Diaries – Klemperer

Klemperer, Victor. To the Bitter End: The Diaries of Victor Klemperer, 1942–1945. 1st ed. Vol. 2. 3 vols. New York, NY: Random House, 1999.

One hundred pages in, now into the fall of 1942 as, unbeknownst to Klemperer directly at the time, the “Final Solution” is being implemented by the Nazis. Hearsay begins to accumulate. Klemperer’s microscopic view, no, his immersion in life as a Jew married to an “Aryan”—a ‘special’ case in the Nazi hierarchy of depravity—is at once thoroughly banal as a daily journal while riveting as an unmasking of Arendt’s “banality of evil.” The horrifying details of the increasingly oppressive restrictions accumulate incrementally within a framework of conflicting logics each day, while random visits from the Gestapo destroy any vestiges of normality as the wider German population seems largely clueless by choice.

A partial list derived from the book encompassing some of the punitive laws and conditions in place by the early summer of 1942:

  • Mandatory Identification: Jews were required to wear the yellow Star of David visibly on their clothing. It could not be pinned on, it had to be sewn on a heavy outer coat, making the wearing of it even more unbearable in the summer.
  • Travel Restrictions: Jews were prohibited from owning cars or bicycles, and they faced severe restrictions on public transport usage. Travel between cities required special permission.
  • Property Confiscation: Jews were stripped of personal property, including homes, furniture, and valuables, which were often confiscated or forcibly sold at low prices.
  • Housing Restrictions: Jews were forced into overcrowded “Jewish houses” (Judenhäuser) and forbidden from renting or owning other properties.
  • Employment Bans: Jews were excluded from most professions and could only work in jobs deemed acceptable by the regime, typically low-wage manual labor.
  • Food and Shopping Restrictions: Access to groceries was limited, with Jews only allowed to shop during restricted hours, often when stores were nearly empty.
  • Education Prohibitions: Jewish children were barred from attending public schools, and higher education was entirely closed off to Jews.
  • Social Isolation: Jews were banned from many public spaces, including parks, theaters, cinemas, and libraries.
  • Medical Access: Jews could not visit non-Jewish doctors or hospitals and were denied most medical care except from a few Jewish professionals.
  • Curfews and Movement Limits: Jews were subjected to curfews and confined to specific areas.
  • Marriage and Relationships: Marriages between Jews and non-Jews were outlawed, and existing mixed marriages faced intense scrutiny and pressure.
  • Cultural Erasure: Jews were barred from owning radios, telephones, and typewriters, further isolating them from the broader world.
  • Confiscation of Pets: Jews were forbidden from owning pets, and any existing ones were often confiscated or destroyed.
  • Bank Account Monitoring: Jewish bank accounts were closely monitored, with savings often seized.
  • Deportations: The ultimate restriction was the ongoing deportation of Jews to ghettos, concentration camps, and extermination camps.

These measures, constantly being ramped up, aimed to dehumanize, isolate, and impoverish Jews, stripping them of their rights and dignity as part of the Nazi regime’s genocidal agenda. The diaries provide an invaluable firsthand account of the escalating persecution during this period. And, obliquely, how the wider population either participated in the process or remained purposely ignorant.

I will probably suspend reading this volume in the stead of first understanding the more insidious evolution he documents in the first volume where the initial Nazi take-over of Germany proceeds:

Klemperer, Victor. I Shall Bear Witness: The Diaries of Victor Klemperer, 1933–41,. Vol. 1. 3 vols. Westminster: Random House Publishing Group, 2016.

excerpt, from M. Le Clézio

The infinitely flat earth, lake of mud, river,
waveless sea, sky, sky of earth, blazing grasslands,
road, grey asphalt road for cars to drive along.
Rooted.
Immovable.
There is just a single cry.
What does it say?
It says
I AM ALIVE
I AM
That’s what it says. Faced with the immensity of time, with lake of
mud, river, sky, road, always the same cry
and it is not easy to hear what it is saying:
And it is not TO LIVE! TO LIVE! but perhaps
TO LOVE! or TO DIE!
From deep in the throat.

