[NetBehaviour] Mis/take (self-interrogation)
Mis/take Above all, my work is philosophical. It insists not on the letter of philosophy, but on its dissemination contamination, of and through media. It insists on the visual as always already ikonic, inscription as present and concrete. It insists on the final grounds of unutterable pain and death and the cipher that exists, not as replacement, but as fool's errand. The mistake is to read my work otherwise, as neurosis or autobiography; the latter is always lies, fabrications and the narratology of the predicate, and the former is no better or worse than anyone else's, certainly nothing that structures the text. If my text is a symptom, it is a symptom of the well, not the hospital, and of a deliberate abject that refuses concealment or conciliation. When I write what I might consider codework, the issues exist, not in a traditional reading of the surface, but in the production of a forest of signs that ground the surface as residue, hardly symbolic, but abject debris of the future anterior of the written. I am always aware of this, this structure and its motility, in every 'literary' text I write; I am more concerned with this level than that of the surface, which seems a production in the sense that a play may be a production, but is a playing as well, with or without the theater. In other words, the forest of signs are trees, im/plants, physiology. In other words, the signs are signposts. When I write a text on mathematics, it is not an exercise, but through 0 and 1, a penetration among analogic and digital discourses, an entangle- ment refusing an unraveling. To the Borromean knot I oppose the plate trick of braids rotating through 720 degrees of 3-space, deeper melding of structures than meets the eye, or rather structures that meet the eye only dynamically and not at all through a laid n-dimensional diagram with time as afterthought. Not a formal exercise, however defined but the concrete movement of organisms through space, taking up time, proceeding. In this regard my motion capture work is not an exercise in topology or choreography, but a philosophical investigation into the topology of the body, opposed or adjunct to a topography which is thereby rendered political or environmental, not to mention medical, within and without a phenomenology of pain and pleasure. My characters, Julu, Jennifer, Alan, Nikuko, are actants in Heideggerian drama among MOOs, talkers, and other virtual worlds. They stand for nothing and do not stand-in; they are ikonic, one might say abject, on the order of a thud or philosophical gesture. This is especially true of Alan Dojoji or Julu Twine, who have inherited what Nikuko originally proffered in MOOs or internet relay chat. I cannot force a reader to apprehend the philosophical content of my work - what I see as the heart of what I do, but I can say that anything else, anything bypassing or ignoring that, is a form of misrecognition that mistakes my circumstances for a world or word or ward, or rather attempts to interpret the world or my vision of it, through my (personal) circum- stances which are known to varying degrees, as usual for all of us and among us. This is in direct opposition to how I think the world, what I grapple with: the ultimate alienness of a existence that can only be hinted it - surfaces, for example, skewed within liquid architectures of virtual worlds, or languaging decoded to the point of abject exhaustion, where non-sense borders on truth's frenzy in the face of an unknown. The world is an unknown; knowledge is always already on the bring of annihilation, catastrophic; it cannot decode its own hunger or power; it cannot exist without extraneous and useless style. All mistakes are to assume otherwise, but it is only through mistakes, miss-takes, that anything is acknowledged or apprehended. Decoding is endless; multi- verses fill incomprehensible gaps; it is within the diacritical that any progress at all is made. The chasm I acknowledge is the chasm within all of us; the flesh that falls apart here is the same as elsewhere. It is the philosophical that is the obvious beyond of religion; it gives the remnant a voice, and is itself the remnant of voice. The 0-1 brackets nothing. Murmur escapes the wall. Beyond neither 0 nor 1 is the murmur. But it is philosophy, in the guise of philosophy, and hopefully, in the midst of the noise of my endless klein bottles of texts, this is what comes through - not a philosophy of axiomatics or foundations, not a philosophy of absolutes or technophilias, but a philosophy constantly under erasure - an erasure in which, it turns out, the flesh is scraped raw, without an emergent. Synergy only goes so far, and only inso-far as one might deterritorialize the world, which means nothing, reduces to the ashes of the grave, the cries of the wounded, the anonymities of the leading-to-slaughters, all on the levels of histories under erasure as well. ___ NetBe
Re: [NetBehaviour] Mis/take (self-interrogation)
