Peter Lamborn Wilson 1945 – 2022

Dammit. Another passing. Peter Lamborn Wilson, aka Hakim Bey. Got this news and the following remembrance today from friend Konrad Becker, founder of Public NetBase in Vienna.

death

Peter Lamborn Wilson died in his apartment in Saugerties in upstate New York last night, reportedly from a heart attack.

A “Cyberguru” in the nineties he had no email address and wrote his pieces by hand, or on an old typewriter. With 70+ books and titles like Pirate Utopia, he inspired several generations. However, his visceral abhorrence of digital media was softened by his clever use of resources in a digitally savvy environment. As the author of Temporary Autonomous Zone he was guest at the inauguration of Public Netbase and a regular visitor here in Vienna.

Sadly, despite his personal integrity, his fame and colorful queer identity also triggered offending smears and innuendo hard to oppose. In his last months he spoke self-deprecatingly of himself as an old hippy, maybe he was, I just wish there were more of this kind. While many drift into senility in their early forties, he was bright as a button until his last day and had more clever things to say about the electronic media realm than most of the new media experts I ever met.

Following up on his contribution to the book “Digital Unconscious – Nervous Systems and Uncanny Predictions!” and with the support of Autonomedia, Felix Stalder and I ventured into a series of deeper inquiries into the fabric of media un/consciousness.

There is a general narrowing and flattening of the imagination due to the global spread of consumerism and the increasing abstraction and quantification through which the social world is constructed. PLWs work can be understood as an exploration of alternative ways of being in the world that could offer escape routes.

We, by way of Jim Flemming and Fred Barney Taylor, conducted the last interview just a few days ago. In his last interviews he liked to talk of the end of the world which he defined as an ongoing process. His lucid analysis of what went wrong in the last few thousand years was never defeatist rather it was a call to arms.

As he liked to say: Even if you are going to die tomorrow, plant a tree today. The rebellious spirit of PLW and his alter ego Hakim Bey will be immensely missed.

His essay T.A.Z.: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism condensed and articulated some core essences of my learning facilitation and media arts praxis while simultaneously atomizing it into a negentropic flow. I ran across it as I began to engage in the European context of media criticism and activism in the early 90s. The Anarchist Library has a wide selection of his other writings well worth perusing. A second fave selection is Overcoming Tourism which strips away the hollow shell of elite migrations of consumption, leaving the displacement of the soul as the core value of movement. Its modest goal … is to address the individual traveler who has decided to resist tourism. Thank god!

Knowing there were thinkers and writers, articulators like Wilson out there formed a supportive web of like-minds when the difficult situations arose in the facilitation of open systems, autonomous zones, wherein spontaneous creative action was not simply welcome, it was the essence of be-ing in such a zone. A few of my own reflections on the TAZ along the way.

interview with Niina: art & technology

Niina has been researching art and technology for some years now. We met when I was teaching my old netculture class at the Media Lab in the University of Art and Design Helsinki back in 2000. I participated in her research for her PhD then, and … now

Ei Niina — this is all I could manage, it’s impromptu, but honest, with a bit of humor mixed in… a little complicated, as there’s no time to write an essay about what world-view lies behind the answers. You might want to reference https://www.neoscenes.net/hyper-text/text/pixel.html an article I wrote for Pixelache in Helsinki in 2007 — the same year I did a workshop there too https://www.neoscenes.net/projects/pixel/index.php

you could also check out:

https://neoscenes.net/blog/ and search on
https://neoscenes.net/blog/?s=network
or so…
even
https://neoscenes.net/blog/date/2001/11

> 1.What changes have happened in your work and practices as an artist during the
> last ten years? Do you think your relationship with technology / or the way you
> use technology /has changed during this time?