Faced with indifference, pool of dead water amid
impassive vegetation, cold body between the sheets
refusing with closed mouth and eyes
It hurls itself forward
Smashing its way
It is yet another cry
It says:
Slut! Filth! Trash!
Disgrace!

In the stifling black night, forests of sounds, vain
dreams, world turned upside down preposterous
shadow of the intelligible, mane growing inwards,
hairs that have already invaded throat and belly,
There is a light
the tip of a cigarette
the reflection from a storm-lantern
the eye of a cat

Straight rigid cry, hit, cat’s eye, gleam, droplet,
point, hole, tower, stone, word, noise, taste, skin,
being, being,
tigers, tigers,
ticks that I let loose upon you
demons that are my sentence of extermination
for me, for you, for all,
to burst through the sky, the skin, indifference.
Ho! Ho! Houa! Houa!

Le Clézio, Jean-Marie Gustave. War. Translated by Simon Watson Taylor. New York, NY: Atheneum, 1973.

I first stumbled on the work of future Nobel Literature Prize winner, Jean-Marie Gustave Le Clézio, way back in 1986 or so, whilst cruising the voluminous stacks at CU’s Norlin Library, back when there were stacks, and back when I was moderately well-read in French literature—Duras, Mauriac, Malraux, Sartre, Barthes, Ellul, Weil, Breton, Baudelaire, along with the Situationists, etc., mostly in translation. Despite my familiarity with French literary landscapes and my extended experiences traversing France, Le Clézio’s language style posed a challenge to my modest proficiency level. Aside from Le Procès-Verbal (The Interrogation) for which he was awarded the Prix Renaudot, the CU library fortuitously had copies of all his early works in translation including Le Déluge (1966) – The Flood, trans. Peter Green (1967); Terra Amata (1967) – Terra Amata, trans. Barbara Bray (1967); Le Livre des fuites (1969) – The Book of Flights (1971); La Guerre (1970) – War (1973); Les Géants (1973) – The Giants, all trans. Simon Watson-Taylor (1975); Voyages de l’autre côté (1975); and Désert (1980). The impact of Le Clézio’s narratives, reminiscent of my earlier literary revelation with Henry Miller’s Tropic of Cancer, was profound. Through immersive storytelling, he masterfully captures intricate and hallucinogenic details of diverse settings, unfolding psychospiritual voyages through the perspectives of rootless characters perpetually grasping at ever elusive meaning. Regardless of the particular protagonist, all Le Clézio’s works offer a highly recommended exploration of the human experience.

After meeting my future ex-wife for the first time in Köln, Germany in June of 1988, I somewhat reluctantly headed to Arles to attend the Rencontres internationales de la photographie. But first, I spent some days in Paris at pre-arranged meetings with folks at the [now defunct] Centre national de la photographie, the Bibliothèque nationale, and several other rendez-vous. While in Paris, still deeply ensorceled by Le Clézio’s work, I went to his publisher, Gallimard‘s office/bookstore where I bought a couple of his books. They had a binder of press clippings and critical reviews of his work that I mulled over for a time. After some mental practice runs, in my terrible French, I ventured to explain to a couple of the salesladies how much I appreciated his writing, and politely inquired if they could give me his postal address. L’un d’eux a passé quelques appels téléphoniques, faisant descendre une jeune femme extrêmement jolie des bureaux du dessus. Cela a fait tomber mon français primitif dans les toilettes. She said they couldn’t share the address (Je comprends, bien sûr!), but she did make a gracious show of taking the letter I had brought with me and said she absolument would forward it to him. Who knows. That era in Paris, no one willingly spoke English which was quite okay, but I was at more than one embarrassing disadvantage because my lousy French was spoken in a decidedly parler lyonnais, from the hinterlands, down south, mixed with a shifty accent américain: folks were at first confused, then clearly amusé at my miserable diction!

