing the roof, the
utility spaces, the maintenance spaces place it outside the usual "art
center" tour, molt bé. Hem arribat. Nice work.

Could I ask, what sort of a rig did you use?

// Paul


On Tue, Jan 25, 2022 at 11:11 AM mario santamaria 
wrote:

> Dear all, (apologies for cross-posting)
>
> I would like to share my last project, which consisted in the production
> of the virtual tour for the Santa Monica Art Centre, Barcelona.
> The tour is permanently available online and was made for the reopening
> exhibition of the centre.
> https://artssantamonica.gencat.cat/en/detall/VISITA-VIRTUAL
>
> “The virtual tour that Santamaría designed for the Santa Mònica is a clear
> example of what can happen when we explore our tools beyond the production
> limits attributed to them. This proposal for an architectural voyage not
> only confronts us with the vulnerability of built space but also with the
> forms of habitation used by its non-human residents and the memories
> trapped in the walls, materialised as lost objects. Commenting on the
> numerous virtual tours produced in recent years, and perhaps with a
> critical emphasis on those created during 2020, the artist takes as his
> starting point the notion of the expanded trial, that is, that which does
> not translate literally into the existing space but which seeks, through
> his tools of creation, a perspective that goes beyond what we can perceive
> in situ.” Excerpt from the text written by Doreen A. Ríos.
>
> Project site: https://artssantamonica.gencat.cat/en/detall/VISITA-VIRTUAL
>
> Download images Virtual Tour here: https://flic.kr/s/aHBqjzvGAn
> Download images exhibition here: https://flic.kr/s/aHsmX57Ufd
>
> Best wishes,
>
> Mario Santamaría
> www.mariosantamaria.net
> ---
> 
> Tourist Guide
> https://internetour.com 
> ---
> Studio: Trama 34. L'Hospitalet, Barcelona
> e: i...@mariosantamaria.net  tw: @m_msanta
> m: +0034 651 109 724
> ---
> 
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] Splatter Aesthetics

[Paul Hertz via NetBehaviour]

That splatter painting is pretty, yeah, but not over the top, where you'll
find Howardena Pindell, whose work also has the grace to plumb the
histories of women and people of color in its materiality without tossing
any sops to gentry looking for beautiful, valuable objects that will
comfort them with a mild aesthetic charge.

Or maybe it's ironic, an *insincere* Pollock. Wait -- Jaspers Johns already
mined that lode, action painting without the blistering angst encoded in
each spontaneous (not!) brushstroke, leading us to reconsider the cultural
lexicon of big man painting. Thank you, DH, for repeating the obvious.

Sorry, it's easy to dump on Damien's work. Easier still to ignore it.

// Paul

On Sun, Jan 23, 2022 at 11:24 AM Anthony Stephenson via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> This photo and Sunday’s New York Times has led me to reconsider Damien
> Hirst position in the splatter art movement:
>
> https://static01.nyt.com/images/2022/01/23/arts/23damien-hirst1/23damien-hirst1-mobileMasterAt3x.jpg
> “Liquid Words
> by Yve-Alain Bois
> The e.sence of language is to be articulated. Such articulations can be as
> smooth as one wishes; the~' arc no less divisive for ail that. In order for
> language to function, signs must b,· isolable one from the other (Dtherwise
> they would not be rcp,·at.ble). At l'very Incl (phonctic, scmantic,
> syntactic. and so on) language has its own laws of combination and
> continuity, but its primarl' material is constructed of irreducible atoms
> (phonemes for spoken language. and for written, signs whose nature varies
> according to the system in question: in alphabctical writing, for example,
> the distinctive unit is the letter). Whoevcr says "articulation" always
> says, in the final instance, "divisibility into minimal units": the
> articulus is the particle. Language is a hierarchical combination of bits.”
>
> Sent from my iPhone
> ___
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> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] Computing Literature Book Series - Free Downloads!

[Paul Hertz via NetBehaviour]

Thanks for the links, Alan. This looks like a wonderful resource. I hope I
can give these texts the attention they deserve.

// Paul


On Tue, Jan 18, 2022 at 7:56 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> The Computing Literature Book Series
>
>
>
> Thanks to Sandy Baldwin and Dene Grigar, And the Electronic Literature
> Organization, the following series is available for free download!
>
>
>
> I'm so grateful to Sandy Baldwin for editing and introducing my Writing
> Under volume - see
>
> below. It's probably the clearest statement of my work to date. And the
> whole series is
>
> excellent, amazing!
>
>
>
> Available now for free download at ELO’s The NEXT
>
> The Computing Literature Book Series
>
> Series Editors: Sandy Baldwin and Philippe Bootz
>
> https://the-next.eliterature.org/collections/34
>
>
>
> Computing Literature is book series published by the Center for Literary
> Computing at West Virginia University in collaboration with the
> Laboratories Paragraphe at Université Paris 8 and with a distribution
> agreement with the West Virginia University Press. The press produced eight
> volumes of books from 2010-2017 authored by some of the most renown artists
> and scholars in the field. The eighth volume, #WomenTechLit edited by María
> Mencía, was awarded the prestigious N. Katherine Hayles Prize for
> Electronic Literature Criticism in 2018. In November of 2021.
>
>
>
> The series includes:
>
>
>
> Volume 1: *Regards Croisés: Perspectives on Digital Literature *(2010),
> edited by Philippe Bootz and Sandy Baldwin
>
>
>
> Volume 2: *Writing Under: Selections from the Internet Text* (2012), by
> Alan Sondheim, with an Introduction by Sandy Baldwin
>
>
>
> Volume 3: *Electronic Literature as a Model of Creativity and Innovation
> in Practice* (2014), edited by Scott Rettberg with Sandy Baldwin
>
>
>
> Volume 4: *Po.Ex: Essays from Portugal on Cyberliterature and Intermedia*
> (2014), edited by Rui Torres and Sandy Baldwin
>
>
>
> Volume 5: *Word Space Multiplicities, Openings, Andings* (2015), by Jim
> Rosenberg and edited by Sandy Baldwin
>
>
>
> Volume 6: *Electronic Literature Communities* (2015), by Scott Rettberg,
> Patricia Tomaszek, and Sandy Baldwin
>
>
>
> Volume 7: *Text as Ride* (2016), by Janez Strohovec and edited by Kwabena
> Opoku-Agyemang and Sandy Baldwin
>
>
>
> Volume 8: *#WomenTechLit* (2017), edited by María Mencía
>
>
>
> Free Download now! - https://the-next.eliterature.org/collections/34
>
>
>
>
>
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] Wittgenstein TLP 4.112

[Paul Hertz via NetBehaviour]

Tätigkeit 
Tatsache 

Take them apart and a fact is an act-thing, Tat+sache. Tätigkeit seems not
so much an "activity" as a state (-keit) of acting, but that would be a
clumsy translation. At least, as I recall from my later studies of a
language my parents tried to teach me.

There's a lapidary phrase of José Maria Valverde, the noted Spanish poet,
literary critic, and historian of philosophy, found in his *Vida y muerte
de las ideas: pequeñas historias del pensamiento* (Life and death of Ideas:
little stories of thought), on the inextricable bond of philosophy and
language: "De la filosofía sin palabras, ni hablar!", Let's not even talk
about philosophy without words! "Ni hablar" has a vernacular ring about it,
and I've always wondered if lurking in the humor of the phrase there was
precisely an invitation to indulge in philosophy without words but never,
never to speak of it -- for one can't.

// Paul

On Thu, Jan 13, 2022 at 12:11 AM Alan Sondheim  wrote:

>
>
> Wittgenstein TLP 4.112
>
> http://www.alansondheim.org/aaaggg2.jpg
>
> Wittgenstein TLP 4.112
>
> 2nd sentence:
> Die Philosophie ist keine Lehre, sondern eine Tatigkeit.
>
> Pears McGuinnis translation:
> Philosophy is not a body of doctrine but an activity.
>
> Ogden Translation:
> Philosophy is not a theory but an activity.
>
> The Prototractatus follows Pears Mcguinnis, but in the German
> the comma after Lehre is eliminated. The Prototractatus also
> gives the number 4.10015.
>
> I cannot reproduce the Umlaut in Tatigkeit.
>
> Clearly both emendation / revision and translation are
> activities. To that extent the descriptive bones of philosophy
> are at best a carapace or fuzzy logic surrounding a core or
> body. The body is the physical body, the body of text, the
> world body of content flow, the interiority of thought
> involved in original text, revision, translation and release.
> The famous 7, What we cannot speak about we must pass over in
> silence, perhaps begs the issue that passing over is also such
> an interiority as well, that silence is always already
> relative, and passing over is indicative of a movement or flux
> among unknown problematic continents, that this 'about' is not
> a null or zero point of meditation, but perhaps or equally as
> well something in-there out-there equally populated, equally
> unknowable.
>
> Which may also lead back to the Sheffer stroke and its dual,
> both of which might be considered as dynamic processes of
> expulsion.
>
> In which case the refugee is what constitutes the world; the
> world of the refugee is our world, a deconstructed fundamental
> of existing, within and without the problematic of existence.
>
> (One might go as far as saying, on a dubious basis, that
> refugee = or -> ontology, always already a problem, that grace
> is becoming, grace, more than suture, the potential of
> healing.)
>
>   ___
>
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] Home, Home on the Screen

[Paul Hertz via NetBehaviour]

Thanks, Alan. The text was generated using an order 4 Graeco-Latin Square,
with the sets (lose, gain, nurture, sustain) and (friendship, history,
grief, ecology). That's just scaffolding, though, and I can't really
explain the process except to say it mixed intuitive responses to the
combinatorial terms with combing through my notebooks for relevant ideas.