My practice has widened intensively to take on a tough challenge of the entire techno-social system we are embedded within, are part of. Yes, this includes my relationship AND my understanding of the relationship between all flows that are the substance of technology. This also includes all aspects of life governed by techno-social protocol. When I use (a) technology I understand what I will both lose and gain when using that particular protocol. Using a technology is in fact, a changing of flows of energy that we are embedded in, part of. We are not separate in any way from everything else!

more “interview with Niina: art & technology”

Migrating: Art: Academies: done

MigAA book cover (pdf download)

After eight weeks of intensive effort, sometimes re-writing almost from scratch a wide range of (English-second-language) articles, essays, and academic papers, the second and final book from the MigAA project is done and at the printers. Bravo to the Alfa60 designers, Joseph and Lina in Vilnius — perhaps this book will win awards like the last one did! And big kudos to El Jefe, miga, without whom, none of this would have come to pass, none of it!

This is the jacket blurb I wrote in ten minutes — the day Lina was sending the book to the printers! more “Migrating: Art: Academies: done”

Les Chronophages

The need for criticism to include the framework for a new, alternate pathway to travel upon shows up when I find myself focusing too much on circumscribing the problems. This is the same as opposition politics that gets too mired in opposition (doh!) and forgetting that an alternative vision is necessary as well. How to find autonomous spaces when on the road, moving along the lines of power drawn by the dominant social system? How to find or facilitate interstitial spaces that are not under the control of that system. Do these spaces have a set of characteristics that makes them immediately identifiable? Or are they only identified by the precise instances of (uncontrolled) energy flow that occur within them? (chicken-and-egg situation!) For every unit of human-controlled flow of energy, there are countless flows of energy of many orders greater magnitude that are not controlled. Humans are capable of controlling a certain, very limited range of flows. This range has increased in time from those expressions of embodied reach to those far beyond the direct impact of that body. By collecting the energy of many bodies, humans are able to express and project the reach of their control over vast regions. Ultimately, this reach is limited by the number of bodies at the disposal of the regime and the efficiency with which that granular energy is harnessed (through those controlled pathways).

Ran across a couple (excerpted) essays by Ivan Illich, a radical critic of techno-social consumerist systems.

The machine-like behavior of people chained to electronics constitutes a degradation of their well-being and of their dignity which, for most people in the long run, becomes intolerable. Observations of the sickening effect of programmed environments show that people in them become indolent, impotent, narcissistic and apolitical. The political process breaks down, because people cease to be able to govern themselves; they demand to be managed. — Ivan Illich, Silence is a Commons

The demands made by tools on people become increasingly costly. This rising cost of fitting man to the service of his tools is reflected in the ongoing shift from goods to services in over-all production. Increasing manipulation of man becomes necessary to overcome the resistance of his vital equilibrium to the dynamic of growing industries; it takes the form of educational, medical, and administrative therapies. Education turns out competitive consumers; medicine keeps them alive in the engineered environment they have come to require; bureaucracy reflects the necessity of exercising social control over people to do meaningless work. The parallel increase in the cost of the defense of new levels of privilege through military, police, and insurance measures reflects the fact that in a consumer society there are inevitably two kinds of slaves: the prisoners of addiction and the prisoners of envy. — Ivan illich, Tools for Conviviality

Thompson (NOT Fred)

The Army Corps of Engineers with its national system of dams and levees has shown us what happens when the military-industrial approach in which Man dominates nature is put to work in eliminating wet lands where wild birds gather and sedimentary islands build up to break ocean surges. This form of engineering is the same kind of military-industrial thinking that salinates the soil with center-pivot agriculture and drains the Ogalala aquifer to replace biodiversity with monocrops held in place with the chemical warfare of pesticides. And the animal prisoners taken in this war are held in place in the concentration camps of feedlots and drugged with antibiotics and growth hormones to prepare them for mass slaughter. Their carcasses are then processed in fast food fuel stations along highway strips that are the same ugly clutter of signs and stops from Anchorage to Miami. Our President [Bush] is comfortable with this mentality because for him nature is basically a golf course or a ranch — or a national park turned into a country club where folks can burn off stress by speeding over the snow while polluting the air of Yellowstone with gas-guzzling skidoos. — William Irwin Thompson, essays