On the Métro, Paris, France, June ©1988 hopkins/neoscenes.
On the Métro, Paris, France, June ©1988 hopkins/neoscenes.

That accent was imprinted on my primitive linguistic neurons back in the third grade in rural Maryland, following the lead of Madame Moon, who taught French to a small group of us after school a couple days a week. A petite and severe silver-coiffed native of Lyon, Mme. Moon held us in a régime ancien of holy terror: if any of us got just a bit obstreperous, she would threaten to come over and sit on us! This provoked an existential fear that I never fully recovered from. We followed every lesson closely, not realizing our French discourse would be marked forevermore: indicated most overtly by our learning the Lyonnaise oui (pronounced as a slack and breathy “whey”) rather than the ‘proper’ Parisienne oui (pronounced as a clipped “we”). C’est comme ça!

Quand même, back to M. Le Clézio, I highly recommend any of his work that is now, since the Nobel in 2008, all in fresh English translation. Better still if you can manage en français, although again, his vocabulary and usage makes for a challenging stretch.

Around when M. Le Clézio received his Nobel, and I was about to undertake my PhD in Australia, I discovered that he had been teaching one semester a year at the University of New Mexico in Albuquerque. Sadly, it never worked out for me to get through there after I returned to the US from Oz. And now, as he’s quite elderly, he’s no longer doing those gigs.

Je lève mon verre pour porter un toast à l’un de mes écrivains préférés!

Otherwise, thank god for those library stacks—a place for enLightened literary (and sometimes other!) encounters that has unfortunately met the same end as telephone books, logarithm tables, paper maps, and French teachers who were at liberty to punish children by sitting on them!

Six Memos – Calvino

Indeed my writing has always found itself facing two divergent roads that correspond to two kinds of knowledge: one that moves through mental spaces of disembodied rationality, in which lines can be drawn that connect points, projections, abstract shapes, vectors of force; another that moves in a space crowded with objects and seeks to create a verbal equivalent of that space by filling pages with words, in a meticulous effort to match the written to the not-written, to the sum of the sayable and the not-sayable. These are two distinct drives toward exactitude that will never reach absolute fulfillment: the first because natural languages always say something more than formalized languages – they always carry a certain amount of noise that alters the essence of the information; and the second because in trying to account for the density and continuity of the world around us, language is exposed as lacunose, fragmentary: it always says something less than the sum of what can be experienced.

Calvino, Italo. Six Memos for the Next Millennium. The Charles Eliot Norton Lectures 1985–86. Cambridge, MA: Harvard University Press, 1988.

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.

Rick Albertson 1957 – 2022

death

We—Rick Albertson’s colleagues, fellow artists, activists, and friends—are deeply moved by his recent passing. Over many decades, Rick touched each of us in ways as diverse as his many interests, affections, and talents. At one time or another, we all will have been moved by his wit, candor, loyalty, and elan vital. He has indeed been a significant vector for us, nudging the course of our lives about in important ways. Many will have known greater joy, hope, and success on a given day because of Rick. Our debts to him are incalculable…but no matter, as Rick in his usual generous style would have forgiven those anyway!

Rick was an alumnus of the Penn State theater department where he obtained a degree in set design, a passion he had already cultivated by his mid-teens when working for the Erie Civic Theater Association. At that time, Rick was a lighting technician and also performed in the theater’s pit orchestra. Upon graduation, Rick was employed by various staging companies as well as operating one himself. His professional exploits carried him all over the US where he was responsible for staging countless conferences and media events. His colleagues will have known him for his boundless energy, creativity, and hands-on troubleshooting skills. There was no technical competency that Rick didn’t seem to possess. He had a way of bringing a sense of festivity into even the most stressful of working environments.

