Stamped from the Beginning – Kendi

Continuing to pry my eyes open to the wide ignorance of growing up a privileged white male: a darkness that perhaps could have been dispelled by the obvious evidence appearing, bright, over the years. The tar-paper huts where the elementary school bus stopped, picking up many of the Black students at our rural Maryland school 35 miles outside of Washington, D.C.—south of the Mason-Dixon Line; at ten y.o., riding past “Resurrection City” on the Mall in D.C. during the Poor People’s Campaign in 1968; completely unaware of the geography of roads not taken in that long-ago rural countryside as they passed through the African-American settlements outside of the “regular” towns; blindness mixed with a slowly maturing wonder at and deep respect for African-American creativity, intelligence, and sensitivity. I surely didn’t understand the full import of the lyrics in Stevie Wonder’s “Living for the City” from his Innervisions album even after doing a report on it in 11th grade English class; nor the complexities involved in a course I took, “The Economics of Poverty,” while taking a year away from engineering school back in 1979. Maybe it was Lightnin’ Hopkins who really cracked open my soul. So many points where knowledge and feeling would have fired a deeper awareness of the ongoing and severely compromised conditions of social justice in the United States. There was not enough curiosity available within privilege.

Kendi, Ibram X. Stamped from the Beginning: The Definitive History of Racist Ideas in America. Second trade paperback edition. New York, NY: Bold Type Books, LLC, 2023.

Tracing the historical roots of ‘racist thought’ in Amurika up to contemporary times, this is a challenging read. The extraordinary level of detail and huge number of players across 400 years makes it sometimes difficult to hold onto all the facts. But the main ‘plot,’ racism, is the important point to be dissembled.

Thanks, George, for recommending this one, and thanks, Rick for earlier recommending:

Wilkerson, Isabel. Caste: The Origins of Our Discontents. Trade paperback edition. New York, NY: Random House, 2023.

and I would also include

Hannah-Jones, Nikole and New York Times Company, eds. The 1619 Project: A New Origin Story. First edition. New York, NY: One World, 2021.

and

Douglass, Frederick. Narrative of the Life of Frederick Douglass, an American Slave. Boston, MA: Anti-Slavery Office, 1845..

There are (many) Others whose histories I need yet to understand.

To Phyliss Wheatley
(First African Poetess)

No! Not like the lark, didst thou circle and sing,
High in the heavens on morn’s merry wing,
But hid in the depths of the forest’s dense shade,
There where the homes of the lowly were made,
Thou nested! Though fettered, thou frail child of night,
Thy melody trilled forth with naive delight;
And all through the throes of the night dark and long,
Earth’s favored ones harkened thy ravishing song,
So plaintive and wild, touched with Africa’s lilt;
Of wrong small complaint, sweet forgiveness of guilt-
Oh, a lyric of love and a paean of praise,
Didst thou at thy vespers, Dark Nightingale, raise;
So sweet was the hymn rippling out of the dark,
It rivalled the clear morning song of the lark.

Clifford, Carrie Williams. The Widening Light. Boston, MA: Walter Reid Company, 1922.

stalling, re-starting

The Surface Creek property, Cedaredge, Colorado, June ©2023 hopkins/neoscenes.
The Surface Creek property, Cedaredge, Colorado, June ©2023 hopkins/neoscenes.

Creative output sputters and stalls in the face of tapering life energy, with far too many menial tasks absorbing the dregs. Future creative engagement requires that I relinquish this living situation and move on, sooner than later. Sure, the maintenance, ordering, and re-wilding process may be understood as creative in a wide, cosmological sense: a performative action affecting the state of the macrocosm. The amount of time siphoned off into property upkeep, along with the demands of the ‘regular’ j-o-b has precipitated a high level of social isolation—something that I’m not used to, and something that’s not good. Driving the maintenance desperation is an acute and currently unavoidable fear-of-the-future. Sheesh. The ratio of my embodied energy level to the overall entropy of the situation is in the negative orders-of-magnitude level.

e::E(s) ≥ 10-5

With no capital to exploit in this terminally oligarchic nation, aside from whatever I can physically manipulate.

There is a limit to what I can do to ‘catch up’ on years of zero wealth accumulation in the stead of transnational creative engagement (aka, bottom-feeding). Options are limited, but success depends more on the vitality of will—closely allied with physical stamina these days—along a simple fearlessness to make it happen. Fear is so diffuse—and previously not a factor—that surely it can be overcome (again) with focused human engagement.

Plans are developing. The first is leaving full-time work-for-pay despite compromising long-term viability. The second is to liquidate the property. Optimizing it for resale will require maybe six dedicated months, maximum, before moving on. The real estate market will be in better stead next year, barring civil conflict or another irruption of the Gaian system. Expatriation now the first choice. The extremities of Babylon’s current incarnation—hardly imagined by even the most cynical internal critic, well-known to those looking on from the outside—are a grinding black hole.

I arrived at this working/living situation having prioritized human connection over a stable and lucrative career (in the extractives industry where I started, or elsewhere). Unlike a lot of folks who follow a specific, planned trajectory, honing their talents in a particular field, gaining seniority and capital, I bounced around. Partly to maintain face-to-face contact with a widely dispersed human network, but also to sustain a flexibility that allowed for spontaneous participation in particular creative situations appearing along the way. Some, once trusted, have decided to label that as opportunism. I’ll deal with that hurtful critique in another posting. My general trajectory, though, despite that label, in other ways, was a mistake even with the rich array of participatory experiences it brought me into. Prioritizing stability, the known, the familiar rhythms of regular and predictable employment (and cash flow), ensuring (insuring!) future viability: this is the leitmotif of survival in the capitalist system, the rewards for a reliable prole. I prioritized change, instability, serendipity, spontaneity, and am paying the price of that. The time value of the abstracted instrument of social viability—money—requires long-term dependence and living-for-the-future. Well, the future has arrived: viability and life is emphatically transitory, there’s only one go-round. As Richard Pryor extolled: “I don’t give a FUCK!”

And what of Art? and Creativity?

whispered:
It all started a 17th of January, one million years ago.
a man took a dry sponge and dropped it into a bucket full of water.
who that man was is not important.
he is dead, but art is alive.
I mean, let’s keep names out of this.
as I was saying, at about 10 o’clock, a 17th of January. one million
years ago, a man sat alone by the side of a running stream.
he thought to himself :
where do streams run to, and why?
meaning why do they run.
or why do they run where they run.
that sort of thing.
personally, once I observed a baker at work.
then a blacksmith and a shoemaker.
at work.
and I noticed that the use of water was essential to their work.
but perhaps what I have noticed is not important.
normal voice:
anyway the 17th goes into the 18th
then the 19th then the 20th
the 21st the 22d the 23d the 24th the 25th the 26th the 27th
the 28th the 29th the 30th the
31st.
of January.
thus time goes by.

Robert Filliou‘s Whispered Art History (excerpt)

[ED: a decidedly gendered, old-school statement from a Fluxus founder … there are contemporary, open, and ongoing events that arose around this text, establishing 17 January as Art’s Birthday. I used to participate, but haven’t lately. The last major Fluxus-related happening was Fluxus Akademie discussion/lunch at Mary‘s in Rösrath in 2013. And in the incommunicado haze of the past few months, I discover Mary’s gone, back in March. Yet another remembrance to craft, reminding: no time to lose.]