the idiosyncracy of illustration

this from a simple yet moving essay by designer Milton Glaser

If you turn on your TV set and look away at the nearby wall you will discover that the reflections produced by the light from the TV set constantly vary dramatically in contrast and intensity. These contrasts are paralleled by the sounds emitting from the same source. It occurred to me that abrupt changes in the intensity of light, were indications of danger that our neurological system has evolved to respond to. What effects can a lifetime of exposure to this assault produce? After all, our children are subjected to it within months of being born. When a shadow passes over a field mouse, it becomes alert to danger. Every cell of our body has been programmed to respond to light. It’s obvious that the intensity of visual and audio contrast has increased though the years. I assume that our brains’ response to this continuing onslaught is a protective deadening to our neural receptors. I am convinced that the passivity and indifference of the American public to their own lives and interests, is some how related to this phenomena. — Milton Glaser

Bruce Elder

blast not having a digital copy of this essay, but as it is one that I use in teaching on occasion, and one that brilliantly explores the spiritual dimension of the alienation of the age we are stepping through — so I type it by hand from the catalog printed by the Anthology Film Archives in New York on the occasion of a screening of Elder’s Book of All the Dead in November 1988. I was not present at that screening, but was at the prior premiere of the first 18 hours of the 40+ hour cycle which happened in the Film Studies building at CU-Boulder. there were just three of us who sat through the whole weekend event in an ancient classroom in the now-razed Film Studies Building. a handful of others made parts of the reel-after-reel intensity. it was a transformative experience — from the simple physical immersion that 18 hours of film induced, but also the visual energy from the work itself, and the intellectual rigor that was embedded into the narrative and visual contents. it has resonated for years as a source. neoscenes dreaming and the performative visual-sonic works that came around that impulse owe something deep and intangible to the Book of All the Dead. I was deLighted that Bruce assented to my hosting of the essay, adding to the small collection of ‘third-party‘ essays replicated for interest and convenience.

back to teaching

reading Stephen Brookfield’s two recent books on teaching — The Skillful Teacher, On Technique, Trust, and Responsiveness in the Classroom and The Power of Critical Theory, Liberating Adult Learning and Teaching along with Parker Palmer’s essays on education as a spiritual journey, To Know As We Are Known. might as well be girding for the rest of a career in education while job hunting. weak areas include the feedback process, especially the short-term-feedback processes to gauge how students are coping with the course at different levels. this doesn’t apply to the 2-week intensive workshops which have a constant level of dynamic feedback running the entire time. but the idea of having two online forum log-in ID’s for each student — one an assigned user ID (or self-selected user name) and the second being anonymously assigned (pull the user/password slip out of a hat at the beginning of the course) and used for posting reactions to the class situation. this can include both posed questions from myself as well as ad hoc discussions on subject material, procedures, processes, expectations, and outcomes.

part of me likes this idea, while part of me sees it as just another way of artificially coping with the chasm that has evolved over the years where the teacher and student start off their relationship not from a position of mutual trust, but of adversarial suspicion and imbalance. this largely because of the (de)formative pressures of the social system that sees education as a key element in the hegemonic production of consumables. nothing more. many now see ‘higher’ education as a mechanistic successor of primary education — where primary education was the social mechanism needed to produce people literate enough to perform as a worker in the industrial ‘revolution;’ higher education merely fills the role of producing ‘line’ workers for the information ‘revolution.’ uff!

Popular escapist fiction enchants adult readers without challenging them to be educated for critical consciousness. — bell hooks

photostatic

passing this on from editor Lloyd Dunn — a marvelous resource and inspiring source — the online photostatic ‘zine archives are now complete! Enjoy!