While based for many years in Atlanta, Rick played electric bass in many well-known jazz, rock, and blues bands, laying down a crucial bottom line at all sorts of performances and events. Forever in search of adrenaline, he was a crew member on the emergency rescue team at Road Atlanta Raceway, and he also managed to infect some of us with his love of whitewater rafting and scuba diving.

A voracious reader of…well…anything he could get his hands on, Rick was also an accomplished writer. He moved to California during the dot-com bubble where he worked for Talk City as an editor and administrator. Following that, Rick went to Boston as Contributing Editor for Senator John Kerry’s web site. Rick was also an active contributor to other sites like Democratic Underground and The Daily KOS. He eventually returned to Pennsylvania where he continued to be active in liberal politics, a lifelong passion of Rick’s where he worked as an activist on many fronts. Rick cherished democracy and seized every opportunity to promote and preserve it.

Rick’s capacity for listening and empathizing was unparalleled. Lastly, he went on to work with the Mental Health Association of Northwestern PA as a Certified Peer Specialist, interacting directly with a diversity of mental health clients…a perfect fit for this energized and energizing, compassionate man. It’s somehow appropriate that he will have touched their lives as he has ours…with affection, humor, love…and an inimitable way of assuring that all can and shall be well!

Andee Baker, Santa Fe, NM, USA; Ann Hyland, Wexford, IRELAND; Anneke Toomey, Loveland, CO, USA; Ari Davidow, Boston, MA, USA; Camille Vahey, Erie, PA, USA; Emily Zielinski, Canandaigua, NY, USA; Howard Rheingold, Mill Valley, CA, USA; Janna Nelson, Albuquerque, NM, USA; Janice MacDonald, Edmonton, AB, CANADA; John Hopkins, Cedaredge, CO, USA; John Mulligan, Silver Spring, MD, USA; John W. Hays, Beldenville, WI, USA; Kate Gilpin, Richmond, CA, USA; Mark Osiecki, Heidelberg, GERMANY; Mary, Seattle, WA, USA; Nan Stefanik, Newfane VT, USA; Michele Armstrong, Cupertino, CA, USA; Richard J. Lee, Oakland, CA, USA; Robert Crosby, Redmond, OR, USA; Sarah Cherry, Melburne, AUSTRALIA; Scott Butki, Austin, TX, USA; Scott Hooker, Albuquerque, NM, USA; Stephen Engel, Portland OR, USA; Susan Uskudarli, Istanbul,TURKEY; Tom Whitmore, Seattle, WA, USA; Valerie Bock, Decatur, IL, USA; Ward Bell,  Minneapolis, MN USA; Will Osiecki, Montreal, QC

Appendix 8: The Systems Process

[Ed: this document was written by Cleveland Hopkins as an addenda to an unidentified white paper produced in the early 1970s at the Office of Telecommunications Policy (OTP) — a White House office dedicated to policy-making in a rapidly shifting telecom environment. It is meant as an introduction to the concept of the systems process for those unfamiliar with the approach. Cleveland Hopkins was involved as a Systems Analyst looking at USPS electronic mail-handling; international and domestic telecom policy; digital medical record-keeping in the context of universal health care, among many other projects. His early career included twenty years in weapons system development (radar and ICBM) with DOD and MITs Lincoln Laboratory and Radiation Lab (Rad Lab) among other organizations. See his obit for further information.]

APPENDIX 8: The Systems Process

It is the objective of this short paper to invite attention to the Systems Process, its concepts, its essential nature, limitations and capabilities, and its output.