Calmness accompanies the whole. Fear accompanies the part. Intuition goes beyond the figure-ground focus of conscious perception.

Prather, Hugh. Notes to Myself: My Struggle to Become a Person. New York, NY: Bantam Books, 1990.

Minna Tarkka 1960 – 2023

Saddened to receive news from Andrew that friend, colleague, artist, researcher, producer, and facilitator Minna Tarkka had passed, far too young, on 27 August after a very brief illness.

Researcher Minna Tarkka received the state award for media art in December 2017, Helsinki, Finland. Photo credit: Martti Kainulainen / Lehtikuva.
Researcher Minna Tarkka received the state award for media art in December 2017, Helsinki, Finland. Photo credit: Martti Kainulainen / Lehtikuva.

I arrived in Helsinki, Finland, gritty-eyed, after an early morning flight from Reykjavík, in late August, 1994, on the first of many visits, sojourns, gigs, workshops, and residencies. After dropping my luggage at my friend Visa’s print-making studio on Jääkärinkatu, I made my way to Arabianranta and the University of Art and Design Helsinki (Taideteollinen korkeakoulu, or TAIK, now the Aalto University School of Arts, Design and Architecture), located then in the old Arabia porcelain factory on Hämeentie. I was in Helsinki for the International Symposium on Electronic Art (ISEA) and, later, for an international performance event (Fax You) at the Akademie Bookstore on Helsinki’s Night of the Arts with the Finnish artist, Visa Norros and others. ISEA was being hosted that year by the Media Lab at TAIK and directed by Minna Tarkka, a person who did things, who showed up, and who inspired others to show up and do things.

I first met Minna later that morning at the TAIK Arabianranta building on the 3rd Floor at the Media Lab—actually we collided in the hallway—auspicious and a bit embarrassing! She was dashing from Point A to Point B as Director during the very hectic symposium registration. After both of us proffered sheepish apologies and introduced ourselves, she took me around, introducing me to some of the media arts luminaries attending the symposium and to staff at the Lab. This was the first of many examples of her unsparing generosity. It was during the symposium that I fully entered her energized sphere of influence there in Finland, where we had a number of memorable dialogues around the ethics and creative possibilities of the rapidly expanding field of electronic media in which she was a thought pioneer. As Associate Professor at the Lab, she later facilitated my return in the spring of 1995 to teach a four-week course. And a few years following that, she was totally supportive of the course netculture that I developed and taught at the Lab in 2000-2001. Her parallel trans-disciplinary course, “Cultural Usability,” critically examined new media design that was inclusive of sociological, cultural, and technological perspectives. Years earlier in 1987, she was the founding Director of MUU, the ‘alternative’ arts organization that has since been a major international player in new media arts. And two years later, she was a founding member of AV-arkki yet another power-house media arts resource and artists’ association there in Finland.

In those earlier days of our acquaintance (and of the WWW itself), her research and art work around spatial metaphors in virtuality, the aesthetics of immersion, and the dynamics of interaction and consumption were of special interest to me, as she explored the fundamentals of human relation as mediated by this ‘new’ technology. She made some highly original and deep dives into the aesthetic and ethical dimensions in the design of spaces for interaction. And all the while, she worked as a facilitator of human encounter, organizing, producing, and participating in many subsequent events, culminating with the formation of another cultural NGO, m-cult in 2000. Right up to the present, m-Cult has exerted a strong influence on the international critical engagement of culture with technology, leading with a profound sense of humane social activism. Yet another influential expression of her energies.

I never made a portrait of her and there seem to be only a handful of poor digital traces. She was a bit shy and soft-spoken. I have a vague memory of the epic RinneRadio concert at ISEA and a huge crowd dancing away, Minna included. She knew how to have an expansive time! That she is gone is yet another loss to many of us who are still pacing about this stage. Minna you will be fondly remembered and deeply missed.

[ED: I will add any reflections and comments from others to this posting as they surface. I’ve been reaching out to friends and former colleagues from those former life-changing times.]

fornication and fish

Gotcha. Fokkin’-A. Score.

Juvenile humor takes over when creative paucity — an end condition of holistic exhaustion — approaches.

The energy necessary to create novel configurations of matter that will titillate the senses has a distinctive threshold. I cannot get there.

Instead I fill out endless repeated medical office forms. What a stupid, dysfunctional system this healthcare-for-profit monster is. Very many kind and thoughtful people embedded in a massive clusterfuck. Why are so many human systems so utterly useless? No thought or action directed at a real cessation of greed. Not to mention the systems that are overtly cruel and intentionally aggressive towards The Other. Certainly could be worse. My white and privileged self continues to etch the idea into normative neuro-paths that who I appear to be places me in a certain position in the social hierarchy. This etching is a good process. It requires that continual re-minding, else fish returns to a base (and void) relationship with water. Fish *must* meditate on what water is and why it is important, and, look around to see who else may be swimming about. Or drowning.

work?

On another front:

When work-for-pay gets no appreciation, positive encouragement, engaged feedback; when personal meetings are replete with wide, open-mouthed yawning and off-topic noise; when there are no collaborative synergies, no facilitation of cooperation, what’s the point? The paycheck. That’s it. What a sad way of going. When management is absent: no thought to productively optimizing the particular talents of the employees, lifting everyone up in an engaged process. I admit, in the past decades, in most situations, I find that the people I chose to surround myself or collaborate with are proactive, positive, creative, and engaged. Here, the antithesis, everyone is so overtasked with multiple projects (in general) that collaboration is only an extra burden, and creativity is focused on how to keep nose above the flood of demands pulling from every side.

The CGS (Colorado Geological Survey) is barely holding on within its new context at the School of Mines. Knowing the Machiavellian politic of academia, I suspect that the organization will gradually be gutted. And, although it may not face a total demise, since there is a legislative mandate behind it, poor management will allow it to simply shrivel into an institutional husk. Prop 112, though, may deal the final blow. If it passes, oil and gas drilling activity will effectively cease in Colorado, and this means the Severance Tax receipts will go away, and that’s where 80% of the CGS budget comes from.

There is no creative spark built into its public face, and with a majority of employees skewed towards retirement, new ideas, processes, or innovations are frowned upon. Yet another human structure that does not reach its potential: on the same track as the wider empire-in-decline …

Days there are numbered, by choice, for several of the staff. Maybe not finger-and-toe digits, but numbered.

the practice of freedom

Education either functions as an instrument which is used to facilitate integration of the younger generation into the logic of the present system and bring about conformity or it becomes the practice of freedom, the means by which men and women deal critically and creatively with reality and discover how to participate in the transformation of their world.