Over the last five years, the editor of PhotoStatic Magazine (1983-1998) has been gradually converting all of the issues of the series from their published form (on paper) into pdf files for the public to download. We are pleased to announce that the final installment of the archive (PhotoStatic no. 1) has been posted, and so the archive is now complete. All of the downloads are freely available, and 100% copyright free (as they have been ever since 1983).

During its run, the PhotoStatic Magazine series underwent several transformations, as some issues were published under differing titles, which include: PhotoStatic Magazine, PhonoStatic Cassettes, Retrofuturism, YAWN: Sporadic Critique of Culture, The Bulletin of the Copyright Violation Squad, and Psrf. In addition to the 49 print issues released between 1983 and 1998 (which includes two issues of double the normal page count), the archive also includes 10 issues on audio cassette (down-loadable as mp3s) as well has a handful of supplemental releases.

PhotoStatic was a magazine, a periodical series of printed works that focused on xerography as the source of a particular visual language that was widely used by graphic artists in the various art and music underground scenes of the 80s and 90s. During this time, the publication served as a forum to collect and redistribute artworks that originated in these scenes. Eventually, its scope extended to embrace not only graphic works, but also concrete poetry, correspondence art, ephemera from works in other media, essays, fiction, reviews, and reports on various cultural scenes, including Neoism, the home taping community, the zine community, and mail art.

child in the woods

gathering impressions from Barry Lopez from his collection of essays “Crossing Open Ground” and recalling the desires to aid the imprinting of the natural world on the child’s sensitive nature. in order for those impressions to guide the evolution and understanding of the inter-connectedness of human life and all that which is beyond the power of humans to erase or destroy completely.

The most moving look I ever saw from a child in the woods was on a mud bar by the footprints of a heron. We were on our knees, making handprints beside the footprints. You could feel the creek vibrating in the silt and sand. The sun beat down heavily on our hair. Our shoes were soaking wet. The look said: I did not know until now that I needed someone much older to confirm this, the feeling I have of life here. I can now grow older, knowing it need never be lost.

The quickest door to open in the woods for a child is the one that leads to the smallest room, by knowing the name each thing is called. The door that leads to the cathedral is marked by a hesitancy to speak at all, rather to encourage by example a sharpness of the senses. If one speaks it should only be to say, as well as one can, how wonderfully all this fits in together, to indicate what a long, fierce peace can derive from this knowledge. — Barry Lopez, from “Children in the Woods”

Loki has decided not to come to the US this coming summer. it will be the first time I have had a summer off, and the first time he hasn’t been with me for the summer since he was 2 years old. it will make for a long short summer. he feels the gravity of teen-age friendships drawing him away from prospects of hours in heat-filled places, driving, walking, hanging out. looking at clouds, thunderstorms, rocks, and wind devils.

Mambo Mail

looking deeply into the past, the query from Mambo Mail, Eskifjördur, Iceland surfaces with a vengeance. and with no apparent meaning.

What is Mail-Art?
Where is it from?
What is it for?
Where is it going?

The response:

Who is Mail Art?
Why is she from?
When is she for?
How is she going?

My Dearest Mambo:

Okay, great, a text book, for historians to study all about this elusive character, Mail Art and her characteristical characteristics.

How do I love thee, Mail Art, let me count the ways:

Always a challenge to get a long with / without.

I have a special room reserved for the neoscenes Mail Art archive, now I have to sleep in the closet.

Email is fast subverting my postal inclinations. it is cheaper, and that cheapness shows up in quality.

Post is my second largest expense behind rent (especially since the national Postur og Simi raised postal rates, some up to 250% in November 1992.

Postal Authorities the world over resist all forms of hierarchical organization and are an essential form of negative inertia to keep the world free from efficient government.

The US Postal Service is the largest employer in the world behind the US Military (and, I suppose, the Army of the PRC). Over 1,000,000 employees.

Mail Art is going away.