Introduction

“The systems approach basically applies scientific methods to the solution of practical problems,” [1], Concepts of the systems process vary from regarding it as the most powerful intellectual tool ever devised to “…the vacuous systems approach…” Historically, some of these ideas were applied to the activity used during World War II by small groups of people in trying to solve problems that were beyond the capacity of one person in the available time; these initial applications were to radar matters involved in the defense of Britain. Larger business firms have used such a process for many years to pool the efforts of management to subsequently maintain or improve their profit margins. The process began to get widespread public recognition shortly after Robert S. McNamara became Secretary of Defense; he brought in a group of technical people, later called the Whiz Kids by the military, who, after some effort were able to break up the massive military problems into pieces that could be profitably worked on by individuals of different professional backgrounds. Their results were then combined and modified by operational people so that the solutions were relevant to the real world. Some duplication was taken out of the military services, and great efforts were made to obtain maximum results for the money spent, giving rise to cost-benefit and cost-effectiveness schemes.

more “Appendix 8: The Systems Process”

ruminations

As I catch up, year-end, on a variety of old and new postings from folks, I engage in a blurred comparison process: between what they write (and illustrate), and what I write (and otherwise mediate via image and sound). A number of folks have jumped on Substack, or podcast subscription platforms. It’s hard for me to think about a paying subscription, though, as the monetary side of life is so … sensitive. And I haven’t received a penny in the last decade on my site. How to barter for access to their creative content? Perhaps I’ll raise the issue with some of them. How about a vintage photographic print from my archive for a year’s subscription?

Most others I know have a public (written) voice that is quietly friendly and ultimately readable, compared to mine. I explicitly recall a couple conversations with Norie, my PhD adviser, who said “Be kind to your readers”, something I appreciated, but honestly didn’t understand how to implement. There was and continues to be a profound internal pressure to simply get ideas down in the most precise way manageable with my particular (untempered) linguistic skill-set. As an editor I can clean up an unholy mess of words that someone else has regurgitated, honoring their ideas and intentions and making a kindly and readable text. My own ruminations, while well-edited, have only been subject to a precision test, not a ‘kindness’ test. That test, in itself, is reasonable, but tends to forge a dense, leaden text. My general excuse: texts that I have had to fight my way through understanding very often have been the most rewarding to and impactful of my worldview. Of course, I can’t make any such claims as to my own obfuscations. Giving back the energies of what I have received? Hardly. Ugh!

At any rate, George has now embraced substack with his Story Club; T.C. and her husband Dave continue documenting their interesting life between Alaska and Colorado with the Adventures of the Odaroloc Sled Dogs; Owen documents every day from Finland, India, and elsewhere with a short text and image, and has for the past decade; Christie and her friend have their Emerging Form podcast; Zander started Buzzcut both also on substack. Adam has Datatheism; John Hays has Relative Something. As a vital community exploring the sonic world, aporee::maps continues to evolve with more than 58,000 field recordings. I managed to contribute only a handful during the year, with my total around 1,700 since 2008. Just recently the World According to Sound (co-founded by talented public radio sound peeps Chris Hoff and Sam Harnett) announced an interesting calendar of live 90-minute binaural podcasts — Winter Listening Series — digging deeper into sonic phenomena beyond their shorter podcast series on sound. And, while I’m at it, Radio Web MACBA: a non-profit, cultural communication radiophonic project based at MACBA Museu d’Art Contemporani de Barcelona, hosts more than 800 podcasts covering the heights and breadths of radio beyond radio. Oh, not to mention the trove of 400,000 sound recordings from before 1926 that have entered the public domain as of last week. Finally, Lloyd Dunn, formerly a Tape Beatle, continues releasing his rich sonic and visual work on nula.cc.

Then the next anniversary of Art’s Birthday is coming up on 17 January …

If I had more time, I guess I could be rooting around endlessly online, posting a more full review of these and other voices. But then, how would I get any of my own work done? I wonder: what is the ratio of humans to verbiage? And, what was it before the Gutenberg press, before the typewriter, before the PC, before the iPhone, before Fazebuch?

Too many, too much, not enough

A conclusion that is, as sometimes said, a long stretch in coming: a mental model, compiled over this writer’s lifetime, long in developing: it arrives to confront my understanding of the nature of reality. That is, to emphasize, *my* understanding, of whatever I have done whilst on the planet, there will be no trace in one hundred years. With resource capacities stretched by too many bodies on the planet, many using too much, there simply isn’t enough to maintain any of what we have here, now.