Paolo Freire in “Pedagogy of the Oppressed”

another shifting

The concept of living in a house sitting on the side of Mt. Zion—a house with a 350-foot mine (adit) off the laundry room—is beginning to recede as it gets cleared of belongings. Living in close proximity to 1.6-billion-year-old stuff, piled high, is … grounding. But why is there so little time taken to concentrate on place, and the energy that place imparts into the body. It’s Friday. Somehow a finality creeps in to sit next to life, a cozy acquaintance, even intimate. Instills a bit of panic, is this the last creation? Of course, what is that idea, creation, anyway, that so defines Life, even by its inverse? Answer is unknown to me.

Days spin with a ferocity not elsewise encountered. Little energy left by the end of each one, and the frequency of the cycle is ever more transitory.

Sky creates the only accessible continuity. That and the habit of watching it. A new experimental video work is budding. Not sure when I can execute, but I’ve got enough raw material, and I’ve got a fully licensed and current version of Final Cut on a new iMac Pro. We’ll see if there is enough time/energy outside of work to do anything about it.

one year down, ?? to go

A year has passed of life, of work. This year defined mostly by the constrictions imposed by the j-o-b. There are still days where I would rather drive my truck to the airport and board a flight to Berlin to resume a more creative life. A fear-of-future precludes that, and the knowledge of that fear itself eats away at what little creative mojo is still existing in belly.

There were some jarring interjections to this diminished life: several inspiring, electric, disturbing human encounters, and as a sparkling counterpoint, ripping through to the root of the lizard brain, the eclipse. Nothing like a jolt of totality to bring presence into being. Otherwise, creative production contracts to flaccid efforts that lack mindfulness. Something must be done.

two months in and now what

Père Ubu (Ubu Roi), from a woodcut by Alfred Jarry, April 1896

This blog is rapidly becoming the site of moribund emptiness. Material accumulates, but j-o-b interferes with any creative expression. This raises many questions relating to how life is lived versus how it may be lived. As energies enter later phases and levels, life-time comes to more crucial junctures: what to spend it on. Limited supply and no do-overs raise the price to that asymptotic limit: transcendence!

I think I understand William Blake. A man who brought his soul to life, at the expense of not living so much within the bounds of the social system. “A man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors…”

But then, as Empire teeters on what is left of its decaying foundation, what of intellect, creativity, spiritual movement?

“That’s One Big Belch For Man,

One Average ( Syncopated ) ( Plastic ) Hiccup For Mankind ….”

______ Ubu Roi V

***** ( five stars )
mise en scene & mobile app by the author of
Awaken The Giant Within

^^^^

workflow, capital, and creative action

Then there is the concept of “workflow” in digital production: it refers to the establishment of an input-processing-output sequence that navigates the many competing and conflicting variables introduced by the various hardwares/softwares involved. Some variables may be constrained with capital, others only with repetitive experience and feedback loops. Most variables are the effect of widely imposed standards introduced by corporate entities. more “workflow, capital, and creative action”

within the mean(s)

Comparison is a parasite endemic to the gut space of creativity (or is it?). In the creative moment churning presence is complete (or is it?). To compare is to step out of that moment. Attention moves to the recalled, the directed standard that comparison is predicated upon (Bateson’s ‘difference’). Centered creativity falters when full presence in the moment wavers. This is the crisis of the now, of the creative. Why this ablation of authentic process when clarity says that the creative needs no standard? It is enough that the available skills, such as they are in the moment: engage, and work proceeds. When life-energy turns to another process, the prior work is finished. It does not need to become, it simply exists in its own ground state in relation to the social system.

One might say that starting and ending points — those defining a ‘work’ — are arbitrary and subjective social abstractions.

Work is only the outgoing flow of life energies as we pass through this life. It is not that comparison is parasitic, it is life that is parasitic upon the reeling entropy of the cosmos…

Productivity and Existence

“A remarkable and charming man, your friend,” said the professor; “but what does he really do? I mean … in the intellectual sphere?”

“In the intellectual sphere…” I answered, “H’mm … in the intellectual sphere … he is simply there.”

“How do you mean?”

“Well, his occupation is not, in fact, of a very intellectual nature, and one cannot really assert that he makes anything out of his leisure time.”

“But his thoughts?”
more “Productivity and Existence”

Deep Resonant Networking panel

How do you know when something or someone is affecting you?

There are many ways of describing or modeling the dynamics of human encounter and collaborative relationship. The concept of resonance is a powerful tool for understanding the qualities that relate us to each other and to the world. Resonance is an intuitive (pre-)cognition where something, “when stimulated, spontaneously responds according to the natural guidelines on the particular phases of vital energy engendered in itself and active in the situation.”[1] Resonance is a ‘natural’ extension of a creative praxis: “Resonance allows the universe (or any of its parts) to influence a human being”.[2] One intention in creative collaboration, given that “[t]hings ‘energize’ each other,” is to propagate a resonance between the Self and the Other. While this is a very uncertain undertaking, it is one that in any instance has almost unlimited potentials.

This panel seeks to open a space for sharing and exploring experiences of resonance while helping define what it might mean to rely on such an intuitive feeling. In the context of the Bricolabs network, differences — location, culture, language, social background, and others — that are the realities of distributed creative action, often seen otherwise as divisive challenges, are overcome through ways of relating that transcend surface materialism. This transcendence might be framed as a deep resonant networking where energized participants establish trusting relationships based on a more ethereal vibe: maybe it’s about mojo! Join the conversation and let’s see if we find some resonant frequencies on which to groove.

[1] Roth, H.D., 1991. Psychology and Self-Cultivation in Early Taoistic Thought. Harvard Journal of Asiatic Studies, 51(2), pp.599-650.
[2] Kaptchuk, T.J., 2000. The Web That Has No Weaver: Understanding Chinese Medicine, New York, NY: McGraw-Hill.

systems

The basic idea behind the systems approach is that all relevant interests or values should be served by the kinds of change we can institute in our society and in nature. — Churchman

general systems theory, systems analysis, operations analysis, systems theory: is it possible to take this, maybe re-member Bertalanffy’s holism, and make something useful to creative production … ? Or is humanistic fear of systems thinking justified? Given that many aspects of the techno-social milieu we are embedded within are constructed on, many concepts are predicated on, the super-structure of systems. Doesn’t this justify at least a close look at the role of systems in effecting change in our life-trajectories?

At least it’s one pathway among others. Efficacy to be determined by future outcomes. But then, no-one will remember what the hell the initial conditions were anyway!

bricolabs @ pixelache

Helping Felipe, Jerneja, Bronac and other bricos get the following text out for our Pixelache Festival presence — still not sure that I can make it, logistically, between cost and timing: it will be a nice conclave of old and new friends, though, and a good landing back in Europe.

Bricolabs (https://bricolabs.net) is a fluid network created in 2006 to investigate — from a critical and creative perspective — the loop of free/libre/open content, software and hardware for community applications. Bricolabs promotes open debate and critical making on such themes, between people with diverse backgrounds, in areas of expertise from Latin America, Europe, Asia and North America. Special attention is given to affective networking as a shared value.