cheers,

-- Paul





On Wed, Oct 20, 2021 at 6:56 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi, love this (I couldn't watch all of it, skipped around, working on
> archive stuff now) and wondered how the text was generated - it's beautiful
> - thanks - Alan
>
> On Tue, Oct 19, 2021 at 4:22 AM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> Prose poem composed for the Fubar2k21 Glitch Festival in Zagreb,
>> performed online Thursday, October 7, 2021. The numbers refer to a
>> combinatorial scheme used in generating the text.
>>
>>
>> 00.
>> Home, home on the screen,
>> where nullmachines harvest dataflesh.
>>
>> Home on the web, where disinfocowboys
>> brand undead propaganda bots.
>>
>> In the breaks and badlands, bodyminds
>> glitch remix databend hybrid mutant identities.
>>
>>
>> 01.
>> Can bodyminds unsuture fear?
>> Crack undead identities, break open fissures?
>>
>> In the fissures, some of us land
>> and others are born.
>>
>> Lodge in the rifts to learn othering from others.
>>
>>
>> 02.
>> My eye is a heart of stone.
>>
>> A seed lodged in a crack can split a rock.
>>
>> A tree grew from a boulder.
>>
>>
>> 03.
>> Says: Freedom is service to God.
>>
>> Says: Take refuge in the dharma.
>>
>> Says: Along the dry creek bed, walk in Beauty.
>>
>>
>> 10.
>> Grief take root in ashes, in broken lands.
>>
>> Grief split open scars, grow
>> down to bedrock bone.
>>
>> Grief chain the past, grief choke the future.
>>
>>
>> 11.
>> Bearing invisible gifts, I thank the earth.
>>
>> In the sacred grove, we seek the oldest tree.
>>
>> You might be standing right beside it,
>> but you wouldn’t see it.
>>
>>
>> 12.
>> What joy rages through me to be alive!
>>
>> Hungry and curious, life seeks life.
>>
>> Life makes matter matter.
>>
>>
>> 13.
>> Disarm unbind crack scrap
>> retool the machine of language.
>>
>> The dataflesh harvest
>> drives disparities of wealth.
>>
>> Bodyminds we are and we
>> will not be branded dataflesh.
>>
>>
>> 20.
>> The young see visions
>> and the old dream dreams.
>>
>> Dream with me: we travel for hours
>> through inhabited wilderness.
>>
>> Clouds of subtle lightning bridged by
>> filaments of grace attend our passage.
>>
>>
>> 21.
>> When we were happy, we were so happy.
>>
>> Now we are dust to the bone.
>>
>> Through obstacles and errors,
>> the kindred body learns.
>>
>>
>> 22.
>> Who goes among you and asks,
>> will you be my people?
>>
>> To emerge into the realm of choice,
>> we must endure the agony of vision.
>>
>> What we choose then, will mark
>> the world for all time.
>>
>>
>> 23.
>> Resolute and vulnerable, I speak the truth.
>>
>> Two fingers laid side by side,
>> sign of equanimity or love.
>>
>> What dream or vision
>> could sway the world to rebirth?
>>
>>
>> 30.
>> A blind woman threads the valley,
>> walking as if without thought.
>>
>> Says to us: To bring you light
>> I have returned from nightmare.
>>
>> Says: Call upon my vision and renew the world.
>>
>>
>> 31.
>> Hear the flute that sighs in old bones.
>>
>> Hear the drum that booms in young bellies.
>>
>> Do you not hear the still, small voice
>> encoded in the whirlwind?
>>
>>
>> 32.
>> Our meat and bread consume us,
>> hunger devouring hunger.
>>
>> Are you the angry hand, the monster
>> that swallows the sea and everything in it?
>>
>> Or the patient seed that splits
>> the rock and renews the land?
>>
>>
>> 33.
>> I have forgotten my sorrow,
>> my future, my name.
>>
>> The glacier cut a notch in the mountain;
>> the rain carved a canyon.
>>
>> Learn to be quiet watching the river for trout.
>>
>>
>

[NetBehaviour] Home, Home on the Screen

[Paul Hertz via NetBehaviour]

Prose poem composed for the Fubar2k21 Glitch Festival in Zagreb, performed
online Thursday, October 7, 2021. The numbers refer to a
combinatorial scheme used in generating the text.


00.
Home, home on the screen,
where nullmachines harvest dataflesh.

Home on the web, where disinfocowboys
brand undead propaganda bots.

In the breaks and badlands, bodyminds
glitch remix databend hybrid mutant identities.


01.
Can bodyminds unsuture fear?
Crack undead identities, break open fissures?

In the fissures, some of us land
and others are born.

Lodge in the rifts to learn othering from others.


02.
My eye is a heart of stone.

A seed lodged in a crack can split a rock.

A tree grew from a boulder.


03.
Says: Freedom is service to God.

Says: Take refuge in the dharma.

Says: Along the dry creek bed, walk in Beauty.


10.
Grief take root in ashes, in broken lands.

Grief split open scars, grow
down to bedrock bone.

Grief chain the past, grief choke the future.


11.
Bearing invisible gifts, I thank the earth.

In the sacred grove, we seek the oldest tree.

You might be standing right beside it,
but you wouldn’t see it.


12.
What joy rages through me to be alive!

Hungry and curious, life seeks life.

Life makes matter matter.


13.
Disarm unbind crack scrap
retool the machine of language.

The dataflesh harvest
drives disparities of wealth.

Bodyminds we are and we
will not be branded dataflesh.


20.
The young see visions
and the old dream dreams.

Dream with me: we travel for hours
through inhabited wilderness.

Clouds of subtle lightning bridged by
filaments of grace attend our passage.


21.
When we were happy, we were so happy.

Now we are dust to the bone.

Through obstacles and errors,
the kindred body learns.


22.
Who goes among you and asks,
will you be my people?

To emerge into the realm of choice,
we must endure the agony of vision.

What we choose then, will mark
the world for all time.


23.
Resolute and vulnerable, I speak the truth.

Two fingers laid side by side,
sign of equanimity or love.

What dream or vision
could sway the world to rebirth?


30.
A blind woman threads the valley,
walking as if without thought.

Says to us: To bring you light
I have returned from nightmare.

Says: Call upon my vision and renew the world.


31.
Hear the flute that sighs in old bones.

Hear the drum that booms in young bellies.

Do you not hear the still, small voice
encoded in the whirlwind?


32.
Our meat and bread consume us,
hunger devouring hunger.

Are you the angry hand, the monster
that swallows the sea and everything in it?

Or the patient seed that splits
the rock and renews the land?


33.
I have forgotten my sorrow,
my future, my name.

The glacier cut a notch in the mountain;
the rain carved a canyon.

Learn to be quiet watching the river for trout.



The raw livestream can be accessed here: https://youtu.be/1vm9yeSTaoM. It
was beset with technical problems, explained in the description. Consider
it a work in progress. I hope to do it again, either as a video or again as
a performance.

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Re: [NetBehaviour] Curators ?

[Paul Hertz via NetBehaviour]

Hi Jorn,

Doreen Rios (doreenrios.com, Insta: @doreenrios) might also be someone to
contact.

On Fri, Aug 13, 2021 at 10:59 AM Jorn Ebner  wrote:

> Hi List,
>
> I have been working for a feminist performance project called
> re.act.feminism for its last two installments. We are currently researching
> a third leg that looks also into feminist new media performance. Are there
> any curators out there who you know / recommend / etc. who work in such a
> specialised field?
>
> Anny suggestions would be welcome
>
> Thanks
>
> Jorn
>
> ___
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>


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

[Paul Hertz via NetBehaviour]

Nice. Glad to hear the Flash barrier can perhaps be overthrown. Liked the
animations, too, especially "I was of three minds..."

-- Paul


On Thu, Aug 12, 2021 at 2:12 PM Edward Picot via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> 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

[Paul Hertz via NetBehaviour]

Somewhat in haste...

AI in the late 80s, when Brooks wrote his essay, was apparently in crisis.
The efficacy of the models promoted by Marvin Minksy and other researchers
pursuing the sort of data-driven "expert systems" were already being
questioned. There were other models, as Alan mentions. Then too there were
subsystems that worked pretty well, out of which such fields as computer
vision and neural networks developed. N. Katherine Hayles examines some of
the history of AI and "artificial life" in her book How We Became
Post-Human, a mix of history of science and literary critique. She makes
the point, anent the confusion as to what "artificial intelligence" means,
that it was particularly intended as a phrase to pull in money for
research, as was "artificial life". Which isn't to say that a great deal of
research didn't get done, some of it very successful in the long run. Just
that the resounding phrase was never meant to be definitive.

Minsky's book The Society of Mind may be worth reading. I had the pleasure
of hearing him lecture many years ago. He may have been wrong about the
nature of the mind--he thought a mind could be stored on a hard drive--but
the nature of research is that it's frequently wrong.

-- Paul



On Wed, Jul 14, 2021 at 10:01 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> Just briefly, want to point out that this was the same or similar idea
> that Terry Winograd had in relation to natural language processing, that
> the computer needed something to talk about, hence Blocksworld (if I
> remember correctly). Winograd is extremely interesting through this early
> work but also his later holistic thinking -
> See 1972. *Understanding Natural Language* Academic Press, New York, as
> well as
> 1986. *Understanding Computers and Cognition: A New Foundation for Design*
> (with Fernando Flores )
> Ablex Publ Corp.
> Note the dates. AI thinking, one way or another, circulates among the
> tropes of reality, real, imaginary, machinic, machinic desire, cyborgs, and
> so forth; this continues all the way to the present.
> Best Alan
>
> On Wed, Jul 14, 2021 at 9:51 PM Max Herman via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>>
>> Hi Paul,
>>
>> Interesting essay!  It sounds like the author thinks the AI entity or
>> "creature" as he calls it needs to navigate a real environment and performs
>> tasks in it in order to "learn," rather than make a detailed map or
>> representation then logically deduce solutions from that.  That makes sense
>> to me but I have no idea how it relates to the AI field overall; is it
>> still a current approach now 30+ years later?  It sounds like the Morris
>> film would illuminate the matter so I will check it out, but moreso I'd be
>> interested to hear what others who know and work with AI might think.
>>
>> One interesting point Brooks makes is about the necessity of visual
>> perception as a basic ingredient of a learning intelligence.  Leonardo
>> wrote about how knowledge and learning took form in humans by a mix of
>> visual perception, processing of the visual data by imagination (that can
>> include verbal imagination) and the "sensus communis" that blends inbound
>> modes of perception like hearing, sight, smell, etc. together, then storage
>> of the processed information in memory for later use or disuse.  A crude
>> schema to be sure but it reflects something like the see/assess/act cycle
>> Brooks suggests.
>>
>> Just from an art standpoint (as perhaps one could call it) I can see the
>> relevance of blending for visual and verbal imagination as something like a
>> "braided" flow of analogy in real time.  This is kind of what Hofstadter
>> alluded to in his book's subtitle "*Godel, Escher, Bach: an Eternal
>> Golden Braid*," and what perhaps Mitchell is suggesting in the Quanta
>> article.  Calvino saw visual and verbal imagination intertwined both as the
>> information is perceived and as it is created or expressed.  This would
>> also make sense if you think of a primate or hominin group seeing things,
>> comparing the information to memory, discussing what they saw, pointing at
>> comparable things to communicate visual imagery or even drawing in the sand
>> with a twig or finger, on a stone with charcoal, etc., with simple drawings
>> eventually morphing into words or letters, everything permutating all the
>> time and all driven by the necessary and physical acts of finding water,
>> finding food, escaping predators, migrating, grooming, reproducing, i.e.
>> continual physical movement interrupted occasionally by sleep which is also
>> a kind of movement I guess.
>>
>> It's almost certainly a mirage, but I see this cyclical idea of seeing
>> and doing as the fundamental structure of the painting I used to call the 
>> *Mona
>> Lisa* but now am experimenting with calling *Esperienza *(as I speculate
>> Leonardo may have titled it to 

Re: [NetBehaviour] analogy and AI poetry

[Paul Hertz via NetBehaviour]

There's an essay, "Intelligence Without Representation" that Brooks wrote
in 1987, http://people.csail.mit.edu/brooks/papers/representation.pdf, that
offered what was then a new point of view on how to consider AI.