Mail Art will never go away because it is probably the most democratic form of global communication.

Hardcopy letters that are handwritten will become great rarities.

Love by Mail will cause world population to increase precipitously until The Apokalypse comes in the form of a massive

Publishers ClearingHouse mailing to everyone on the planet declaring each and every human a winner.

— neoscenes, reykjavík, iceland, january 1992

Forbes

I sit and read a special Forbes supplement on the impact of technology on business and society. Most of the essays graze the mark, but none really dig into the root causes of the vague-and-growing discomfort that most people are feeling about the encroachment of technology into all aspects of contemporary being. Technology is merely another predestined manifestation of material life, or is it? There’s no proof of the pre-destination, the inevitability of development, nor the neutrality of it. The logical product of the development and ascension of the human intellect, ha. I talk to Adrianne today, and begin to make final arrangements about the Dinner series which begins on Sunday evening in and out of the Sandra Gering Gallery in Soho. I am relying on wit and presence to carry me through this series of performances … And trust that simply by doing this action will add a bit to the definition of what performance is (or, perhaps subtract from that same definition…). I rather dislike the word performance anyway. It seems to be more about theater than about real life, and I would seek to wrest those collective and hierarchical actions from the sphere of the spectacle and posit them back in the personal space.

stupid thought

Kaisu made an appointment for me to use an Internet terminal at the Pori municipal library for an hour in the afternoon where I was at least able to check email. The situation with PC vs MAC is causing me some trouble — there are so very few public venues that are using Macs. I would like to be able to easily use Eudora between the two platforms — just to keep my mail in some kind of order. No such luck. I look out the kitchen window here, the sun is finally shining, although the air is still very brisk. The neighbor’s two black Labradors are wrestling in the back yard. Kaisu is off teaching photography at a local night school, and Jim is at her studio drawing. I write. Talked to Visa on the phone, but don’t get in contact with Tapio or Anders first off. (and fight the fear for the future) … I do finally talk to Tapio, and we will meet next week when I get to Helsinki. He’s been busy working on a series of essays and a dissertation, and so, hasn’t been around MUU Media at all lately, and is off until August.

is everybody in the same boat?
at what time does wisdom cry out in the streets?
are smiles sexy? — Robert Filliou, from Ample Food for Stupid Thought

Developing Digital Media at the Icelandic Academy of Art

This article expresses a few personal ideas about changing the educational structure of the Icelandic Academy of Art to stimulate what is presently an introverted and socially isolated program. Although the suggestions are presented in relation to expanding the existing photography and electronic media program, they relate also to the general situation at the Academy as of late 1994. This essay was submitted on request to then Minister of Education, Herra Ólafur Garðar Einarsson.

[ED (2012): Not as prescient a text, when retrospecting from the future, given the development trajectory of the Internet, but there are some valid points. The Academy went through a transition fours years after this was written in which many of the recommendations noted herein were instituted.]

[ED (2024): Irma was tapped to attend a meeting between LHÍ (University of the Arts Iceland) and HR (University of Reykjavík Department of CompSci) to explore cooperation in a ‘digital media in the arts ‘ curriculum between the two organizations. I’m not privy to the agenda yet, but fortuitously will be in-country when it occurs, and was welcomed to attend. Way cool!]


The importance of a challenging media arts program in contemporary art and design institutions is well known. Almost all academies and departments of art and design in the developed world are making regular use of photography, computers, and associated digital mediums as enormously powerful and flexible art/design tools.
more “Developing Digital Media at the Icelandic Academy of Art”

water

I have gotten something of a hard time from folks over the years simply because I drink water carefully, religously as it were, each day in a fairly regular regimen. Of course, most people do consume water, at least I think they must: in one form or another, although there really is only one form (with slight variations from place to place). After all, we are, what, 75% water? I forget the exact figure, but if you take the water away from our bodies there’s not much left except very dry skin and rattling bones. more “water”