Responding in a collaborative fashion to the call to reflect on the theme “Facing North – Facing South,” Bricolabs is currently planning, organising and developing part of the Pixelache Helsinki 2013 programme. Bricolabs wants to bring a multilayer perspective to trans-local networking, engaging the participants of Pixelache 2013 in new ways of being as well as new ways of doing things together. Bricolabs proposes a critical perspective on the usual north/south dichotomy, interested and rooted in deep resonant networks where borders are seldom taken into account. This is as true for geographic boundaries as it is for disciplinary ones – recently Bricolabs members have turned their attention to anti-disciplinary collaboration as an escape from the common traps of western/northern paradigms of development.

The Bricolabs programme will include live remote sessions with a number of collaborative groups sharing their perspectives from different parts of the world, as well as an exhibition articulating models of open source culture, translocality, DIWO, and subjective infrastructures. Several practical workshops will be conducted along these same lines. The festival will give Bricolabs members a rare face-to-face opportunity to meet and organise working sessions for particular collaborative projects. Bricolabs will also be facilitating discussions and panels, portraying collective efforts that take place across diverse practices engaging the work of artists, developers, thinkers – thus redefining the geophysical and virtual ecologies of their practices, as well as methodologies in the context of open source models and the theme of the festival.

a little bit

Yup, a little bit of personality disorder will go a long way to stir things up in the idiosyncrasy department! Last evening, completely choking on creative output. It’s gotten to be too much of a predictable process. When not “out there” i.e., when ‘stuck’ in a single location, working at a jay-oh-bee, creative impulses narrow significantly. Acquisition of material becomes a spotty and herky-jerky affair. Squeezing bits of expression out during rare interludes. Oh, got a day ‘off’? Gonna work. Gotta work. With potential dislocation to Europe looming, only 3.5 months away or so. I only wish that the Brico/Pixelache project was two weeks later. It’s going to be a stress to get packed up, moved out, and on a plane in time to get to Helsinki by the 16th of May. Then, what to do after that — head first to Kiel, then to Koln and NRW, and then to Berlin and on to Lithuania if that works out. Then back to the US for long enough to tour a bit and then use the fall to hunt for a post-doc position in Europe. or Asia.

The Singapore gigs look interesting, but hmmm, that’s a whole ‘nother world! Have to research it a bit more. Back to the idiosyncrasy issue — this will make the search for a living venue all the more difficult. So far nothing has come along except at the microscopic level of individual encounters with Others, and the energized dances/dialogues that occur as the kernel of those encounters.

And another Brakhage Salon (“Celebrating Stan”) screening last night courtesy of Saranjan Ganguly who has continued the salons that Stan began years ago. It’s ten years since he passed now.

Spring Cycle, 1995

Visions in Meditation, #3, Plato’s Cave, 1990

Commingled Containers, 1997

Thot Fal’n, 1978

The Lion and Zebra Make God’s Raw Jewels, 1999

23rd Psalm Branch Part 1, 1966

Talk of passing, former inspiration, I wonder what Freshman film student Tara thinks about the grey-heads talking about a fallen giant. The works are mostly fine to see, several I’d not seen before.

There is a Brakhage Symposium happening in March that I will participate in, as usual, not on the official bill, but rather as professional (and rather unique) participant. Former student of Stan’s, colleague, and the guy who got him a custom knit Icelandic sweater!

creativity waning

It is well known that a child learns to walk to talk, and to know his way around the world just by trying something out and seeing what happens, then modifying what happens, then modifying what he does (or thinks) in accordance with what has actually happened. In this way, he spends his first few years in a wonderfully creative way, discovering all sorts of things that are new to him, and this leads people to look back on childhood as a kind of lost paradise. As the child grows older, however, learning takes on narrower meaning. In school, he learns by repetition to accumulate knowledge, so as to please the teacher and pass examinations. At work, he learns in a similar way, so as to make a living, or for some other utilitarian purpose, and not mainly for the love of the action of learning itself. So his ability to see something new and original gradually dies away. And without it there is evidently no ground from which anything can grow.

Bohm, D., 2004. On Creativity. Abingdon: Routledge.

the meta-structures of creativity

if creativity cannot be taught, cannot be ‘made’ to happen, how best to approach the assumption that it can be fostered or stimulated within situations?

one answer to this is a consideration of the meta-structure of flows that characterize a particular situation. I have talked about meta-structures elsewhere. to begin with, each instance itself is only ‘separated’ from everything else through a process of abstracted defining. separation is an abstraction, a reduction of the actuality of holistic, immersed, and connected being and presence. so, best not to consider separation, distinction, and particularities. rather, retain a sensibility to all possible flows, or flow in general. easy to say, despite the (English) language being wholly insufficient to deal with such concepts. (Csikszentmihalyi is pretty good at making a natural language argument for flow, though he comes from a completely different direction than me, the conclusions are similar, will explore that when I shuffle through some of the references…)


more “the meta-structures of creativity”

Energy, Creative Action, and Sustainable Systems Workshop – Day 8 – eNZed

The official blurb for the workshop:

This workshop will draw on Hopkins’ international experience in facilitating creative encounters in the context of the Temporary Autonomous Zone. With an open structure for engaged and focused dialogue, the workshop will explore a powerful energy-based worldview that can open up new awareness of social, cultural, and natural systems. The dynamics of collaborative human relations confined within an attentive space is guaranteed** to generate provocative and inspiring outcomes. Creativity is, by definition, about the formative flow of energy between living organisms. We will move through a variety of environments (including on the river by waka) as we share life-time in the workshop. The workshop will augment the processes of any creative practitioner with a profound, situated, and practice-oriented conceptual toolbox that address the following areas and more:

(Keywords in no particular order): energy, creativity, thermodynamics, technology and techno-social systems, art, attention, entropy, learning, media, networks, participation, process, virtuality, creative action, human presence, Light, human encounter, mediation, concentration, optimization, pathways, meals, sustainability, simplicity, synchronicity, auspiciousness, and serendipity.

**on the condition that you bring along your entire Self, not merely your body, mind, and spirit

acceptance

Yes, as an originator man is solitary. He stands wholly without bonds in the echoing hall of his deeds. Nor can it help him to leave his solitariness that his achievement is received enthusiastically by the many. He does not know if it is accepted, if his sacrifice is accepted by the anonymous receiver. Only if someone grasps his hand not as a “creator” but as a fellow-creature lost in the world, to be his comrade or friend or lover beyond the arts, does he have an awareness and a share of mutuality. An education based only on the training of the instinct of origination would prepare a new human solaritariness which would be most painful of all. — Martin Buber

Buber, M., 1985. Between Man and Man, New York, NY: Collier Books.

The originatory creative act perhaps requires a (painful) level of social isolation — is this the source of the ‘tortured artist’ syndrome? This in contrast to the integrated flow of socialized encounter with the Other which is (also?) the locus of creative action. hmmm…

The End of the Road and The Onset of Dreaming

roadside memorial, near Bitter Springs, Arizona, USA, March 2010
ed: This short note is the epilogue for the Migrating:Art:Academies: book. Because of the heavy-duty editorial tasks, I otherwise didn’t have time to write something more comprehensive on the ideas surrounding movement and learning, maybe next time!