// Paul



On Wed, Jul 14, 2021 at 2:10 PM Paul Hertz  wrote:

> Hi Max,
>
> The robotics researcher Rodney Brooks back in the late 1980s argued the AI
> based on the construction of a "knowledge base" was bound to fail. He made
> the case that a robot adapting to an environment was far more likely to
> achieve intelligence of the sort that humans demonstrate precisely because
> it was embodied. Some of his ideas are presented in the movie Fast, Cheap,
> and Out of Control, directed ISTR by Errol Morris. If you haven't seen it
> yet, I can recommend it.
>
> -- Paul
>
> On Wed, Jul 14, 2021, 1:38 PM Max Herman via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>>
>> Hi all,
>>
>> I know virtually nothing about AI, beyond what the letters stand for, but
>> noticed this new article in Quanta Magazine.  Does it pertain at all?
>> Interestingly it concludes that in order for AI to be human-like it will
>> need to understand analogy, the basis of abstraction, which may require it
>> to have a body!  
>>
>>
>> https://www.quantamagazine.org/melanie-mitchell-trains-ai-to-think-with-analogies-20210714/?mc_cid=362710ae88_eid=df8a5187d9
>>
>> I have been interested in the book *GEB *by Hofstadter for some time,
>> and have been researching how it was referenced (specifically its Chapter
>> IV "Consistency, Completeness, and Geometry" and its Introduction) by Italo
>> Calvino in *Six Memos for the Next Millennium*, so Mitchell's connection
>> to Hofstadter and *GEB *is interesting on a general level.
>>
>> Coincidentally I contacted her a year ago to ask about the Calvino
>> connection but she replied she hadn't read any Calvino or the *Six Memos*.
>> However, his titles for the six memos -- Lightness, Quickness, Exactitude,
>> Visibility, Multiplicity, and Consistency -- might be exactly the kinds of
>> "bodily" senses AI will need to have!
>>
>> All best,
>>
>> Max
>>
>> https://www.etymonline.com/word/analogy
>> https://www.etymonline.com/word/analogue
>>
>>
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>

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Re: [NetBehaviour] analogy and AI poetry

[Paul Hertz via NetBehaviour]

Hi Max,

The robotics researcher Rodney Brooks back in the late 1980s argued the AI
based on the construction of a "knowledge base" was bound to fail. He made
the case that a robot adapting to an environment was far more likely to
achieve intelligence of the sort that humans demonstrate precisely because
it was embodied. Some of his ideas are presented in the movie Fast, Cheap,
and Out of Control, directed ISTR by Errol Morris. If you haven't seen it
yet, I can recommend it.

-- Paul

On Wed, Jul 14, 2021, 1:38 PM Max Herman via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> Hi all,
>
> I know virtually nothing about AI, beyond what the letters stand for, but
> noticed this new article in Quanta Magazine.  Does it pertain at all?
> Interestingly it concludes that in order for AI to be human-like it will
> need to understand analogy, the basis of abstraction, which may require it
> to have a body!  
>
>
> https://www.quantamagazine.org/melanie-mitchell-trains-ai-to-think-with-analogies-20210714/?mc_cid=362710ae88_eid=df8a5187d9
>
> I have been interested in the book *GEB *by Hofstadter for some time, and
> have been researching how it was referenced (specifically its Chapter IV
> "Consistency, Completeness, and Geometry" and its Introduction) by Italo
> Calvino in *Six Memos for the Next Millennium*, so Mitchell's connection
> to Hofstadter and *GEB *is interesting on a general level.
>
> Coincidentally I contacted her a year ago to ask about the Calvino
> connection but she replied she hadn't read any Calvino or the *Six Memos*.
> However, his titles for the six memos -- Lightness, Quickness, Exactitude,
> Visibility, Multiplicity, and Consistency -- might be exactly the kinds of
> "bodily" senses AI will need to have!
>
> All best,
>
> Max
>
> https://www.etymonline.com/word/analogy
> https://www.etymonline.com/word/analogue
>
>
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>
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Re: [NetBehaviour] Fools Paradise

[Paul Hertz via NetBehaviour]

Hi Alan,

I have S. Foster Damon's book "William Blake: His Philosophy and Symbols"
on my shelves. Are you familiar with the William Blake Archive,
http://blakearchive.org/? It's an amazing site. You can compare different
editions of his books in fairly high resolution, for example,
http://blakearchive.org/work/mhh.

You're right, the audio is terrible. I wonder what happened in the
recording. ISTR we sounded clear and reasonably loud during the actual
event. Maybe our local electronics boosted the signal but didn't do so for
the recording.

cheers,
Paul


On Wed, Jul 7, 2021 at 1:13 PM Alan Sondheim  wrote:

> Hi Paul,
>
> This fascinates me; I had a long course on Blake from S. Foster Damon at
> Brown - he wrote one of the seminal books on Blake, so this is of interest
> to me for a lot of reasons.
> I like the interview but oddly it's hard to hear? And I hope we get to see
> you in Chicago!
>
> Best, Alan
>
> On Wed, Jul 7, 2021 at 1:05 PM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> This is probably the sort of thing I should mention in this list, the
>> product of long research and hard work, though I guess it may also qualify
>> as self-promo.
>>
>> *Fools Paradise*, a virtual world based on the "Proverbs of Hell" of
>> English poet and artist William Blake, can be downloaded from
>> https://dimoda.art/, the Digital Museum of Digital Art. It is part of an
>> anthology of VR works, DiMoDA 3.0, that includes work by six different
>> artists. The download is donation ware, with the money going to Covid
>> relief. The software will run on MacOS and Windows (separate downloads,
>> though) either on the desktop or with a tethered VR headset if you have the
>> right hardware.
>>
>> Perched on a highland in the form of an immense open book with a stream
>> of language/water running down its center, the virtual world offers forty-
>> eight interactive pavilions linked by a network of paths. Each pavilion
>> interprets a proverb as a song for soprano, flute, cello, and spoken voice,
>> as a mask, and as calligraphy. VR architecture and code were created by
>> Paul Hertz, music by Stephen Dembski, sculptural masks by Mark Klink, and
>> calligraphy by Koy Suntichotinun
>>
>> The VR architecture and the music are the result of a collaborative
>> process of intermedia composition that Stephen Dembski and I engaged in
>> over several years. In 2018 we showed our work at the XCoAx conference in
>> Madrid. You can read our presentation
>> <https://2018.xcoax.org/xCoAx2018.pdf#%5B%7B%22num%22%3A801%2C%22gen%22%3A0%7D%2C%7B%22name%22%3A%22Fit%22%7D%5D>
>> in the online Proceedings <https://2018.xcoax.org/>.
>>
>> The work traveled extensively from 2018 to 2020, starting at SIGGRAPH
>> Asia in Bangkok, with stops in Vietnam, Arles, NYC, Chicago, Mexico City,
>> Lima, Toronto, Carbondale, Los Angeles, and points in between. If you're so
>> inclined, you can see the interview Stephen and I did with Will Robertson
>> and Alfredo Salazar Caro earlier this year:
>> https://www.twitch.tv/videos/879732357
>>
>> cheers,
>>
>> -- Paul
>>
>>
>>
>>
>> --
>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>> http://paulhertz.net/
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
> *=*
>
> *directory http://www.alansondheim.org <http://www.alansondheim.org> tel
> 718-813-3285**email sondheim ut panix.com <http://panix.com>, sondheim ut
> gmail.com <http://gmail.com>*
> *=*
>


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[NetBehaviour] Fools Paradise

[Paul Hertz via NetBehaviour]

This is probably the sort of thing I should mention in this list, the
product of long research and hard work, though I guess it may also qualify
as self-promo.

*Fools Paradise*, a virtual world based on the "Proverbs of Hell" of
English poet and artist William Blake, can be downloaded from
https://dimoda.art/, the Digital Museum of Digital Art. It is part of an
anthology of VR works, DiMoDA 3.0, that includes work by six different
artists. The download is donation ware, with the money going to Covid
relief. The software will run on MacOS and Windows (separate downloads,
though) either on the desktop or with a tethered VR headset if you have the
right hardware.

Perched on a highland in the form of an immense open book with a stream of
language/water running down its center, the virtual world offers forty-
eight interactive pavilions linked by a network of paths. Each pavilion
interprets a proverb as a song for soprano, flute, cello, and spoken voice,
as a mask, and as calligraphy. VR architecture and code were created by
Paul Hertz, music by Stephen Dembski, sculptural masks by Mark Klink, and
calligraphy by Koy Suntichotinun

The VR architecture and the music are the result of a collaborative process
of intermedia composition that Stephen Dembski and I engaged in over
several years. In 2018 we showed our work at the XCoAx conference in
Madrid. You can read our presentation

in the online Proceedings .

The work traveled extensively from 2018 to 2020, starting at SIGGRAPH Asia
in Bangkok, with stops in Vietnam, Arles, NYC, Chicago, Mexico City, Lima,
Toronto, Carbondale, Los Angeles, and points in between. If you're so
inclined, you can see the interview Stephen and I did with Will Robertson
and Alfredo Salazar Caro earlier this year:
https://www.twitch.tv/videos/879732357

cheers,

-- Paul




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Re: [NetBehaviour] Netbehaviour list renewal - happy lurker

[Paul Hertz via NetBehaviour]

Mozilla Hubs could be interesting, and is accessible both for VR goggles
and on a monitor.

However, I find something very valuable in video conversations, in seeing
one another, and as a technology it seems more mature than VR. I have
created art in VR, maybe that's why its imperfections as a medium for
discussion seem so apparent to me. But it can be fun, and I'd like to
suggest:

The list 4eva as a site of asynchronous discussion, bumps, odd squiggles,
sometimes urgent, but with the virtues of text -- the possibility of being
thought about chief about them.

Video chat for socializing and topical conversations, pechakucha, poetry.

VR for parties. Could be for visual work, too. For music, though the tech
lags summat. Extend the Finley Park space?

Just mis dos centavos.

-- Paul








On Thu, Jun 17, 2021 at 5:43 PM Mez Breeze via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> On Mon, Jun 14, 2021 at 11:04 PM j  wrote:
>
>> like many its one of the only lists I browse, occasionally with eyes
>> bigger than brain, but never cursory
>>
>
> Ditto.
>
> Have also been thunking lately if there might be interest in having some
> FF gatherings/get-togethers in VR, or in an online space?
>
> Wadda we think?
>
> Chunkily,
> Mez
>
> adelante! jonathan
>> On 14/6/21 10:48 pm, Ruth Catlow via NetBehaviour wrote:
>>
>> Thanks to everyone who already posted on this thread <3  <3  <3
>>
>> For those that missed the discussion...
>>
>> *We are proposing a Netbehaviour renewal process:*
>>
>> Over a 1 month period starting now (14th June 2021)
>> We invite all subscribers to do one of 3 things
>>
>> 1. Make a post on any topic or responding to anyone else's post
>> 2. Send an email with "Happy Lurker" in the subject header (to the list
>> or privately to me - if you prefer to remain incognito)
>> 3. Do nothing.
>>
>> At the end of this time, moderators will
>> 1. gather a list of everyone who posted
>> 2. update subscribers on the proposal to unsubscribing everyone who
>> hasn't posted and depending on what we all decide
>> 3. unsubscribe everyone who we haven't heard from/ or do something else.
>>
>> In this way, we will get to know new people a little, and be able to
>> better see ourselves collectively. There may be a bunch of people who
>> prefer to go un-announced (that's fine too). If they are really keen but
>> prefer not to send an email saying so they can always resubscribe.
>>
>> 
>>
>> On Sat, Jun 12, 2021 at 8:00 PM James  wrote:
>>
>>>
>>>
>>> On Sat, 12 Jun 2021 at 15:05, Ruth Catlow via NetBehaviour <
>>> netbehaviour@lists.netbehaviour.org> wrote:
>>>

 Finally, I would be curious to hear your feelings about this proposal
 for list renewal.
 ===

 Over a 1 month period starting xxx
 We invite all subscribers to do one of 3 things

 1. Make a post on any topic or responding to anyone else's post
 2. Send an email with "Happy Lurker" in the subject header
 3. Do nothing.