Dear Alan Very informative and evocative text! Explaining an expert's attitude towards a proper/better understanding - and a clarification as well - of a life-long dedication to idio- syncratic writings i.e. textual existence Serving as a life-line for fellow 'artists' Bravo! Andreas Maria Jacobs w: http://www.nictoglobe.com w: http://burgerwaanzin.nl On May 25, 2011, at 10:40, Alan Sondheim wrote: > > > Mis/take > > Above all, my work is philosophical. It insists not on the letter of > philosophy, but on its dissemination contamination, of and through > media. > It insists on the visual as always already ikonic, inscription as > present > and concrete. It insists on the final grounds of unutterable pain and > death and the cipher that exists, not as replacement, but as fool's > errand. > > The mistake is to read my work otherwise, as neurosis or > autobiography; > the latter is always lies, fabrications and the narratology of the > predicate, and the former is no better or worse than anyone else's, > certainly nothing that structures the text. If my text is a symptom, > it is > a symptom of the well, not the hospital, and of a deliberate abject > that > refuses concealment or conciliation. > > When I write what I might consider codework, the issues exist, not > in a > traditional reading of the surface, but in the production of a > forest of > signs that ground the surface as residue, hardly symbolic, but abject > debris of the future anterior of the written. I am always aware of > this, > this structure and its motility, in every 'literary' text I write; I > am > more concerned with this level than that of the surface, which seems a > production in the sense that a play may be a production, but is a > playing > as well, with or without the theater. > > In other words, the forest of signs are trees, im/plants, physiology. > > In other words, the signs are signposts. > > When I write a text on mathematics, it is not an exercise, but > through 0 > and 1, a penetration among analogic and digital discourses, an > entangle- > ment refusing an unraveling. To the Borromean knot I oppose the plate > trick of braids rotating through 720 degrees of 3-space, deeper > melding of > structures than meets the eye, or rather structures that meet the > eye only > dynamically and not at all through a laid n-dimensional diagram with > time > as afterthought. Not a formal exercise, however defined but the > concrete > movement of organisms through space, taking up time, proceeding. > > In this regard my motion capture work is not an exercise in topology > or > choreography, but a philosophical investigation into the topology of > the > body, opposed or adjunct to a topography which is thereby rendered > political or environmental, not to mention medical, within and > without a > phenomenology of pain and pleasure. > > My characters, Julu, Jennifer, Alan, Nikuko, are actants in > Heideggerian > drama among MOOs, talkers, and other virtual worlds. They stand for > nothing and do not stand-in; they are ikonic, one might say abject, > on the > order of a thud or philosophical gesture. This is especially true of > Alan > Dojoji or Julu Twine, who have inherited what Nikuko originally > proffered > in MOOs or internet relay chat. > > I cannot force a reader to apprehend the philosophical content of my > work > - what I see as the heart of what I do, but I can say that anything > else, > anything bypassing or ignoring that, is a form of misrecognition that > mistakes my circumstances for a world or word or ward, or rather > attempts > to interpret the world or my vision of it, through my (personal) > circum- > stances which are known to varying degrees, as usual for all of us and > among us. This is in direct opposition to how I think the world, > what I > grapple with: the ultimate alienness of a existence that can only be > hinted it - surfaces, for example, skewed within liquid > architectures of > virtual worlds, or languaging decoded to the point of abject > exhaustion, > where non-sense borders on truth's frenzy in the face of an unknown. > > The world is an unknown; knowledge is always already on the bring of > annihilation, catastrophic; it cannot decode its own hunger or > power; it > cannot exist without extraneous and useless style. All mistakes are to > assume otherwise, but it is only through mistakes, miss-takes, that > anything is acknowledged or apprehended. Decoding is endless; multi- > verses fill incomprehensible gaps; it is within the diacritical that > any > progress at all is made. The chasm I acknowledge is the chasm within > all > of us; the flesh that falls apart here is the same as elsewhere. It > is the > philosophical that is the obvious beyond of religion; it gives the > remnant > a voice, and is itself the remnant of voice. The 0-1 brackets nothing. > Murmur escapes the wall. Beyond neither 0 nor 1 is the murmur. > > But
[NetBehaviour] My insistence you
On yer bike! You won't be offended by my usage On yer bike! Offended by my Hope your okness is satisfactory Hope your offense at my being Satisfies On yer bike! 64bit run time talc error Hope your satisfaction expires! On yer bike! Urine lick. Hope your insider luck My insistence permits me Hope your knots offend me My boredom anoints On yer bike! Sent using BlackBerry® from Orange ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Mis/take (self-interrogation)