We suspect that even though travel in the modern world seems to have been taken over by the Commodity — even though the networks of convivial reciprocity seem to have vanished from the map — even though tourism seems to have triumphed — even so — we continue to suspect that other pathways still persist, other tracks, unofficial, not noted on the map, perhaps even secret pathways still linked to the possibility of an economy of the Gift, smugglers’ routes for free spirits, known only to the geomantic guerrillas of the art of travel. — Hakim Bey, Overcoming Tourism

This volume Migrating:Art:Academies: represents yet another step on the (linguistic) migration from nation to nation, academy to academy, culture to culture, friend to friend, order to order, life through life. As with the first volume, Migrating Realities, any impossible contortions of English are this editor’s responsibility, and given the time constraints for this latest MigAA tome, there are sure to be some short-comings. But then, of all the movements within the social, language migrates the most of all. It is never static. Nor should it be, especially as it accompanies the learning process — a process which is essentially about encountering and naming that which is not (yet) known. more “The End of the Road and The Onset of Dreaming”

Migrating:Art:Academies: done

Migrating Realities (pdf download)

Migrating:Art:Academies:
ISBN 978-9955-854-91-3

This MigAA volume, titled Migrating:Art:Academies: invites the reader to construct their own opinion on the efficacy of the project as a field for learning and creative action. The book provides a link between the virtual school and the mobile school; it also functions as an anchor point for future research projects, and as an aesthetic package for the available documentary material. The projects introduced in the book — whether a drawing, a map, photographs, or a text — were delivered by the authors themselves, edited and assembled together with an eye on readability from multiple perspectives. The book is divided into three sections: Migrating:, Art:, and Academies:. Following these is a compendium of contributor’s biographies and finally, included with the book is a postcard containing a keyword index, the use of which is described below.

In the Migrating: section the reader will get an idea how the actual project participants worked and created while on the road and what their relation was to the general MigAA theme of migration. Personal interpretations, ideas, sketches, notions, and notes form a fertile first-draft of an ongoing process of artistic expression. Some of those impressions are included in this section along with photos, maps, and interviews.

The Art: section documents numerous art works — both conceptual and actual — along with related actions realized by MigAA participants during the laboratory deployments. The syntactically divergent projects vary from drawings to performances and installations to computer software packages and are here grouped by thematic or formal aspect.

The Academies: section contains more in-depth papers, articles, essays, and research documentations that were presented at some point during the project, or will be presented at the final conference in Berlin. Texts range from historical research, analysis of migration, to artistic and academic research presentations.

Around sixty keywords, key phrases, and key images were compiled and subsequently linked graphically across all three sections. An index deployed on the accompanying postcard offers a simple navigational beacon to follow throughout the book. The editors suggest following the red lines for objective keys and the blue lines for subjective keys. The awareness of subjective and objective functions of such indexing gives reason for further debate on what this specific book is about or what a printed book is about in general, as it is a mobile (and thus migrating) interface for ideas.

innovation

Fundamental innovations almost always seem to come from outside the established market leaders, who suffer ‘path dependency.’ Established firms are usually too committed to a particular conception of what their product is. This commitment is embedded in its manufacturing process and endemic in the thinking of its managers. When a major innovation appears, a leading firm understands the technology, but remains committed to its product and its production system.

Technology Matters: Questions to Live With, Nye, David E., MIT Press, Boston, 2006.

Technology, at base, may be defined as a means or pathway to gather and concentrate the (productive) energies of individuals in a social grouping. The difference between inventions lost in the detritus of history and those that become widely integrated in a social system is not necessarily related to the efficiency of the technology itself. The primary difference lies in the efficiency with which the broader social system uses the technological pathway as an effective means of tapping into the individual energies of the population. The broader social system is usually controlled by a subset of people, elites, who impose the pathway on the whole (and who tap off a surplus of energy from the pathway). It is controlled by those who define the pathway of flow. Set pathways have come into being to benefit those who are accessing the concentrated powers they provide. When a pathway is set, it has a built-in inertia which more-or-less resists alteration. This inertia is a mapping of a (counter-(r)evolutionary) resistance of human systems to change. The resistance comes from the relationship of energy flow that the pathway is defining. Individuals participating in either giving and receiving energy are reluctant to change the architecture of that relationship: it is a symbiotic relationship. There can be no receivers without those willing to give their life-energy and attentions to the receivers. Change comes hard. Innovation, the tendency to seek (newer and more) optimal pathways, is always negatively affected by this resistance to some degree. A(ny) technological pathway, once fixed upon, is adapted to and becomes the norm. (The Machine Stops, by E. M. Forster is a nice fictional sketch of this from 1900.)

Nye addresses many other topics aside from innovation, so I’ll be picking through his book in the next days.

devoir: a re-naming

Further, deeper, wider, (more iconoclastic), what is research? Merely to search again? The broadening of a socially-sanctioned knowledge-base? A connecting-of-threads to historic tradition? A discovery of what’s been before? A following of a pre-existing trajectory (but with more fuel for a higher, further flight)? What about re-sensing instead of re-searching? Immersing senses in a situation again (related to German entgegen ‘opposite’). Sensually immersive: sensing difference again (from another situation), and reflecting on that. Or, better yet, riding the gradient of that difference, and using that potential, that power, that source, to express from.

Re-search — to circle again, more intensively — but to remain detached. Neither academic detachment nor technological objectivity are the way that is needed now. We need immersive, connected, aware, and sensual be-ing. In order to apprehend what the world needs of us. An empathetic engagement with all expressions of life-energy. more “devoir: a re-naming”

hot springs

up to the hot springs with the rust-e crew on a business/pleasure trip to nail down details on the sustainable creative practices conference/festival next February. we have a substantial cabin to hangout in and passes to the Hot Springs pools. the resort hasn’t changed too much since the last time I was there twenty years ago or so. the weather conforms to the springtime-in-the-Rockies norm: changeable. with a tendency to unusually wet and cloudy which no one complains about. too much water is rarely even a nuisance in the West. the 14’ers, Mt. Princeton, and Mt. Shavano are mostly invisible, but when the peaks appear, there is plenty of fresh snow above tree-line. no motivation to do any serious climbing between the tight schedule of meetings and mandatory soaks in the hot water.

first we have an orientation meeting with the resort management who are really enthusiastic about the conference plans. to be sure, February probably isn’t the busiest month up there. there are a few ski areas within 50 miles, but weather conditions can be severe at any time, and the hot springs aren’t right on a major highway.

the afternoon is spent up in St. Elmo being introduced to the Ghost Town Guest House bed-and-breakfast with one of the owners, Sharon. along with her husband, they have just recently finished a fantastic place right in the town, and are currently the only year-round residents.

the evening starts with a long soak followed by a sumptuous dinner that leaves everyone ready to crash after suitable aprés aprés. Chalk Creek can hardly be called a creek this weekend, with all the snow-melt and fresh precipitation, it is raging and fills the moist night air with a power that erases all other sounds.

the day’s activities are interspersed with memories of trips to Tincup, over the pass from St. Elmo, and jeeping with Collin, Joe, Mike, Chris, Cindy, and the usual eclectic posse that would converge at Joe’s family cabin there. ages ago. another life.