 At the end of this time, moderators could
 1. gather a list of everyone who posted
 2. unsubscribe everyone else.

 In this way we will know who we are, we will be able to see ourselves
 collectively and know who is in the woods.

 This is something we can do intermittently.
 
 If you all love, hate or have alternative suggestions to this idea I'd
 love to know.


>>> Hi Ruth,
>>>
>>> The invitation to post on any topic and/or respond to another post is a
>>> good one to open up discussion to broader topics.
>>>
>>> When I was more active on here I always took "networked distributed
>>> creativity" as something allowing me to post, but deliberately reading it
>>> as 'network distributed' rather than 'networked & distributed' - I'm quite
>>> useless at networking be it technologically, or socially and professionally.
>>>
>>> Creativity was to me always the thread weaving through it all - but I
>>> manage to see that thread pretty much in all aspects of my life however
>>> tenuously connected to the arts that may be - which is something I'm
>>> interested in posting about.
>>>
>>> Cheers
>>> James.
>>>
>>>
>>>
>>>
>>>
>>
>> --
>> Ruth Catlow
>> she/her
>> Co-founder & Artistic director of Furtherfield & DECAL Decentralised Arts
>> Lab
>> +44 (0) 77370 02879
>>
>> *I will only agree to speak at events that are racially and gender
>> balanced.
>>
>> **sending thanks
>> 
>>  in
>> advance
>>
>> *Furtherfield *disrupts and democratises art and technology through 
>> exhibitions,
>> labs & debate, for deep exploration, open tools & free thinking.
>> furtherfield.org 
>>
>> *DECAL* Decentralised Arts Lab is 

Re: [NetBehaviour] Eat your place in space

[Paul Hertz via NetBehaviour]

relates at all to "eating
> together," i.e. comestible, etc.  I don't see that in the etymology site I
> use, but "komos" meant festival I guess which might have been associated
> with eating.  It's terribly unrigorous, this way of word-associating, and
> of course there may be zero valid connection between comedy and eating
> etymologically, but it had me thinking anyway.
>
> Then I was reminded of Cattelan's *Comedian *from a year or two ago.  I
> don't know much about Cattelan, just what one reads in the papers so to
> speak, but I do know he created a golden toilet (which was in the media
> relating to a spat over loaning artwork to the previous president, and then
> again for being stolen I think) and a work in which he "sold" his
> gallerist.  So, kind of conceptual and performance art perhaps is a common
> thread.
>
> In any case, the *Comedian *was written about at the time for being a
> work documented and sold using a digital certificate if I recall.  Again,
> not sure how or if this relates to the recent discussion here.  In trying
> to "decipher" the work, a task which is perhaps some core part of every art
> work, commentators mentioned that "bananas are comical because people slip
> on them and it is deemed funny."  I guess Cattelan had also used bananas in
> previous works.  *Comedian *was a banana taped to the wall, in three
> reproductions, so people kind of said "it's a joke on the art world."  Fair
> enough.  Then however I wondered if it could have been a kind of chiasmus,
> where the duct tape crossing the banana was a motif.  Seemed unlikely.
> Then I wondered, since I associate chiasmus with Leonardo's works, if 
> *Comedian
> *could be a reference to the *Mona Lisa*, Lisa del Giocondo, La Joconde,
> the jocund one, the jokester.  Aristotle was a major source for Dante, and
> he said that comedy was a way to process emotion via laughter in contrast
> to tragedy, which was by tears (to simplify a bit).
>
> I absolutely don't want to situate your work "eat your place in space" in
> any kind of a shadow, whatsoever, or preliminarity with regards to
> Cattelan's work.  I also don't mean to suggest that the Leonardo reference
> (if true) makes or confirms *Comedian *as a "great work of art."  I'm
> probably not qualified to criticize *Comedian *but I think on a basic
> level I would have "concerns" about it even or especially if it's a
> reference to Leonardo.  In fact, I would say that even if Cattelan is
> making such references "he gets Leonardo wrong," just as I think the art
> world -- the world I suppose -- gets Leonardo wrong.  I'd say that your
> work "eat your place in space" at least in how I see it presented by your
> email has more in harmony with Leonardo as I understand his work.  Of
> course I can't prove this, but if I had to try to offer reasons I would say
> that Leonardo was critical of today's world, including its art world, in
> advance; he was as skeptical of the "great artist" paradigm as he was aware
> of his place at the pinnacle of it; and his goal was to assist the down to
> earth and decent in human life in its evidently long-shot attempt to
> survive the slick and fabulous -- a survival which he associated with the
> very survival of humanity and the planet itself.
>
> Again thanks for posting, and my apologies if this reply is way off base!
>
> All best,
>
> Max
>
>
> --
> *From:* NetBehaviour  on
> behalf of Paul Hertz via NetBehaviour  >
> *Sent:* Friday, June 11, 2021 1:01 PM
> *To:* NetBehaviour for networked distributed creativity <
> netbehaviour@lists.netbehaviour.org>
> *Cc:* Paul Hertz 
> *Subject:* [NetBehaviour] Eat your place in space
>
> Always words, words on the list. Let me offer you some cake.
>
> This is from the very first iteration of "A comer tu lugar en el espacio"
> / "Eat your place in space," in the Palau Maricel, Sitges, Spain, Fall
> 1982. The work consists of a geometric tiling design on the floor, usually
> done with tape, and the same design on a cake. Participants take a piece of
> cake and walk over to the corresponding spot on the floor, where they eat
> their location in space. The design was based on a generative system I was
> developing at the time, later known as IgnoTheory.
>
> The cake was made by my friend Marcelino Chacon, a skilled pastry chef. He
> decorated the cake with cocoa powder and different dried fruits. Our young
> son is looking on in anticipation, as is the pianist Charles Miles.
>
> The work has been repeated various times, notably in 1992 in Chicago.
>
> I ate my place in space and I am still here. Some of the participants,
> I've never seen again.
>
>
>
>
> --
> -   (*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|
> |   ---
> http://paulhertz.net/
> ___
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Re: [NetBehaviour] Work in Progress: Blockchain Temporalities

[Paul Hertz via NetBehaviour]

Yes, thanks. Lot to mull over.

-- Paul

On Tue, Jun 8, 2021 at 9:56 PM Alan Sondheim  wrote:

>
> Find the reference to qm somewhat problematic but this is an absolutely
> stunning account - at least for me - I've learned a lot from it. Thank
> you!
>
> Wow! - Alan - hope there's a full essay/book emerging -
>
> On Tue, 8 Jun 2021, rhea via NetBehaviour wrote:
>
> > Date: Tue, 08 Jun 2021 18:31:08 -0700
> > From: rhea via NetBehaviour 
> > To: NetBehaviour for networked distributed creativity
> > 
> > Cc: rhea 
> > Subject: [NetBehaviour] Work in Progress: Blockchain Temporalities
> >
> > Bitcoin secures itself by rewarding the people who run it with payments
> in
> > Bitcoin. To get the rewards for publishing new blocks of transactions to
> the
> > Internet every ten minutes (on average), Bitcoin miners compete to solve
> > simple but time-consuming cryptographic puzzles. When Bitcoin launched,
> > miners could use desktop computers. But as Bitcoin became more valuable
> it
> > became worthwhile to use more and more powerful hardware in larger and
> > larger amounts to continue competing for the block rewards. Bitcoin was
> > written to handle this. Its difficulty algorithm creates a new target
> schema
> > for the block reward puzzles This algorithm targets ten minute block
> times,
> > and it will make the block puzzles as easy or as difficult as is
> required to
> > do this.
> >
> > That singular objective, pursued without concern for externalities, means
> > that Bitcoin's difficulty algorithm is a paperclipper. Its
> ever-increasing
> > energy usage, which has caused such moral panic, would boil the oceans
> if it
> > thought that the difficulty had to go that high - but then what wouldn't?
> > This is the purpose that it embodies in unbounded cryptoeconomic
> incentives.
> > For Bitcoin, securing the metronomic heartbeat/pulse/breath/throb of ten
> > minute blocks of transactions is all that matters. Bitcoin exists to
> secure
> > the value of those transactions over time. To nestle in that temporality
> is
> > to subject oneself to blockchain temporality as surely as Stelarc's "Ping
> > Body" was subjected to internet geometry.
> >
> > Block height is a clock. I've met people who have timed meatspace events
> to
> > it. Block height has a calendar of "halvenings", block reward changes,
> that
> > are treated as festivals, along with scheduled protocol forks and
> > activations. It's more complex than that, though. Cyclical and linear
> time
> > interplay in the blockchain as they do in capitalism, which is hardly
> > surprising given Bitcoin's anarcho-capitalist roots. The different
> temporal
> > scales and intensities folded into the blockchain in order to produce it
> > make it a Deleuzean egg. Which, through a deliberate misreading, makes
> it a
> > world. We can call it a welt if it helps, which it doesn't.
> >
> > The word "blockchain" does not appear in Satoshi Nakamoto's 2009 Bitcoin
> > Whitepaper. Instead the pseudonymous creator (or creators) of Bitcoin
> talk
> > about the creation of a timestamp server to ensure the succession of
> events
> > (transactions) within a system. Time, for Bitcoin, is pure succession
> just
> > as number is pure succession for X. It is in this sense that
> time on
> > the blockchain is non-relativistic (as per Nick Land). Worse, that time
> > occurs *in* time, breaking XX's argument that it cannot. We can
> recover
> > from this a little by pointing out that it does not occur within itself,
> but
> > in an outside temporality, and a reassuringly relativistic one. Still, it
> > occurs in time, and produces a time of pure succession.
> >
> > Bitcoin is the technonomic instantiation of Deleueze?s fourth synthesis
> of
> > time. It is an empty repetition determined by the future. For Bitcoin
> that
> > future is the block height (not the date or the Unix timestamp) when all
> 21
> > million Bitcoin will have been minted, and the reality of that future
> > determines its present - a hyperstition secured with an increasing
> fraction
> > of the Earth's computing resources  by the block difficulty targeting
> > algorithm.
> >
> > This is a purely intensive world, an undialectical history within itself.
> > Step back and the onchain world and its history are shown to be
> incomplete -
> > the private keys that create its transactions are not part of that world.
> > This veil of ignorance, similar to the sub-quantum realm's role in
> > contemporary physics, also applies to on-chain time. The Unix timestamps
> > placed in each Bitcoin block leak the offchain time that each block occur
> > at, but they could be a lie. They must increase over time, but compared
> to
> > the block height (the block number), they do so in irregular leaps. Block
> > heights are certain, timestamps less so.
> >
> > Like cybernetics, block formation is probabilistic, converging on
> certainty
> > over time as more and more blocks build on top of the chain. This
> process is

Re: [NetBehaviour] (no subject)

[Paul Hertz via NetBehaviour]

I would greatly miss Alan's posts, even if I don't always read them. They
seem to me to be part of the rhythm of the list. When I do read them, I
find pleasure in working my way through the words to the ideas and back
again.