Mangled language cannot substitute for the actions necessary to cause change. Change in human behavior will not happen, except when forced by changes in resource scarcity (or abundance), or environmental extremity.

Ça suffit! It’s all too much. But still, to speak, to write, to express. The mad tension between the two: to relinquish, to give up (að gefast upp), to capitulate, surrender :: to continue, to strive, to push forward, upward, exert, to fight. To use life-limited energy or not. To be alive is to use energy, to use energy is to re-express life.

In becoming forcibly and essentially aware of my mortality, and of what I wished and wanted for my life, however short it might be, priorities and omissions became strongly etched in a merciless light, and what I most regretted were my silences. Of what had I ever been afraid? — Audre Lorde

The silences — the un-expressed dark energies of living, the inversions of life — they re-arrive now, replete and unheard.

one relief

Five years later on the down side of the summer solstice, 2019, the entry sits unfinished, inconclusive. Irrelevant at this point in life. All consideration is now on the exchange of life-time for cash. In a situation where that exchange is not taking place under conditions where there is any winning – only breaking even. The dreamt livelihood of living-by-art is a soiled rag, can’t even clean the windows of the soul. Nothing left. Time to bail, and forget saving up (nothing) for an uncertain and very possibly non-existent future.

Glad to finish water fills the hall – these long sonic works take up tremendous slices of time to edit as one has to *listen* to the edits in their entirety many times through. And at fifty-two minutes, well, do some math (many = somewhere deep into two digits?).

On holiday, perhaps, even though “Displace” (the Migrating Art Academies book) isn’t quite done, it is almost finished. A few more days of cleaning up texts from the proofs. Not so confident about the final product. This seemed to be the most difficult of the three MigAA volumes I’ve edited — with texts from more than 150 people (artists, educators, scientists, writers, activists, and so many more) from twenty countries, forging something understandable seemed impossible in some cases. The movements across language are incredibly challenging and the process of directing that movement kept me staring at the screen and off into space for days.

2014 culminates in a week-long bout of the flu: disagreeable but somehow all part of the Big Picture. Yes, the year culminates in exhaustion. Fuckin’ tired of the pile of things that ‘need’ doing, and the impossibility of getting out from under the tyranny of the material. Whatever that really *is*.

So it goes.

Paragraphs on Computer Art, Past and Present by Prof. (emer.) Dr. Frieder Nake

[Ed: My old friend Frieder’s meditations on computer art are foundational as per his inimitable style of thought and expression. I am honored to present this text here on the tech-no-mad blog, though the blog platform itself is suffering computability problems of its own, my apologies! See also Frieder’s precise and quite humorous presentation on the history of computer art at eyeo in 2014.]

Revised version (2011) of a paper of the same title that appeared in: Nick Lambert, Jeremy Gardiner, Francesca Franco (eds.): CAT 2010. Ideas before their time. Connecting the past and present in computer art. London: British Computer Society 2010. p. 55-63. Appears here by permission of the author.
Sol LeWitt published his “Paragraphs on Conceptual Art” in Artforum, June 1967. It became an influential theoretical text on art of the twentieth century. It played the role of a manifesto even though it appeared when its topic – concept over matter – had already existed for about a decade. Digital (or algorithmic) art had had its first exhibitions in 1965. It seems it never produced a manifesto, with the exception, perhaps, of Max Bense’s “Projects of generative aesthetics” (1965, in German). Since computer art is a brother of conceptual art, it is justified in this late manifesto to borrow the style of the old title.

1 There are no images now without traces of digital art. Digital Art exists as computer art, algorithmic art, net art, web art, software art, interactive art, computational art, generative art, and more. When it made its first appearances, in Stuttgart and New York, the name “computer art” was thrown against art history and into the faces of art critics. It was a proud name and a bad one. “Algorithmic art” would have been the correct term. The superficial “computer art” disguised the revolutionary fact: the algorithmic principle had entered the world of art.