May Day

Month swings into May seeming. No May Day celebrations here. The Red Scare still too enfolded in natal-national psyches. No bonfires like in dark-less high-latitude white nights.

sotto voce: Being fixated on the material aspects and ‘things’ that spin off from our activated and energized presence in this world is probably where you are going wrong in pondering the “art-or-not” question. Experiencing the energies that arise from creative action—they may come ‘packaged’ in a practically infinite range of forms—it’s more a question whether you (as an individual made up of the accumulated life-pathway that you have experienced) have any opening to the energies that are carried by that form. Technology mediates the expression of creative energies (technology is the accumulated set of mediatory pathways for the expression of creative energies). So, it’s ‘merely’ a question of what paths of expression and reception are open between you and some Other with whom you are in creative exchange.

iDC dregs

iDC list gets annoying and rewarding at the same time. but what of life spent on the keyboard? the topic is teaching… and the transition of the teacher into the link jockey.

sotto voce: While the offerings of IP_based networks seem unlimited, and in rhetoric, the superlative of unlimited is often applied, I think it is important to keep firmly in mind that it is not a space of unlimited knowledge nor is it a space of neutral knowledge. And, also, in this time, it is not a space of embodied experience aside from eyes absorbing statically-framed EM radiation, ears hearing sounds disconnected from their source, and fingers twitching across a very limited place. Not to mention underlying ideologies which accompany each form of mediated connection (largely invisible but very much real) — among others, that of consumption (extractive resources, electricity, and thus, the globe-spanning world that we exert irresponsible dominion over). In this regard, the (limited)vastness of that knowledge-space seems a bit tainted and out-of-touch perhaps. Expensive and consumptive. Exclusive, reductive, and reified. A teacher is a catalyst, and is one who, simply by being an Other we encounter in life, presents us with the unknown. If we trust that Other, a world opens up that was previously unknown, and (if) we (trust enough to) apprehend and engage it, it changes us, we learn. This unknown world is sourced in the entire comprehensible universe, and is available through that Other. These encounters may take place anywhere, anytime, and can be had ‘for free.’ We need only ‘pay’ the Other with our attention, our life-time, and life-energy. It seems that in our formal techno-social educational systems, these potential encounters with the Other are (being) replaced by more and more socially-standardized systems-of-relation (protocols, curricula, government mandates, abstracted monetary instruments) which seem ever more intrusive to and even suppressive of potential open encounters. This limits the creative potential of the outcome. The cumulative effect of this social hyper-formalization-of-encounter — because learning occurs precisely at the edge of knowing, not within the known — is that we look elsewhere for the dynamic of coming-to-be (learning) that keeps us alive and growing. To me this is the ultimate source of the loss of vitality that affects the Education World, a vitality that ultimately does not rest on technological mediation but on human encounter. Yes, human encounter is always mediated by the vast range of social protocols and tools, and learning encounters may happen within highly mediated (‘virtual’) spaces, but when we allow those encounters to slide continuously into more and more mediated spaces, the life-time available for less mediated human encounter shrinks. I think that this represents a wide loss to learning, education, community, and creative potential as it moves to extremes and forgets what it is predicated upon — the originary encounter between the Self and the Other.

info growth

the creative use of digital networks needs to proceed with an understanding of the underlying principle of human relation as the situated potential for the real exchange of energy. I have stated this so many times, in so many variations that I’ve gotten tired of it. is it obvious? or useless?

the following from the introduction to a conference taking place in London at the London School of Economics in April. I’d like to go, but can’t afford it. no scholarships available.

Taken together, these developments establish a new socio-economic environment in which information-based operations, and information goods and services acquire crucial importance. This is clearly shown in the rapid ascent to economic dominance of internet-based companies that demonstrate superior data editing and information management strategies. New commercial possibilities steadily develop around the production, ordering and distribution of information, as data become interoperable across sources and older forms of information (e.g. image, text and sound) are brought to bear upon one another. But information growth has wider social implications as well. The involvement of information in every walk of life redefines the relationship between information and reality, and reshapes the social practices through which information is stored, retrieved, understood, disseminated and remembered. Increasingly, information mediates between humans and reality. In this context, the activities of ordering, making sense, evaluating, navigating and acting upon information step onto the centre-stage of contemporary life, impinging upon skill profiles and personal choices. They often do so under conditions in which the established boundaries between individuals and institutions are rendered shifting and negotiable. — Jannis Kallinikos and Jose-Carlos Mariategui

planning

chilling out, some waiting, planning the spring which seems to be falling in place (nicely). a second teaching gig comes up, et al. as well, some other future teaching possibilities. falling into some order and potential, although the bigger questions remain unanswered. the discipline and focus to create in textual realms remains the greatest challenge.

sensing the streets

meet Wolfgang at the Pergamon and on to an exhibition at the Mitte Museum am Festungensgraben that some of his students participated on. Sensing the streets.

Farben, Töne, Gerüche – viele Sinneseindrücke, Stimmungen und Empfindungen werden beim Gang durch eine Strasse ausgelöst. Um diese sinnliche Wahrnehmung städtischer Räume geht es in der Ausstellung “Sensing the Street. Eine Strasse in Berlin”. Sie ist Ergebnis eines gemeinsamen Forschungs- und Ausstellungsprojekts des Instituts für Europäische Ethnologie an der Humboldt-Universität zu Berlin sowie dem UNI.K –UdK. Studio für Klangkunst und Klangforschung und dem Institut für Kunst im Kontext an der Universität der Künste Berlin. Am Beispiel von drei repräsentativ ausgewählten Strassen – Acker-, Adalbert- und Karl-Marx-Strasse – wird der Strassenraum multisensorisch, d.h. visuell, auditiv, olfaktorisch und taktil erfahrbar gemacht.

(00:19:07, stereo audio, 36.7 mb)

I meet and talk to Friederike, one of the students involved at some length, mainly encouraging her with the project — they have, indeed, made a very nice manifestation of research. and this is only the first of three absolutely different exhibitions in different venues entirely in the next two weeks. I would wish to be around for the other two. it was an opening, so that it was crowded and hot, but we got there earlier than the crowds and got to check out the especially provocative audio and video works.

Art is the image of a human being, This means that when a person is confronted with art, then they are in fact confronted with their own self, and so open their own eyes. And so it is the creative person who is addressed, their creativity, their freedom, their autonomy. And this is only possible using the concept of art, however, this concept must be made more comprehensive. You cannot and should not deal with this concept traditionally and say: that is what artists do, and that is what engineers do?. but you can get beyond the concept. And the only escape route is a more comprehensive concept of art that is anthropological and that is taken seriously: that everyone is an artists, and that every person has a creative core. — Joseph Beuys

Wolfgang and I continue our conversation a bit later at a cafe (after I meet Barbara, an old friend of Volker’s!), then I race back over to the Pergamon for a longer walk-through, then it’s back home to get some packing done. Roman is there and asks for some help editing a copy of the manifesto that he and Alexei are working on for Transmediale. then I crash for the early wake-up.

snake pretzel

Loki’s interest in photography prompts me to request an image a week at least, to continue to hone his sharp & creative eye. this is the first in a series that I’ll be posting here.

coal drift

second day of the workshop. hard to read the situation. everyone is in an unfamiliar environment. the ambiance in the place is calm. but hard to decode. we are strangers. landing from one planet to another. it is unusual for me to be sharing the direction of the workshop, or at least trying to. there is an internal process of deference, but that clearly is not collaboration, I need to retune myself. it is hard for me to find a balance because of this. on my part. waiting for the students to make the 0900 morning start request to appear after losing most of the first day to stragglers who arrived late into the evening. there is a lack of awareness of the meta-structural social dynamics that would facilitate a greater intensity. but this is the normal condition. intuitive actualization is possible, but going through the gymnastics of cognitive understanding first seems the only way to bring back the operational authenticity of that intuition. either that or just get drunk with them all night, see who is the last standing.