Alan; Thank you for this. It was much needed. -Joel - Original Message - From: "Alan Sondheim" To: Sent: Wednesday, May 25, 2011 1:40 AM Subject: [NetBehaviour] Mis/take (self-interrogation) Mis/take Above all, my work is philosophical. It insists not on the letter of philosophy, but on its dissemination contamination, of and through media. It insists on the visual as always already ikonic, inscription as present and concrete. It insists on the final grounds of unutterable pain and death and the cipher that exists, not as replacement, but as fool's errand. The mistake is to read my work otherwise, as neurosis or autobiography; the latter is always lies, fabrications and the narratology of the predicate, and the former is no better or worse than anyone else's, certainly nothing that structures the text. If my text is a symptom, it is a symptom of the well, not the hospital, and of a deliberate abject that refuses concealment or conciliation. When I write what I might consider codework, the issues exist, not in a traditional reading of the surface, but in the production of a forest of signs that ground the surface as residue, hardly symbolic, but abject debris of the future anterior of the written. I am always aware of this, this structure and its motility, in every 'literary' text I write; I am more concerned with this level than that of the surface, which seems a production in the sense that a play may be a production, but is a playing as well, with or without the theater. In other words, the forest of signs are trees, im/plants, physiology. In other words, the signs are signposts. When I write a text on mathematics, it is not an exercise, but through 0 and 1, a penetration among analogic and digital discourses, an entangle- ment refusing an unraveling. To the Borromean knot I oppose the plate trick of braids rotating through 720 degrees of 3-space, deeper melding of structures than meets the eye, or rather structures that meet the eye only dynamically and not at all through a laid n-dimensional diagram with time as afterthought. Not a formal exercise, however defined but the concrete movement of organisms through space, taking up time, proceeding. In this regard my motion capture work is not an exercise in topology or choreography, but a philosophical investigation into the topology of the body, opposed or adjunct to a topography which is thereby rendered political or environmental, not to mention medical, within and without a phenomenology of pain and pleasure. My characters, Julu, Jennifer, Alan, Nikuko, are actants in Heideggerian drama among MOOs, talkers, and other virtual worlds. They stand for nothing and do not stand-in; they are ikonic, one might say abject, on the order of a thud or philosophical gesture. This is especially true of Alan Dojoji or Julu Twine, who have inherited what Nikuko originally proffered in MOOs or internet relay chat. I cannot force a reader to apprehend the philosophical content of my work - what I see as the heart of what I do, but I can say that anything else, anything bypassing or ignoring that, is a form of misrecognition that mistakes my circumstances for a world or word or ward, or rather attempts to interpret the world or my vision of it, through my (personal) circum- stances which are known to varying degrees, as usual for all of us and among us. This is in direct opposition to how I think the world, what I grapple with: the ultimate alienness of a existence that can only be hinted it - surfaces, for example, skewed within liquid architectures of virtual worlds, or languaging decoded to the point of abject exhaustion, where non-sense borders on truth's frenzy in the face of an unknown. The world is an unknown; knowledge is always already on the bring of annihilation, catastrophic; it cannot decode its own hunger or power; it cannot exist without extraneous and useless style. All mistakes are to assume otherwise, but it is only through mistakes, miss-takes, that anything is acknowledged or apprehended. Decoding is endless; multi- verses fill incomprehensible gaps; it is within the diacritical that any progress at all is made. The chasm I acknowledge is the chasm within all of us; the flesh that falls apart here is the same as elsewhere. It is the philosophical that is the obvious beyond of religion; it gives the remnant a voice, and is itself the remnant of voice. The 0-1 brackets nothing. Murmur escapes the wall. Beyond neither 0 nor 1 is the murmur. But it is philosophy, in the guise of philosophy, and hopefully, in the midst of the noise of my endless klein bottles of texts, this is what comes through - not a philosophy of axiomatics or foundations, not a philosophy of absolutes or technophilias, but a philosophy constantly under erasure - an erasure in which, it turns out, the flesh is scraped raw, without an emergent. Synergy only goes so far, and only inso-far as one might deterritorialize the world, which means nothing, reduces
Re: [NetBehaviour] Mis/take (self-interrogation)