2 The algorithmic principle is the principle of computability. Whatever exists in the domain of computability exists insofar as it is computable. Alan Turing, Alonzo Church, and others had in the 1930s saved mathematics as the only discipline of the human mind that can say clearly what it says. Those heroes had clarified the concept of computability. They had thus created a new basis for mathematics. Soon after, the computer appeared as the machine to turn science into engineering. There had, of course, before been devices for mechanical calculation, but no computing automaton. more “Paragraphs on Computer Art, Past and Present by Prof. (emer.) Dr. Frieder Nake”

prescient: Amurikan Facism

Many writers on socioeconomic policy have warned that the old industrialized democracies are heading into a Weimar-like period, one in which populist movements are likely to overturn constitutional governments. Edward Luttwak, for example, has suggested that fascism may be the American future. The point of his book The Endangered American Dream is that members of labor unions, and unorganized unskilled workers, will sooner or later realize that their government is not even trying to prevent wages from sinking or to prevent jobs from being exported. Around the same time, they will realize that suburban white-collar workers — themselves desperately afraid of being downsized — are not going to let themselves be taxed to provide social benefits for anyone else.

At that point, something will crack. The nonsuburban electorate will decide that the system has failed and start looking around for a strongman to vote for—someone willing to assure them that, once he is elected, the smug bureaucrats, tricky lawyers, overpaid bond salesmen, and postmodernist professors will no longer be calling the shots. A scenario like that of Sinclair Lewis’ novel It Can’t Happen Here may then be played out. For once a strongman takes office, nobody can predict what will happen. In 1932, most of the predictions made about what would happen if Hindenburg named Hitler chancellor were wildly overoptimistic.

One thing that is very likely to happen is that the gains made in the past forty years by black and brown Americans, and by homosexuals, will be wiped out. Jocular contempt for women will come back into fashion. The words “nigger” and “kike” will once again be heard in the workplace. All the sadism which the academic Left has tried to make unacceptable to its students will come flooding back. All the resentment which badly educated Americans feel about having their manners dictated to them by college graduates will find an outlet.

Rorty, Richard. Achieving Our Country: Leftist Thought in Twentieth-Century America. Cambridge, MA: Harvard University Press, 1999.

Given the gradual transition from The Federation to The Republic to The Imperium during the last years, facism in Amurika will be very subtle and hard to catch: this, especially in the exercise of power relations among those vying for influence. There will be obvious spectacles worthy of the label ‘facist’ but the real machinations will be largely beyond the reach of ‘the media’ given that ‘the media’ is merely a symptom (or harbinger of infection).

from the spamological cosmos

[interview][green][value][south][boyfriend][while][repeat][guidance][earth][debate][copy][secretary][alert][student][career][contribution][supermarket][goal][bird][general][match][room][purpose][presence][individual][pipe][September][funeral][relation][ordinary][background][gather][homework][mouth][bank][final][can][sent][passage][adult][mountain][economics][nu][freedom][message][recommendation][illegal][burn][pizza][hunt][weakness][initiative][enthusiasm][mission][mouse][pass][pen][respect][method][change][decision][signature][dump][quality][message][sex][exchange][junior][sense][mixture][chair][wall][vacation][might][forum][show][bottom][scheme][meeting][fish][status][influence][girl][pollution][high][master][schedule][February][script][response][throat][month][top][member][salt][appeal][bicycle][team][crash][distance][advertising][worker][native][light][conclusion][yahoo][game][bridge][store][floor][accident][event][estate][whereas][order][suspect][fishing][cancel][dinner][purchase][rain][radio][proposal][advantage][trick][bill][suck][black][strategy][common][product][few][long][loss][equipment][fight][design][calendar][dependent][picture][host][grab][save][bonus][gas][view][research][diamond][bug][potato][whole][wine][upper][border][swing][length][courage][debt][poet][battle][concert][past][start][pound][cable][chart][error][put][pull][iron][heart][education][combination][manner][company][layer][population][phone][airline][agent][pour][luck][official][chance][work][satisfaction][platform][desire][lack][opposite][finance][return][bone][joke][recommended][classic][employer][establishment][evening][risk][story][help][catch][juice][reply][rub][finding] more “from the spamological cosmos”