I think what we need is critical consciousness. Critical consciousness towards the entire construct of technology. Technology is not neutral, it’s not God-given, it doesn’t come from the burning bush, it doesn’t emerge from the world of antimatter. It’s something that human society makes. So all of human society is inscribed in the machine in this sense – and then the machine becomes a force to reinscribe something on society. And you can have the negative aspect of this, and you can be truly creative – why not. I’m absolutely not denying anyone’s creativity. All I’m asking for, for myself, is critical consciousness about technology. — Hakim Bey

hbr says

just as I had observed and inferred from bits of data that I have seen over the past few years. that the US is in serious crisis regarding the precipitous drop in the numbers of creative talent entering the country. graduate students are not turning up in droves as they used to, populating all the hard-core science, business, and technology programs at the best US universities. they are staying home or going to European, Asian, and other societies which are not so repressive and paranoid as the neoconservative fascists in power now in the US. so, reading the article “America’s Looming Creativity Crisis,” in the Harvard Business Review that enumerates the extremity of the situation only confirms my observations. empire continues its decline with the deluded self-knowledge of ascending to the millennial realms of power and righteous glory. ideological and religious dogmas constricting scientific research along with repressive and exclusionary visa and immigration practices lead the way to a rapid decline in creative capital that was once a primary mechanism in US global hegemony. in the metric introduced in the article, the Global Creative Class Index, the US already ranks behind 11 other countries, including Iceland — a statistic that somehow hasn’t reached Icelandic eyes yet, for it is sure to make front-page headlines “Icelanders More Creative Than Americans” when it does.

spins

leaving Bremen after one of the most energizing workshops ever. so good to be back on a roll. inspiring conversations and interactions. crowded train, standing at the exit door for an hour, ipodding, staring out the window until it’s so dark I only see myself, change trains at Hamburg Dammtor and catch up with Christian on the way home from work. exhausted. but energized. the weekend is slow and relaxation-full. Chris takes a shot of Steffi and I before I head to Finland.

Sven asks me to write something about the radiostadt1 stream from last fall. so, I generate the following brief spin on that special living-room-to-live performance venue that I enjoyed while hanging in Colorado:

Thanks to the fat-pipe running from the University of Colorado research grid to the neoscenes living room in Boulder, Colorado, USA, along with access to a Helix server that the university hardly ever used for live streaming, neoscenes made about 10 major live audio/video streaming performances wearing only underwear and socks while drinking a cup of tea. (sorry, no photo’s ;-) “Bring it on home!” more “spins”

womanifesto

my entry for the exhibition womanifesto Procreation/Postcreation in Bangkok that Varsha asked me to join — turns out that she uses the simple entry as a main element of the exhibition poster, invites, and publication (it’s the spiral line of text)!

____________________________________________

procreation:

creativity is energy-in-motion

the essence of motion, movement, is energy

the quickening of the spirit

a look around to apprehend the Other

a dialogue begins

small flows of energy between two

fundamental creation, life

one plus one equals three

primal phenomenon

__________________________________________________

1 + 1 = 3

[ED: This is the third report on selected actions and flows in the neoscenes occupation (nso)[1] network, published in acoustic.space #4 (2003 ISSN 1407-2858). Since the last report, learning and networks [2] in the acoustic.space #3 (2000 ISSN 1407-2858), nso has spun off two major networking projects and is constantly involved in a heavy creation-filtering-redirection of network energies on a sustained multi-channel and daily basis. This article will briefly look at these two projects, “expand” [3] and “<di>fusion” [4], and it will comment on the matrix of practice that the projects grew from.]

acoustic.space #4 (2003 ISSN 1407-2858), Riga, Latvia, November 2003

One of the biggest obstacles to finishing this article is trying to carve out a piece of time away from network and face-to-face communication just to write it! This fundamental dilemma lies at the core of neoscenes — why take time away from attentive one-to-one distributed action for anything related to re-production, re-creation, or re-presentation? For a network to remain healthy and thriving, it demands a flow of energies from node to node. There’s no time to spare. neoscenes prefers person-to-person as the core tactical expression of networking — neoscenes avoids centrally organized media and PR-related activities whenever possible. acoustic.space is a fine exception because of close linkage between paper artifact and the lively network-of-praxis that generates it.

So it goes.

By nature, networks are human-scaled and exist in human-scaled time. They develop at the speed of life. neoscenes was never a fast solution caught in the cross-fire hype of media-convergence-mania: and it definitely didn’t burst in the dot.com vacuum. neoscenes is dot.net [5]. The slow evolution of the neoscenes network is a vehicle for learning, creating, and sharing that does not seek stasis, spectacle, or speed. more “1 + 1 = 3”

raw suspicions

the raw suspicion that stability is a straw dog. (a term that Anthony first raised into my consciousness). in that conversation in a bar-restaurant somewhere on the Delaware River a long time ago. wondering what happened to him, no words from him in many, 18 moons ago. while now in the moment, the Leonids rain down from the sky. he was supposed to be going to Flagstaff, the wanderer that he is.

the last morning of the Media Lab workshop, I have something of a microscopic revelation in the number six tram. understanding that I am talking deeply about the power of presence as a creative strategy and practice, traveling around Europe preaching this, and all the while, at the same time, leaving my little boy behind. a little boy who is not so little anymore. everything seems impossible for this family. relationships are crushed and fragmented, distorted and removed, applied over distance and imbalanced. hmmmmmm.

another thread that came from the workshop this week were characterizations about the externalization of memory and the problem of re-presentation. with memory removed from the embodied self, there is an erosion of personal autonomy (the external localized memory is the technological network — which is not a network after all, but a lateral hierarchy). the act of placing memory externally reifies what would be an internally dynamic condition of evolutionary presence. and contributes to an ethical or even moral slide. (assuming that a static condition of memory is problematic — haven’t meditated on that one so much.)

here in Jyväskylä, dinner with Niina, finding out about the local situation (email never provides enough communications spectrum), in a hotel on campus by the lake. seminar tomorrow. a late call, like those many others, of the sadness I have caused to an Other. by not respecting innocence. and not providing the right dreams.