As one more person who has managed lists (for Chicago media artists,
primarily, years ago), I remember how the workload varies depending on what
you want the list to do. Planning events? Takes plenty of work. Keeping up
conversations? Relatively little work, though it all depends on the people
on the list. Running an announcements-only list? Not as simple as it
sounds, if you have to keep preparing and vetting posts in a timely manner.

I think the current impasse/doldrums is mostly down to what the people on
the list want to do and how they can maintain liveliness. I would suggest
that we pool our thoughts about how to do that, or maybe that's what we're
already doing.

Marc would like more young people and more women on the list. When I was
teaching, I regularly used to recommend the list and FurtherField to my
students. I am not sure that had an effect, though I do see former students
show up on various lists. Posting links to discussions on social media may
be another way to bring people in. I've already suggested other media
formats for discussion as a way to liven things up. I'm sure there are a
variety of things we could do. Are we inspired to do them?

I would like to know more specifics on the "media art culture and some of
the ideas being explored as part of its culture and practice" to which Marc
alludes. Perhaps more focused topics are one way to bring livelier and
possibly more relevant discussion to the list? I don't propose turning into
Empyre, with monthly online academic symposia. I do remember conversations
that began with a provocation or two or three and played out over weeks,
seeming to arrive at a sort of conceptual sculpture of ideas. We never
asked how we did that, did we? Maybe it's time we did.

salud,

-- Paul


On Sun, Jun 6, 2021 at 5:59 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Marc, you say: " I feel the Netbehaviour list would be much improved if
> younger people were using it and more women. I don’t think anyone on the
> list will put their hands up to make any changes. However, if they did, it
> would require fresh insight into media art culture and some of the ideas
> being explored as part of its culture and practice. Doing work on the list
> takes a lot of energy, and for it to take a different direction than what
> is already here would mean inviting new people."
> In fact I have invited people and have advertised the list. As far as
> "fresh insight into media art culture" - I'm not sure what you mean. I
> learn more from the list for example than from the ELO conference which in
> fact does offer "fresh insight" and has a very wide base.
> If you feel my work or approach/es are stale for example, please say so.
> Again, I'm stopping posting work here; that should at least clear some of
> the staleness you find here. I feel odd about doing this, it's kind of a
> withdrawal from a village/home that seemed successful in many ways, but now
> I think not.
> No one is against inviting new people; I assume others have done so as
> well.
> If you and Ruth are really dissatisfied with the list, please end it. You
> can turn it into an announcements-only list; other lists have done this to
> good effect.
> The reason I feel a bit put out is that you have a community here, for
> better or worse, and you're saying I think you're not satisfied with this
> community. No one is ideologically controlling the direction of the list,
> there's been no fighting on it that I can think of, topics have ranged from
> performance theory to NFT to announcements of forthcoming presentations and
> so forth. And I see these things as good and excellent things, partly a
> result of your and Ruth's generosity over the years.
> You say " media art culture and some of the ideas being explored as part
> of its culture and practice" - and I see that occurring here, but probably
> not in the direction you want. If you feel the ideological issues and
> platforms and discussions here are stale, again, please do shut it down,
> since it does of course reflect on Furtherfield. I can understand you not
> wanting to put more time into it.
> Fwiw, I read the lists you put up, order from there. And there's
> information I can't get otherwise. I've also put up things.
> You sound as if running the list takes a large amount of work. As I
> mentioned, I've run and continue to run lists, and they seem more automated
> to me unless a problem comes up that needs a sysadmin.
> Where is the "lot of energy" you talk about? It would be easy to invite
> people; I'm on the ELO Discord for example and could easily invite people
> from there. I also have a fair amount of followers on Fb of varying ages,
> and ditto.
> If you want, I'll leave the list; 

Re: [NetBehaviour] email lists -

[Paul Hertz via NetBehaviour]

I value this list, though I am usually rather quiet about it. I think the
conversations that I have read here and any we might have in the future are
a practical impossibility on social media. Other peopel have already stated
the reasons why.

I have not thought of this list as a place to post my work. As a place to
post Alan's work, well yes. :^) Perhaps I should post some work, or work
and words about it. Perhaps we all should.

I hear what Ruth has to say about changes to the list. On the one hand, I
like how it has been over the years I have been lurking, re3adn, and
sometimes posting. On the tother, I believe having new people take on
responsibilities is usually a Good Thing, especially for people who have
had to do the work of maintaining and directing a list, but also for the
energy and ideas that can follow.

I wonder if as an adjunct to the list, some sort of video chat might
occasionally be useful, if only to sit around talking, mayhap with beverage
of choice.

avanti,

-- Paul

On Mon, May 31, 2021 at 11:16 PM Alan Sondheim  wrote:

>
> I agree with you totally below. I've also learned new things, to be
> honest, the discussions around Furtherfield and role-playing have been
> fascinating and inspiring. And all that's to the good. I've also been more
> or less meditating on Frankenstein - it's interesting that Science devoted
> a special issue to the book a few years ago - the only work of art or lit.
> that's merited the attention -
>
> And so forth and so on. I've been collaborating with Maria Damon and Azure
> the past couple of days and that's been phenomenal and creative -
>
> Best Alan
>
> On Mon, 31 May 2021, Johannes Birringer via NetBehaviour wrote:
>
> > Date: Mon, 31 May 2021 20:58:58 +
> > From: Johannes Birringer via NetBehaviour
> > 
> > To: NetBehaviour for networked distributed creativity
> > 
> > Cc: Johannes Birringer 
> > Subject: Re: [NetBehaviour] email lists -
> >
> > 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 a
>  n
> > 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 <
> netbehaviour@lists.netbehaviour.org>
> > 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 <
> netbehaviour@lists.netbehaviour.org 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 

Re: [NetBehaviour] ASTOUNDING DISCOVERY!!!

[Paul Hertz via NetBehaviour]

OMG, Alan! We're talking in prose!

;^},

Paul


On Fri, Dec 4, 2020 at 9:18 PM Alan Sondheim  wrote:

>
>
> ASTOUNDING DISCOVERY!!!
>
> Do you know that EVERY OTHER number is divisible by 2?
> I mean without a remainder! THIS IS NOT A COINCIDENCE!
> Further!!:
> Do you know that EVERY OTHER number is NOT divisible by 2?
> I mean with a remainder! COINCIDENCE? I THINK NOT!
> I'm so excited! I've TESTED THIS on at least 200 numbers!
> Do you know how many numbers that is! (HINT: 200!!)
> TRY THIS YOURSELF and Get back to me!
> UNBELIEVABLE! EVERY OTHER NUMBER IS DIVISIBLE
> WITH A REMAINDER AND WITHOUT A REMAINDER!
> This seem so SIMPLE I'm AMAZED that NO ONE ELSE HAS
> EVER NOTICED THIS!
> TRY IT YOURSELF!
> This is the first announcement ever of this!
> THANK YOU!
>
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] need suggestions, thank you in advance

[Paul Hertz via NetBehaviour]

For older net communities, Judy Malloy's book
https://mitpress.mit.edu/books/social-media-archeology-and-poetics. I
haven't read it yet, but have been reading her notes on FB and her web
pages. Some of the essays in her earlier book
https://mitpress.mit.edu/books/women-art-and-technology were perennial
selections for my classes. I don't know that there is any one book that
will do as a "general" text. I always ended up with electronic reading
packets.

// Paul


On Thu, Jun 11, 2020 at 8:56 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Interesting - I can't afford the book, but that's ok. I can draw on my own
> experience with minicomputers (I used a Terak way back) and the pieces I
> produced with them.
> It's odd, there doesn't seem to be a "general" text. I found an old
> Routledge, Cantoni and Tardini, Internet, but it's from 2006. For older Net
> stuff I even have a few BB original papers here.
> How do you describe the history, current culture, putative origins and
> futures, of a multifaceted civilisation that's planet-wide? ...
> Alan, thanks!
>
> On Thu, Jun 11, 2020 at 12:22 PM Paul Hertz via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>> https://www.ucpress.edu/book/9780520268388/mainframe-experimentalism
>>
>> On Thu, Jun 11, 2020 at 11:14 AM Paul Hertz  wrote:
>>
>>> Hi Alan,
>>>
>>> I don't know how much you want a foundational text versus a contemporary
>>> text. I found Annemarie Chandler and Norie Neumark's anthology *At a
>>> Distance: Precursors to Art and Activism on the Internet* useful for
>>> the "Prehistories of New Media" course I taught:
>>> https://mitpress.mit.edu/books/distance.
>>>
>>> Back in the same time period, Hannah Higgins and Douglas Kahn's
>>> anthology *Mainframe Experimentalism: Early Computing and the
>>> Foundations of the Digital Arts* has a wealth of evidence that digital
>>> culture did not start in the last five minutes. Someone else may recommend
>>> books on more current events. These two were excellent sources for
>>> combatting the "rootless" cyberculture many of my students experienced on
>>> the Internetz.
>>>
>>> salud,
>>>
>>> Paul
>>>
>>>
>>> On Thu, Jun 11, 2020 at 8:41 AM Alan Sondheim 
>>> wrote:
>>>
>>>>
>>>> Hi - if it makes I'll be teaching a course on Internet Culture and
>>>> Community this fall online; I'm writing to ask if you could recommend
>>>> a textbook of sorts that I might use as a reference. None of the books
>>>> I've seen are in date. I need it to cover some of Net history, a
>>>> brief description of things like packets and TCP/IP, maybe mention of
>>>> AOL and early communities like newsgroups and email lists, through
>>>> the present proliferation of the Net everywhere - political, social
>>>> issues, etc. - including controversies like access, surveillance,
>>>> control, etc. In other words an outline or survey. Any suggestions
>>>> greatly appreciated. This would be for me more than the students, a
>>>> way of organizing content around the digital sphere that permeates
>>>> almost all of us now. Free access wd be great, any suggestions at
>>>> all more than appreciated.
>>>>
>>>> A second request - almost all my work is disseminated through email
>>>> lists or Facebook. I'm pretty much under the radar; are there any
>>>> other social apps you might recommend where there is actual
>>>> discussion of work, at least on occasion? Things like Twitter don't
>>>> work, given the complexity of what I do, I think (maybe it's not
>>>> that complex, I don't know).  Again, any suggestions would be
>>>> greatly appreciated.
>>>>
>>>> Thank you so much!
>>>>
>>>> Best, Alan
>>>> ___
>>>> NetBehaviour mailing list
>>>> NetBehaviour@lists.netbehaviour.org
>>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>>
>>>
>>>
>>> --
>>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>>> http://paulhertz.net/
>>>
>>
>>
>> --
>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>> http://paulhertz.net/
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
> *=*
>
> *directory http://www.alansondheim.org <http://www.alansondheim.org> tel
> 718-813-3285**email sondheim ut panix.com <http://panix.com>, sondheim ut
> gmail.com <http://gmail.com>*
> *=*
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] need suggestions, thank you in advance