Thank you! (And to others who have replied.) I agree; I think that there are people who don't understand that my work is work, that it's calculated, that it's dealing with issues that aren't personal. I don't know if one short post/essay can modify this, but I hope so. - alan On Wed, 25 May 2011, Joel Weishaus wrote: > Alan; > > Thank you for this. > It was much needed. > > -Joel > > > - Original Message - > From: "Alan Sondheim" > To: > Sent: Wednesday, May 25, 2011 1:40 AM > Subject: [NetBehaviour] Mis/take (self-interrogation) > > > > > Mis/take > > Above all, my work is philosophical. It insists not on the letter of > philosophy, but on its dissemination contamination, of and through media. > It insists on the visual as always already ikonic, inscription as present > and concrete. It insists on the final grounds of unutterable pain and > death and the cipher that exists, not as replacement, but as fool's > errand. > > The mistake is to read my work otherwise, as neurosis or autobiography; > the latter is always lies, fabrications and the narratology of the > predicate, and the former is no better or worse than anyone else's, > certainly nothing that structures the text. If my text is a symptom, it is > a symptom of the well, not the hospital, and of a deliberate abject that > refuses concealment or conciliation. > > When I write what I might consider codework, the issues exist, not in a > traditional reading of the surface, but in the production of a forest of > signs that ground the surface as residue, hardly symbolic, but abject > debris of the future anterior of the written. I am always aware of this, > this structure and its motility, in every 'literary' text I write; I am > more concerned with this level than that of the surface, which seems a > production in the sense that a play may be a production, but is a playing > as well, with or without the theater. > > In other words, the forest of signs are trees, im/plants, physiology. > > In other words, the signs are signposts. > > When I write a text on mathematics, it is not an exercise, but through 0 > and 1, a penetration among analogic and digital discourses, an entangle- > ment refusing an unraveling. To the Borromean knot I oppose the plate > trick of braids rotating through 720 degrees of 3-space, deeper melding of > structures than meets the eye, or rather structures that meet the eye only > dynamically and not at all through a laid n-dimensional diagram with time > as afterthought. Not a formal exercise, however defined but the concrete > movement of organisms through space, taking up time, proceeding. > > In this regard my motion capture work is not an exercise in topology or > choreography, but a philosophical investigation into the topology of the > body, opposed or adjunct to a topography which is thereby rendered > political or environmental, not to mention medical, within and without a > phenomenology of pain and pleasure. > > My characters, Julu, Jennifer, Alan, Nikuko, are actants in Heideggerian > drama among MOOs, talkers, and other virtual worlds. They stand for > nothing and do not stand-in; they are ikonic, one might say abject, on the > order of a thud or philosophical gesture. This is especially true of Alan > Dojoji or Julu Twine, who have inherited what Nikuko originally proffered > in MOOs or internet relay chat. > > I cannot force a reader to apprehend the philosophical content of my work > - what I see as the heart of what I do, but I can say that anything else, > anything bypassing or ignoring that, is a form of misrecognition that > mistakes my circumstances for a world or word or ward, or rather attempts > to interpret the world or my vision of it, through my (personal) circum- > stances which are known to varying degrees, as usual for all of us and > among us. This is in direct opposition to how I think the world, what I > grapple with: the ultimate alienness of a existence that can only be > hinted it - surfaces, for example, skewed within liquid architectures of > virtual worlds, or languaging decoded to the point of abject exhaustion, > where non-sense borders on truth's frenzy in the face of an unknown. > > The world is an unknown; knowledge is always already on the bring of > annihilation, catastrophic; it cannot decode its own hunger or power; it > cannot exist without extraneous and useless style. All mistakes are to > assume otherwise, but it is only through mistakes, miss-takes, that > anything is acknowledged or apprehended. Decoding is endless; multi- > verses fill incomprehensible gaps; it is within the diacritical that any > progress at all is made. The chasm I acknowledge is the chasm within all > of us; the flesh that falls apart here is the same as elsewhere. It is the > philosophical that is the obvious beyond of religion; it gives the remnant > a voice, and is itself the remnant of voice. The 0-1 brackets nothing. > Murmur escapes the wall. Beyond neither 0 nor 1 is the murmur. > >
[NetBehaviour] McLuhan Centennial in Rome: The birth of the Electronic Man