kyykkä

the carefully tended dirt field, sitting between the Joensuu Technical center where the University Media Department is located, and the new track-and-field center is the scene of changing activities. when I first arrived in September, there was kids football (soccer) matches happening in the afternoon and Saturday mornings. then, one Saturday, there appeared a large group of 30-to-50-something men playing what I would term a Finnish variety of lawn bowling. suited to the available materials, the game pieces consisted of 12 or 14 solid wooden cylinders about 14 cm high and 7cm in diameter, painted orange-red, and two perfectly cylindrical bats (unlike a US baseball bat), each with a smaller diameter end for grasping, and the rest about 8-10 cm in diameter, and maybe 80 cm long. the small pieces were set up, stacked two-high in a line, spaced about 20 cm apart, at one end of the playing field. each player then took turns flinging the wooden bat at the line from a distance of about 20 meters. the object, like bowling, was to knock down as many of the pins as possible. I gave Sanna a call to see if she knew what it was. she didn’t, but called me back later after researching it. turns out the game is called kyykkä. it’s an old Carelian sport that is not commonly played or even known anymore. anyway, that game appeared only once (check out https://www.kyykka.com/ for the full scenario, Finnish only, sorry) and now half the field has been taken over by the installation of two hockey rinks. waiting for the chill. there is an outdoor rink not far away with refrigeration pipes, that was fired up two weeks ago, and there are daily hockey workouts and figure-skating classes held in the middle of a pine forest, near the indoor swimming pool.

public works are apparently locally organized, possibly with some EU support, as this is literally a fringe region. there is the Technology Center, also EU funded, the location of the Media College‘s facility along with tens of small technology companies, the local University Biology Department, and state-of-the-art media (digital teevee and audio) production studios, Cadimef.

yet over all this, repeated in medium-to-large towns across Finland, there doesn’t seem to be much creative output. but maybe this is an outside view — the system internally cranks onwards.

front line

the severity of conformation that the grid of streets in this town applies to life reaches deep. the trees are beautiful. in their military ranks. this area of Finland was on the front line of the Winter War. it has affected people.

an informal survey shows that in cars with both male and female occupants, only one out of 40 are driven by the woman. there is a stylistic difference in gender relations. uniformity. in the course I taught in the spring, every student had a partner. diversity. eNwhYCee. thinking of that other place is a tremendous cultural leap.

and feeling under the constant socialization-forcing gun of language. used without contextualized knowledge, having to explain nuance.

some kind of practice must evolve from. no, creative results arrive from a deep practice. but the depth of practice must be no greater than is sustainable with authentic living.

Kodachrome

such a tired way to go. and this text is so poor in the actuality of living, the stresses, (where is my sense of humor, no clown alive no more). Scandic living cooled all that right out of mind and soul. here in the heat. seeing everything new and clear. nothing to be spared. heat waves: vibrashuns. repainting the bathroom. work is meticulous with what is there. what is available. that’s also the result of living in a conservative environment too much. but it is a solid lesson — to create with what is there. nothing more or less clear than that. okay, because of the ultraviolet shift in Light at high latitudes, the wavelength of the cumulative radiation adsorbed is short, intense, and accurate. in the equatorial latitudes, the red, IR shift is long, wide, and soft, casting everything seen in voluptuous shimmers of distance between the wind devils racing across the dirt parking lot of the Yavapai horse racing track. between that and the moto-cross track where a race is laconically kicking up clouds of Light-tan dust that later traces the advance of the wind devil. all things are clear, whatever the wavelength, and where ever they fall on the ground, scattered by monsoon weather coming. desert monsoon.

but really, the things that could be added here, as I scan images from my Aunt Mary’s collection of mostly Kodachrome images from the 40’s, 50’s and 60’s of her life, as she saw it. creating an archive in digital form from analogue boxes of things. turning the color tracings and reducing that to patterns of magnetic polarity. that is energy. period. driving life and everything else forward.

net.culture at mlab

Proposal for the net.culture course at the Media Lab of the University of Art & Design Helsinki (UIAH, which is now Aalto University):

The computer is a creative tool in many situations where it is an aid in the production of 2-D and 3-D artifacts. However, the unique strength of the computer lies in its use when networked — when it is a gateway or means to connect with other individuals in the exercise of tele-presence. The rapidly shifting landscape of networked space is the locus for new and old cultural productions, collisions, battles, and collaborations that are dynamically redefining many social values and institutions while reinforcing other traditional systems.This seminar will explore as many aspects of this landscape as possible, as well as contemporary and historical concepts of presence, movement, living, and working as a networked being. It will explore technological and human networks as the dynamic site for the creation and transmission of human energy. Through a series of critical dialogues, readings, lecture-discussions, guest artists, and exercises, participants will be encouraged to explore existing modes of thought concerning the Net-Cultural scene as well as develop a perspective on their personal practice. The seminar will attempt to answer the question “What does it all mean?”

Parallel to this look at net.culture, there is a series of lecture-discussions that examine a fundamental model for creativity, human energy movement, and artistic practice. This is followed by a short overview and examination of historical precedences of networking and the Internet with a parallel examination of the concepts of technology, community, and communications in general. Discussion are allowed to develop organically based on a relevance to individual students’ interests. Topics will range from technical skills and tools to use within networked environments to the impact of networked digital technology on core aspects of contemporary culture and life and will lead in as many rewarding directions as are possible in a group situation. It is an open-ended workshop in the sense that through the medium of study, there will be many follow-up opportunities for real-time/real-life productive networking with the learning facilitator, John Hopkins.

This workshop/seminar requires concentrated presence at all sessions combined with attentive and sensitive focus. Students are required to participate in all discussions and collaborative presentations or projects. A final project or presentation on a specific topic will conclude the seminar course.

Course language: English

simply the best

cafe9.net, the final chapter. forum with the folks from around about. the city, Brussels, is moving into the next state, as that is going. European Development. mapping into the spaces of being. the view from the hotel is raucous. the day after the ending day of the networking and creativity workshop with a nice compact, concentrated group of participants. five cultures. and seven points-of-view. synthesizing. in both form and function. small successes, leading to interventions of energized sparkings. crossings, no genetic alterations. no need for that. (reading in the paper about the GM fish. (faugh!)) needing to counter these migrations and permutations of the matrix of living energy.

potato and chicken soup, a local specialty. chocolate mousse.

Lev’s edifice

Lev was suggesting that the skyscraper was the ultimate (or crucial) symbolic and real social expression of the Industrial Age, and, in the course of his fascinating lecture, pondered what might be the crucial expression of the Information Age. immediately my thoughts went to the concept of LifeStyle as being that edifice — LifeStyle becomes the penultimate expression of the consumer society. this false edifice of success(-full) surrender to a socially mandated norm or behavior. the vapid Look of it all.

and what about creativity — too much attention paid to aspects or results of it — and no observations that is is a continuous, (NOT sporadic) and peak experience. and, at the same time, it is cyclic. and it involves both the creative and destructive principles. it is not a commodity. it is harmonic, balanced from all scalable viewpoints and sensual contacts.

some notes I wrote later:

In this era there are (pseudo)nomads who dance around the monuments of the global information age. These monuments — status, wealth, and power — together combine in a single ever-shape-shifting edifice with no seam, no crack, but with the seductive and bewildering attraction of Joseph’s Technicolor mantle aLight and burning with the fire in Plato’s cave. The edifice is Life-Style. Its ornamentation is Fashion.
more “Lev’s edifice”