[Paul Hertz via NetBehaviour]

https://www.ucpress.edu/book/9780520268388/mainframe-experimentalism

On Thu, Jun 11, 2020 at 11:14 AM Paul Hertz  wrote:

> Hi Alan,
>
> I don't know how much you want a foundational text versus a contemporary
> text. I found Annemarie Chandler and Norie Neumark's anthology *At a
> Distance: Precursors to Art and Activism on the Internet* useful for the
> "Prehistories of New Media" course I taught:
> https://mitpress.mit.edu/books/distance.
>
> Back in the same time period, Hannah Higgins and Douglas Kahn's anthology 
> *Mainframe
> Experimentalism: Early Computing and the Foundations of the Digital Arts* has
> a wealth of evidence that digital culture did not start in the last five
> minutes. Someone else may recommend books on more current events. These two
> were excellent sources for combatting the "rootless" cyberculture many of
> my students experienced on the Internetz.
>
> salud,
>
> Paul
>
>
> On Thu, Jun 11, 2020 at 8:41 AM Alan Sondheim  wrote:
>
>>
>> Hi - if it makes I'll be teaching a course on Internet Culture and
>> Community this fall online; I'm writing to ask if you could recommend
>> a textbook of sorts that I might use as a reference. None of the books
>> I've seen are in date. I need it to cover some of Net history, a
>> brief description of things like packets and TCP/IP, maybe mention of
>> AOL and early communities like newsgroups and email lists, through
>> the present proliferation of the Net everywhere - political, social
>> issues, etc. - including controversies like access, surveillance,
>> control, etc. In other words an outline or survey. Any suggestions
>> greatly appreciated. This would be for me more than the students, a
>> way of organizing content around the digital sphere that permeates
>> almost all of us now. Free access wd be great, any suggestions at
>> all more than appreciated.
>>
>> A second request - almost all my work is disseminated through email
>> lists or Facebook. I'm pretty much under the radar; are there any
>> other social apps you might recommend where there is actual
>> discussion of work, at least on occasion? Things like Twitter don't
>> work, given the complexity of what I do, I think (maybe it's not
>> that complex, I don't know).  Again, any suggestions would be
>> greatly appreciated.
>>
>> Thank you so much!
>>
>> Best, Alan
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
> http://paulhertz.net/
>


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Re: [NetBehaviour] need suggestions, thank you in advance

[Paul Hertz via NetBehaviour]

Hi Alan,

I don't know how much you want a foundational text versus a contemporary
text. I found Annemarie Chandler and Norie Neumark's anthology *At a
Distance: Precursors to Art and Activism on the Internet* useful for the
"Prehistories of New Media" course I taught:
https://mitpress.mit.edu/books/distance.

Back in the same time period, Hannah Higgins and Douglas Kahn's
anthology *Mainframe
Experimentalism: Early Computing and the Foundations of the Digital Arts* has
a wealth of evidence that digital culture did not start in the last five
minutes. Someone else may recommend books on more current events. These two
were excellent sources for combatting the "rootless" cyberculture many of
my students experienced on the Internetz.

salud,

Paul


On Thu, Jun 11, 2020 at 8:41 AM Alan Sondheim  wrote:

>
> Hi - if it makes I'll be teaching a course on Internet Culture and
> Community this fall online; I'm writing to ask if you could recommend
> a textbook of sorts that I might use as a reference. None of the books
> I've seen are in date. I need it to cover some of Net history, a
> brief description of things like packets and TCP/IP, maybe mention of
> AOL and early communities like newsgroups and email lists, through
> the present proliferation of the Net everywhere - political, social
> issues, etc. - including controversies like access, surveillance,
> control, etc. In other words an outline or survey. Any suggestions
> greatly appreciated. This would be for me more than the students, a
> way of organizing content around the digital sphere that permeates
> almost all of us now. Free access wd be great, any suggestions at
> all more than appreciated.
>
> A second request - almost all my work is disseminated through email
> lists or Facebook. I'm pretty much under the radar; are there any
> other social apps you might recommend where there is actual
> discussion of work, at least on occasion? Things like Twitter don't
> work, given the complexity of what I do, I think (maybe it's not
> that complex, I don't know).  Again, any suggestions would be
> greatly appreciated.
>
> Thank you so much!
>
> Best, Alan
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] current story

[Paul Hertz via NetBehaviour]

As Steve Bannon, strategist and first Chief of Staff for #fakepresident
stated openly, the goal is to damage government to such an extent that it
can be taken over.

There is evidence for organized criminal gangs and right wing provocateurs
doing much of the looting. There are some comfortable white kids channeling
rebellion, too, and self-styled proponents of direct action. There is also
outrage and desperation. All these bring about the current violence.

And then there are the leaders of BLM calling again and again for peaceful
demonstrations.

https://twitter.com/oliverdarcy/status/1266921926905286656

// Paul




On Tue, Jun 2, 2020 at 10:26 AM Max Herman via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> That sounds terrifying Alan.  At least here, it seemed to subside almost
> as suddenly as it started so I'm hoping that can happen there too.  A LOT
> of good people have been out helping each other during the day here.
>
> Your comparison to video game is apt, and I can hardly believe there are
> video games where this kind of mayhem is the game.
>
>   To be honest, listening to "The Beautiful" song helped me the most when
> it was worst here.  It's eerie and unaccustomed but for me was very
> fear-dispelling and gave me hope.  I imagined other people listening to it
> and having their fear dispelled too, which I suppose is why I circulated it
> in such a panic. Maybe we all have some type of art that can help us in
> that way.  I'm reminded of the Bodhisattva Guanyin from the museum here,
> photocopy on my fridge, Guanyin meaning "he who observes the sounds of the
> world -- including cries for help."
>
>
> --
> *From:* Alan Sondheim 
> *Sent:* Tuesday, June 2, 2020 2:15 AM
> *To:* Max Herman 
> *Cc:* NetBehaviour for networked distributed creativity <
> netbehaviour@lists.netbehaviour.org>
> *Subject:* Re: [NetBehaviour] current story
>
>
> Not hopeful here at all, lots of explosions, cars driving out of the area
> at high speed, people carrying loot in front of our place - all started
> around 11, we think our street's been hit bad but we can't go out and look
> tonight, too dangerous - we had to call the cops at one point as people
> were trying to break into the bars below us. It's toxic.
>
> This definitely isn't protest, not at this hour, these people. This is a
> video game. Sirens still going on at 3:15, screeching tires, people
> running, carrying stuff.
>
> - Alan
>
> On Tue, 2 Jun 2020, Max Herman wrote:
>
> >
> > Stay safe Alan. I truly believe this is not protest, nor anything to do
> with
> > justice for George Floyd.
> >
> > There's footage now of a young white Chicago man handing out explosive
> > devices to people in my neighborhood last week telling them to throw
> them at
> > the police station. He livestreamed himself doing it if you can imagine.
> >
> > Be hopeful too. The national guard being here has stopped the insanity at
> > night, not by any use of force but just by having some level of civil
> > authority present. They have behaved professionally. The curfew has
> helped
> > too, allowing police to find the violent instigators and get fire trucks
> to
> > the fires. The real protests are thriving during the day, with wonderful
> > grace. People are helping each other, connecting, and healing,
> distributing
> > food, cleaning up, and grieving.
> >
> >
> >
> >
> >
> >
> >
> 
> > From: NetBehaviour  on
> behalf
> > of Alan Sondheim 
> > Sent: Tuesday, June 2, 2020 1:06 AM
> > To: NetBehaviour for networked distributed creativity
> > 
> > Subject: Re: [NetBehaviour] current story
> >
> >
> > It's our turn now, riots and fire downtown central Providence, a few
> > blocks from here. We knew about it ahead of time. There were warnings.
> > Looting in a relatively poor city. We can hear explosions going off, what
> > sounded like fireworks and gunfire. I can't think straight. I want to get
> > the hell out of this country. This is way beyond protest, this is
> > ultraviolence here. Louder explosions now.
> >
> > The warnings were four or five hours ago. So people were coming in to
> > cause trouble. Earlier there were white motorcycle gangs around.
> >
> > Apologies, can't think straight.
> > ___
> > NetBehaviour mailing list
> > NetBehaviour@lists.netbehaviour.org
> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
> >
> >
>
> web http://www.alansondheim.org/index.html cell 347-383-8552
> current text http://www.alansondheim.org/xe.txt
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[NetBehaviour] Voices in the Crisis

[Paul Hertz via NetBehaviour]

I have been considering the ways in which this current crisis over racism
is different from the demonstrations of the 50s and 60s, and also how I
might open a brief window on some of the events that do not show up so much
in the news, largely concerned with the dramatic extremes of confrontation
and violence.

One thing I am not alone in observing is the diversity of race, ethnicity,
creed, and ages in the demonstrations. It is important to realize how much
of a stake black people have in local institutions in the cities and
states. In Chicago we have the mayor and the CEO of Chicago Public Schools,
Janice K. Jackson, who has sent a letter to parents  of students (which I
quote in its entirety):

Dear Families,
>
> Today, I’m writing to you as a mother of a black boy who is worried for
> him, and the millions of other black boys in our country. I worry that when
> he leaves our home to ride bikes with his friends, he will come back to me
> as a headline, a hashtag, a rallying cry—an Ahmaud, a Breonna, a George.
>
> My mother raised me to never bring up a problem without a solution, but
> today, I can only share with you my hurt and sorrow for our community.
> Tomorrow and in the days and weeks to come, we will have to have some real
> and difficult conversations about the worth of a person—not only in death
> but also in life.
>
> We must acknowledge that far too many of us have come to accept fear and
> pain as part of normal life. Fear should not be the first thing we feel in
> the morning and the last thing we feel at night but it is for many in the
> African American community. If we are going to progress as a society, this
> moment must lead us to confront racism — in all of its forms — on a daily
> basis.
>
> Racism is all around us, but for too long, our nation has locked it away
> in the Civil Rights chapter of our history books. We taught and talked in
> terms of segregation, bus seating, and Bull Connor, while not giving enough
> attention and voice to what’s happening today. I’m challenging our
> community—parents, teachers, students—to call racist behavior out when we
> see it. We’ve tolerated intolerance for far too long, and the time has come
> for us to act.
>
> This work is not easy but that cannot be an excuse to delay progress.
> Black lives matter, and it’s past due for us to prove it with action.
> Families of all backgrounds have a role to play, and it starts by speaking
> honestly with our children and our own respective communities. These will
> be undoubtedly difficult conversations and we will be sharing resources
> beginning Monday to help you begin these conversations.
>
> We are here for you today, and we will be here for you tomorrow. Together
> we have a responsibility to ensure each day is safer, fairer and more just
> than the last.
>
> Janice K. Jackson, EdD
> Mother of CPS students


As a distressing counterpoint to this, I want to post also a word from a
former student, Koy Suntichotinun, posted to Instagram (check Koy's post at
https://www.instagram.com/p/CA3PkcNJOg2/ for a video of a BLM activist also
making the same post):

Non–Black people who choose to loot and vandalize does nothing for the
> cause. They get to go home while Black people take the blame. I’m all for
> destroying elite buildings like Starbucks and Target IF it’s by Black
> people because they are already targeted, they are the most affected, and
> they are rightfully the most angry.
> From what I’ve seen from videos and news of the protest in La Mesa. Most
> people looting and destroying buildings are white people. That’s white
> privilege, that’s white supremacy. Being able to take a movement as an
> excuse to destroy and be anarchists under the gauze of being an activist.
> While white people are out here smashing windows screaming BLM, a Black
> person peacefully protesting gets arrested. Be out there protesting, be a
> shield, but listen to the Black community before taking drastic action •
> “They don’t show your face when they show that (the graffiti) they show
> ours.”
> •
> Note I acknowledge I am speaking about the movement as a Non-Black person
> as well so please call me out if I’m stepping out of boundaries.