The birth of the Electronic Man | La nascita dell'Uomo Elettronico [italiano in fondo] *** Something wonderful is about to happen. http://electronicman.artisopensource.net/index.php?i=1 100 years after McLuhan’s birth we all have the chance of becoming part of the body and mind of the Electronic Man. *** The Electronic Man The happy event will take place in Rome, on May 31st, 2011, during the celebration of McLuhan’s centennial, and it will engage everyone, everywhere. Join us in the birth of the Electronic Man by giving it one of your emotions as a present! It will only take you a couple of minutes: * download the PDF file at the address http://electronicman.artisopensource.net/electronic-man-qrcode-stickers-a4.pdf * print it out: it contains the stickers that allow people to become part of the electronic man * cut the stickers apart, and attach them somewhere in your city, in your office, in your favourite bar, in your school, wherever you want * take a picture of the sticker and send it to us at i...@artisopensource.net If you want can include your name, a link to your website, and a short bio: we will include all images and info at the exhibit for the big event for McLuhan’s Centennial celebrations in Rome, and on the Electronic Man’s website * if you want you can scan the QRCode on the sticker with your smartphone: it will take you directly to the Electronic Man, and you will be able to join its ubiquitous body Or, if you don’t know how to scan a QRCode, you can go to this address: http://electronicman.artisopensource.net/index.php?i=1 (both modes will ask you for your location: it is used to understand the distribution of the body of the Electronic Man, we won’t do anything bad with/to your info, and we will throw it away immediately) *** Please spread this message! The Electronic Man is an opportunity to feel connected to your fellow humans! And please come to the event in Rome if you’re close by: you will experience the birth of the Electronic Man. *** The Electronic Man http://electronicman.artisopensource.net *** Credits Salvatore Iaconesi, concept | design | technology Oriana Persico, communication | process | networks FakePress Publishing, production Art is Open Source, production Maria Pia Rossignaud, curator | production Media2000 & Associazione Amici di Media2000, production Derrick de Kerckove, scientific direction | inspiration Marshall McLuhan, this project could not have existed without him :) *** More info at: McLuhan Centennial in Rome http://www.mediaduemila.it/?p=3612 Art is Open Source http//www.artisopensource.net FakePress http://www.fakepress.it Media2000 http://mediaduemila.it McLuhan Galaxy http://www.mcluhangalaxy.net/ [ITALIANO] *** La nascita dell'Uomo Elettronico *** Sta per succedere una cosa meravigliosa. http://electronicman.artisopensource.net/index.php?i=1 100 anni dopo la nascita di McLuhan abbiamo la possibilità di unirci al corpo e la mente dell'Uomo Elettronico. *** The Electronic Man Il lieto evento avverrà a Roma, il 31 Maggio 2011, durante la celebrazione del centenario della nascita di Marshall McLuhan, e coinvolgerà tutti, in ogni luogo del pianeta. Unisciti a noi per la nascita dell'Uomo Elettronico donando una tua emozione! Ci vorranno solo pochi minuti: * scarica il PDF a questo indirizzo http://electronicman.artisopensource.net/electronic-man-qrcode-stickers-a4.pdf * stampalo: contiene gli adesivi che permettono alle persone di unirsi all'Uomo Elettronico * ritaglia gli adesivi e incollali da qualche parte nella tua città, nel tuo ufficio, nel tuo bar preferito, nella tua scuola, dovunque tu voglia * fai una foto all'adesivo e inviacela a i...@artisopensource.net Se vuoi puoi includere il tuo nome, il link al tuo sito web e una breve biografia: esporremo queste immagini e informazioni durante il grande evento a Roma per le celebrazioni del centenario della nascita di McLuhan, e sul sito dell'Uomo Elettronico * se vuoi puoi usare il tuo smartphone per leggere il QRCode sullo sticker: ti porterà direttamente all'Uomo Elettronico e anche tu potrai unirti al suo corpo ubiquo Oppure, se non sai come leggere un QRCode, puoi andare direttamente a questo indirizzo: http://electronicman.artisopensource.net/index.php?i=1 (tutte e due le modalità ti chiederanno la tua posizione geografica: serve per capire come è distribuito geograficamente il corpo dell'Uomo Elettronico; noi non faremo nulla con i tuoi dati, e li cancelleremo immediatamente) *** Per favore diffondi questo messaggio! L'Uomo Elettronico è una opportunità per sentirti connesso con i tuoi compagni umani! E vieni all'evento di Roma se sei da queste parti: potrai vedere la nascita dell'Uomo Elettronico. *** The Electronic Man http://electronicman.artisopensource.net *** Credits Salvatore Iaconesi, concept | design | technology Oriana Persico, communication | process | networks FakePress Publishing, production Art is Open Source, production
[NetBehaviour] the accompaniment of quaking aspens
the accompaniment of quaking aspens http://www.alansondheim.org/aspen.mp4 industrial / visual transformations of wood and fire (& there's a move afoot to open up hunting season on manatees) ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