Tay Anderson, a BLM activist and Denver School Board member had a similar
point to make:
https://www.pbs.org/newshour/show/roxane-gay-anna-deavere-smith-and-tay-anderson-on-the-protests-hope-and-despair.
I highly recommend this panel, in which author Roxane Gay and actor Anne
Deavere Smith reflecting on the role of artists in this critical moment.

White supremacists are undoubtedly acting as provocateurs in some
instances, but there also seems to be any number of white people, from
rebellious suburban kids to self-styled anarchists or "direct action"
romantics who see themselves as protagonists. Its an old story. If anyone
still reads Trotsky (and I don't anymore), he saw such behaviors as a
standard rite of passage for bourgeois youth. "Afán de protagonismo" was
the criticism 

Re: [NetBehaviour] How is everyone?

[Paul Hertz via NetBehaviour]

Hello everyone,

My wife and I have now spent over a month in social isolation in our house
in Chicago. We're fortunate to have a building with an apartment upstairs
and a storefront studio and small apartment downstairs. I work on new work
or print old work and archive it in the back apartment. We have a forest
preserve and tree-lined streets to walk in, and the grocery store offers
curbside pickup. My wife retired from nursing a few years ago, and I have
retired from teaching. In some ways we are quite cozy and secure, though we
miss seeing our granddaughters, who used to spend after school afternoons
with us. Now I read to them over video chat.

Chicago is a hotspot for Covid-19 and yet we have been somewhat more
fortunate than other cities in the U.S., perhaps because the governor of
Illinois and the mayor of Chicago took prompt action. The mayor has become
a meme—images of her looking stern show up on Instagram
, superimposed on
public parks, restaurants, and porches. Inveterate news junkies, we are
daily aware of how desperate the situation is for some people. I am happy
to report that the city is making emergency funds available to undocumented
immigrants and the homeless, far more than the federal government has been
willing to do. The plight of prisoners in the county jail and stat prisons
however is very concerning, in this nation where incarceration is nearly as
popular as guns.

I have been slow to engage with all the flurry of online art, though I did
attend parts of the Ann Arbor Film Festival, some of the Quarantine Concerts
 of the local experimental music
venues, and the Goodman Theater's production of School Girls; or, the
African Mean Girls Play .
Domenico Dom Barra kindly asked my participation for his White Page Gallery
, a project he has been nurturing
for some time.

I said some time ago to a friend online that I was more concerned with the
slow accumulation of sorrow than with the immediate pangs of social
distancing. Anticipated grief erupts sometimes in unguarded moments when
emotion overwhelms me and just as quickly subsides, swift and ingenuous as
a child. I wonder if Boccaccio's young men and women celebrated their
freedom at the same time they held grief at bay. Did they confront a mix of
privilege and guilt, or were they just grateful for a respited from the
dire motion of the world around them, however brief? In the meantime, they
told stories. And so we do. And just as surely, the world is going to
return to us and we to it.

Here in the U.S, we also confront a government led by an incompetent, who
boasted once that he could commit murder and the crowd would still love
him. People are dying because of his ignorance and narcissism. It remains
to be seen whether he and the party that supports him will be held to
account. This much is clear: a system of government that does not seek the
trust of all of its citizens, but plays at power games and propaganda to
divide them, is ill-prepared for crises on the order that humanity now
faces. The hierarchy of slow-moving disasters we locate under the rubric of
"climate change" are going to be much more massive than this pandemic. We
are all ill-prepared, but countries mired in convenient mythologies that
conceal brutal histories or devoted to authoritarian visions of social
order are especially vulnerable to reality. One handles reality by getting
real. Getting real as a society seems to me at least to mean not just
confronting the world crisis our very success as a species has brought
about, but engaging people in a new vision of democracy.

And on we go, to lunch. A locus of universal agreement that we can still
arrange to suit our needs, if we be so fortunate.

ciao,

-- Paul


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Re: [NetBehaviour] can anyone remember a project where artists were interviewed in an online shooter game?

[Paul Hertz via NetBehaviour]

Spartan Life seems likely. The hosts would try to take the interviewee to a
"safe" zone of the world. Interviews we frequently interrupted by taking
out marauding players or having to reboot if the hosts or interviewee was
taken out instead. It was a mix of hilarious context and thought-provoking
questions (ISTR). Only saw it a few times, but it stuck with me. Joseph
DeLappe's staging of episodes of "Friends" inside Halo (or whatever FPS/RPG
it was) is another example of the concept.

// Paul

On Thu, Jan 16, 2020 at 4:37 PM abram stern via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Maybe it was This Spartan Life - here's the Peggy Ahwesh episode
> https://www.youtube.com/watch?v=Q_iVDVaGsMY
>
> On Thu, Jan 16, 2020 at 2:29 PM Helen Varley Jamieson <
> he...@creative-catalyst.com> wrote:
>
>> hi hive mind,
>>
>> can anyone out there remember a project, i guess about 10 years ago or
>> manybe more, where artists were interviewed inside an online shooter game?
>> maybe some of you were interviewed? i know i watched at least one & i'm
>> pretty sure it was someone like annie who was being interviewed (i have a
>> terrible memory, i know ... )
>>
>> i met an artist who has a performance project in a multiplayer game (
>> http://www.leonhardmuellner.at/operation-janewalk/) & it reminded me of
>> that project & i was telling him about it but couldn't remember the name of
>> the project or who made it ... ??
>>
>> h : )
>> --
>>
>> helen varley jamieson
>>
>> he...@creative-catalyst.com
>> http://www.creative-catalyst.com
>> http://www.upstage.org.nz
>> ___
>> NetBehaviour mailing list
>> NetBehaviour@lists.netbehaviour.org
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>
>
>
> --
> Abram Stern (aphid)
> PhD Candidate, Film and Digital Media
> University of California, Santa Cruz
> ap...@ucsc.edu // a...@aphid.org ⚛ // (831) 224-0334 <2883129202240334>
> (mobile/signal)
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] Domain Attack (?) or Deep Sign of Love (DSOL!*)

[Paul Hertz via NetBehaviour]

Alan, hay amores que matan, DSOL or D, SOL.

:^)
-- Paul

On Sat, Dec 14, 2019 at 6:08 PM Alan Sondheim  wrote:

>
>
> Domain Attack (?) or Deep Sign of Love (DSOL!*)
>
> *Not related to Dance Shoes of Love!
>
> http://www.alansondheim.org/stats.png
>
> There seems to have been a coordinated attack on my website
> www.alansondheim.org from Butte Montana and Knoxville Tennessee.
> Both were linked to a company that was linked to a second
> company. Between the two, 160 gb were downloaded in the past two
> days; the full website is less than 20 gb. At that rate, the
> download limit of 500 gb/month would have been reached in 2-3
> more days.
>
> But there are also these fun stats:
>
> United States   us  4,096   25,811  97.78 GB
> Great Britain   gb  233 13,558  16.51 GB
> Canada  ca  179 5,678   19.31 GB
> France  fr  159 711 4.98 GB
> Germany de  139 648 1.50 GB
> China   cn  98  584 729.58 MB
> India   in  88  245 1.32 GB
> Netherlands nl  79  328 1020.81 MB
>
> Odd amount maybe from GB and Canada? Likely the GB was the
> result of post-election blues?
>
> I also just found Decklin Foster's mail archive of my texts etc.
> - http://sondheim.rupamsunyata.org/ He stopped this in 2018; it
> began in 1999. Check it out, idle curiosity?
>
> Had a discussion with tech support at Total Choice Hosting -
> they blocked two IP addresses that seem the cause of the issue.
> At least the downloading stopped after the blocking.
>
> Perhaps it was a wget gone rove? Perhaps it wasn't those two
> sites - but then the attack stopped after the sites were
> blocked? And the sites are from two different cities? Perhaps
> my files are a new form of blockchain, free and simpler?
>
> For a split second I seemed very popular and loved everyone!
>
>
> ___
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> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] any thoughts about "Comedian"?

[Paul Hertz via NetBehaviour]

Well, Michael, I have mostly been bored by the whole spectacle and
generally avoiding the spate of memes it generated.

As for what I think: Cattelan is staging his critique within the very
system he is critiquing. I submit that this deserves some respect, if not
applause. Andrea Fraser's interventions perform a similar "community
service," but her metaphors and texts tend to be much more explicit. Ironic
humor permeates the work of both artists, but Fraser uses humor as a
Brechtian displacement, an estrangement of the audience. Cattelan's ironies
are those of the dandy. Arguably, Duchamp's ironies are those of the dandy,
too, but the capacity for scandal and for rupture was much greater when he
choose to make his gestures. We cannot conceive of Cattelan's action
producing a rupture, but we can conceive of them reproducing Duchamp.
Therein lies their weakness. The ironies of the dandy end up as mockery, or
worse yet, as fashion (or memes 8^}=). The ideologically inflected ironies
of an artist such as Fraser may also fall flat, quite possibly because they
insist on taking themselves seriously even if we do not. If we do take them
seriously, though, we may discover that their bite is sharp as their bark.
Cattelan seems to me to offer mucho bark for mushy bite.

-- Paul




On Wed, Dec 11, 2019 at 9:40 AM Michael Szpakowski 
wrote:

> Well put. I find myself agreeing pretty much completely with you Patrick
> but just to say further: Is this all there is? Is anyone else not just a
> little *bored*?
> cheers
> Michael
>
> On Wednesday, December 11, 2019, 12:01:26 PM GMT, Patrick Lichty <
> li...@voyd.com> wrote:
>
>
> Mainly, this is Cattelan in fine form. Taking the Duchampian approach to
> the art market is fine, except for the sales amount.
> In some ways, the gesture is a bit of a problem based on this, but on the
> other hand, perhaps Cattelan nails the critique in doing so.
> Dan Detuna's eating of the banana was good but expected, and the scrawl
> about Epstein just seemed purely tactical.
> The iterations of derivatives is amusing, but in so doing, I think that it
> shows the frustrations about the art world, its level of
> hypercapitalization, hyperprofessionalism, hypermarketing, and in my
> opinion, I feel it is a harbinger of a correction in the next few years if
> not sooner.
>
> Good on Cattelan for showing the Emperor's clothes, and selling them to
> him. It was a good Duchampian crit on the current state of the art world.
> And don't get me wrong, there is nothing wrong with selling art, but as
> Lovink's new anthology on design states, and Schnayer's book, Boom both
> talk about is that the art world have changed so much in the past 15 years,
> and I share Marc's differences regarding the dominance of the neoliberal
> influence in it.  As some of my students tell me, their first impulse is to
> shape their practices to the market even before their vision is formed.  I
> find this perverse.
> I don't think the canary in the coal mine will shut it down as long as the
> bosses figure there is still coal to mine.
> And maybe this is a bad metaphor; perhaps we should urge shutting down the
> coal mine in favor of sustainable and renewable models.
> Just metaphors.
>
> On Tue, 10 Dec 2019 18:21:35 +, Max Herman via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>
> Hi all,
>
> I'm wondering if this art work can be mapped usefully or helpfully by a
> network hypothesis, as I'm trying to do vis-a-vis the Mona Lisa in "The
> Work of Art in the Age of Network Reproduction."
>
> It does seem that the work is fundamentally designed to create ripples
> across media networks and society, in myriad forms like conversation,
> criticism, tweets, selfies, high-fives, etc.  Maybe the price is designed
> to give the artist three years of living expenses.  The duct tape
> represents the cheapest and most obvious way to "affix" an object to a
> location ( or as Stevens says, "let the lamp affix its beam").
>
> Bananas represent empire, colonialism, and injustice (as in a banana
> republic), mass consumption, food networks, deforestation, racism (as when
> thrown onto football pitches), phallocentrism, poverty, etc.
>
> When a banana is opened and consumed, you have a waste product -- a peel.
> When someone steps on a peel and slips, that's a system intervention of a
> comic sort (though it's also a huge danger of severe brain injury).  Comedy
> is a staged performance where conflict and danger are resolved peacefully,
> without death as in the case of tragedy, with the participants laughing and
> feeling relief, a rescue from disaster and absolution from the guilt of
> unacknowledged wrongdoing.  Comedians are people who try to make comedy,
> not just the ones who succeed.
>
> Has this all already been said?  Maybe so!  Does it relate to "Distant
> Feelings"?  I think there is a correlation that reflects very well on
> Abrahams' work.  It's not so much the object, but the network flow in time
> 

Re: [NetBehaviour] Time

[Paul Hertz via NetBehaviour]

Wondering if you know Ronald Johnson's extended poemtext ARK?

-- Paul


On Wed, Nov 27, 2019 at 12:26 PM Alan Sondheim  wrote:

>
>
> Time
>
>
> http://www.alansondheim.org/before.jpg
> http://www.alansondheim.org/here.jpg
> http://www.alansondheim.org/after.jpg
>
> seert dna seiks dna slair eht ,swonk ti gnith eht sdneb enil chae
> each line bends the thing it knows, the rails and skies and trees
>
> of death. Hannibal's elephants haunt the Alps. Where nothing
> skeletons, dust, death, hunger.:i forgot you jennifer landscape
> my mother died, what happens in any death: dispersion past, bones,
> auroras among deaths and births stars, i wait, this firsthand when
> !devoR !Devor !Devour death-like SERIF!! doings await, horizons is
> good, there are closeups autopsies on television closer it gets to
> vectors wayward closet attachments parts news around here isn't
> iris-maps continents seeps into - turning me Julu-Jennifer nodes
> ...ereh yrtsimehc ruoy si close (STDOUT); yM looks closely at eyes,
> written. close. will be mind/mine, root directory. Then
> noitatsurcne detnioj ynit sllaw srevoc noitcerruser
>
> ,yks ruoy ni nus eht fo noitisop tcaxe eht ,yad fo emit ruoy fo
> of your time of day, the exact position of the sun in your sky,
> s/lair
>
>
> +++
>
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Re: [NetBehaviour] 97 questions about art

[Paul Hertz via NetBehaviour]

41. If I am deeply moved by a work of art, believing it to be by the artist
C and then discover that it was actually by the forger D does this
invalidate my feelings?

a fave,
-- Psul

On Mon, Jun 3, 2019 at 3:51 PM Michael Szpakowski 
wrote:

> I have a short text in the new volume of Borderless Philosophy .
> https://docs.wixstatic.com/ugd/e2a905_df53424e9f454e9080b97f54dbc370f3.pdf
> Have a read if you have a mo & are so inclined!
>
> warmest wishes
> Michael
> ___
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> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>


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Re: [NetBehaviour] bees on the balcony :)

[Paul Hertz via NetBehaviour]

Garlic mixed with water spray is an old folk remedy for aphids, though
ymmv.

-- Paul

On Thu, Apr 4, 2019, 9:43 AM Helen Varley Jamieson <
he...@creative-catalyst.com> wrote:

> just wanted to report some good ecological news: moving the insect hotel
> to the sunnier end of the balcony has had a pretty immediate effect -
> lovely black and dark orange native bees are busy coming in & out of the
> little bamboo tubes & doing their things inside. thanks for the tip, mez! :)
>
> not so great is the population explosion of aphids on the basil & little
> black fly thingies on the mint & the rucola. hopefully my digital control
> methods (slaughter by finger squishing) & some water spraying will stop
> them from getting out of control until the ladybirds & hoverflies discover
> this new fast-food outlet ...
>
> h : )
> --
>
> helen varley jamieson
>
> he...@creative-catalyst.com
> http://www.creative-catalyst.com
> http://www.upstage.org.nz
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Re: [NetBehaviour] Two Free Books by Alan Sondheim, Originally Published by Salt!

[Paul Hertz via NetBehaviour]

Your fellow meerkats thank you and are ready to emerge into the sunshine
once the shadow of the hawk is well past.

-- Paul


On Mon, Feb 25, 2019 at 10:30 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> I have no idea if anything I've done anywhere is ranked but I usually
> close my eyes and hide in the meerkat tunnel. :-)
>
> On Mon, Feb 25, 2019 at 11:03 AM Helen Varley Jamieson <
> he...@creative-catalyst.com> wrote:
>
>> i saw that on lulu, books have a sales rank. the CyPosium book is ranked
>> at 64947 ... :D
>> On 25.02.19 13:19, Alan Sondheim wrote:
>>
>>
>>
>> and the pdf is free. I also have a couple of things on Lulu, or at least
>> they were on Lulu, one of then is
>> Azure, Nature, Digital by Alan Sondheim, Blue Lion Books, 2009 .
>> It's large, it should still be available, I think it might have been
>> expensive, and I know no one who looked at it.
>>
>> The first section is The Analog and the Digital (Alan Sondheim with Sandy
>> Baldwin); the second is ZZ.
>>
>> The subtitle to the whole is Phenomenologies of the Analogic and Digital,
>> Deep Language, Nature
>>
>> I'd love to know if anyone might order this on Lulu, how much it costs,
>> whether they're satisfied, etc. There was little or no advertising. The
>> pages are unnumbered but appear to be around 500...
>>
>> Do let me know and thanks!, Alan
>>
>> On Mon, 25 Feb 2019, Helen Varley Jamieson wrote:
>>
>>
>> i don't think lulu (or print-on-demand in general) is about making money
>> -
>> at least, not for the author!! :D but it does mean that people who like
>> to
>> read words on paper have the option to get a print copy (of course they
>> can
>> also print out a pdf ... ).
>>
>> On 22.02.19 16:49, Alan Sondheim wrote:
>>
>>
>>   I'd rather distribute them for free; when I've had things on
>>   Lulu, I never made any money, and this way, the work can move
>>   around freely from that kind of model.
>>
>>   Thanks!, Alan
>>
>>   On Fri, 22 Feb 2019, Helen Varley Jamieson wrote:
>>
>>
>> that is crap that you weren't informed about it, but
>> good that you have the
>> pdfs. have you thought about putting them onto a
>> print-on-demand site like
>> Lulu?
>>
>> On 21.02.19 23:26, Alan Sondheim wrote:
>>
>>
>> ? Two Free Books by Alan Sondheim, Originally Published
>> by
>> Salt!
>>
>> ? http://www.alansondheim.org/Saltfront.jpg
>> ? http://www.alansondheim.org/Saltback.jpg
>>
>> ? http://www.alansondheim.org/deeplanguage.pdf
>> ? Deep Language, Salt Publishing, Cambridge, 2010
>>
>> ? http://www.alansondheim.org/TheWayward.pdf
>> ? The Wayward, Salt Publishing, Cambridge, 2004
>>
>> ? Both of these books sold poorly and were
>> unceremoniously
>> dropped
>> ? by Salt. I wasn't informed, and had no chance to buy
>> additional
>> ? copies myself - I only found out when I tried to order
>> some a
>> ? year or so ago. I'm also no longer included on the
>> authors list.
>> ? Apparently a very large number of other authors were
>> dropped as
>> ? well. I do believe we should have been informed that
>> this was
>> ? going to happen. In any case, here are two free books
>> for you!
>>
>> ? The Wayward is based on MOOs, Talkers, MUDs, and other
>> forms of
>> ? digital texting; there are a number of "playlets" and
>> other
>> ? kinds of dialogs in it. The blurbs are by Maria Damon
>> and
>> ? Stephanie Strickland. (They're not included in the
>> pdf.)
>>
>> ? Deep Language is wilder, occupying positions between
>> codework
>> ? and text, classical language, and semiotic splatter.
>> The
>> two
>> ? books resonate with each other. The blurbs are by Maria
>> Damon
>> ? and John Cayley. (Again, they're not included in the
>> pdf.)
>>
>> ? The books were beautifully printed; they were just
>> taken
>> down.
>> ? Think of them as orphans, with beautiful deep and
>> wayward
>> ? language, and enjoy.
>>
>>
>>
>> ? ___
>> ? 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
>>  

Re: [NetBehaviour] Please share your ritual artworks for disarming oppressors today

[Paul Hertz via NetBehaviour]

Not a ritual for the solstice, but a pebble in my pocket to jog memory to
better moments when I touch it:

https://vimeo.com/79936247

-- Paul


On Fri, Dec 21, 2018 at 9:03 AM Ruth Catlow via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hello,
>
>
> Please share your ritual artworks for disarming oppressors today.
>
>
> 8 years ago Marc and I made this
>
> *At Winter equinox we burn The Sun *
>
> https://vimeo.com/18325342
>
>
> #WinterSolstice #ArtRituals
>
> [image: weburn.png]
> <3
> Ruth
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>


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