the social algorithm and social engineering

This, an extract from an introduction to the Facebook-run study appearing in the current edition of the journal Science. It reminds us of the positive answer to the question of whether the communicative protocol that is deployed by a social institution (in this case, Facebook) affects the qualities of the communications itself. YES IT DOES! Hello folks! In this case that effect is to the social (fiscal) benefit of the social institution. more “the social algorithm and social engineering”

au soleil: on sensing the world

The faint but clear sounds were wafted through the night in a murmur of operatic music.

A voice near me said: “This is Sunday, and the band is playing in the public park of San Remo.”

I heard this with astonishment, thinking I must be dreaming. I listened a long time, and with growing delight, to the strains of music carried so far through space. But suddenly, in the middle of a well-known air, the sound swelled, increased in volume, and seemed to gallop toward us. It was so strange, so weird, that I rose to listen. Without doubt it was drawing nearer and louder every second. All was coming toward me, but how — on what phantom raft would it appear? It seemed so near that I peered into the darkness excitedly, and suddenly I was bathed in a hot breeze fragrant with aromatic plants, the strong perfume of the myrtle, the mint, and the citron, with lavender and thyme scorched on the mountain by the burning sun. more “au soleil: on sensing the world”

Sam Shepard on Amurika

From an interview with Sam Shepard by Laura Barton:

He struggles to think of contemporary American writers he rates, beyond Denis Johnson. “The thing about American writers is that as a group they get stuck in the same idea: that we’re a continent and the world falls away after us. And it’s just nonsense.”

Did he ever get stuck in that idea? “I couldn’t see beyond the motel room and the desert and highway,” he says slowly, and turns his glass a little. “I couldn’t see that there was another world. To me, the whole world was encompassed in that. I thought that was the only world that mattered.

“And it’s still there,” he adds, “but now it’s redundant because everything’s replaced by strip malls.”

The situation, he believes, is irredeemable. “We’re on our way out,” he says of America. “Anybody that doesn’t realise that is looking like it’s Christmas or something. We’re on our way out, as a culture. America doesn’t make anything anymore! The Chinese make it! Detroit’s a great example. All of those cities that used to be something. If you go to a truck stop in Sallisaw, Oklahoma, you’ll probably see the face of America. How desperate we are. Really desperate. Just raw.”

But why, I ask, is the world still so infatuated with American culture? Why, even, do we remain gripped by a play such as True West? “Oh, because they all believe the American fable,” he says. “That you can make it here. But you don’t make it.”

You’ve made it pretty well, I say.

“Yeah but I’ve also… I’ve… yeah,” he hesitates, laughs, a long, rich wheeze. “But you know, oddly, I wasn’t even fucking trying.”

dense artistic information

The artistic text, as we have ascertained, may be viewed as a specially organized mechanism which can contain an exceptionally high concentration of information. If we compare a sentence of colloquial speech with a poem, a set of paints with a picture, or a scale with a fugue, we immediately realize that the second element of each pair can contain, store, and convey a volume of information that is beyond the capacity of the first element.

Our conclusions are in full agreement with the fundamental idea of information theory which states that the volume of information in a message should be seen as the function of the number of possible alternative messages. The structure of an artistic text has a practically infinite number of boundaries which divide this text into segments that are equivalent in certain respects, and consequently may be regarded as alternatives. more “dense artistic information”

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”

moving visual thinking

After attending the Brakhage Symposium a few weeks ago, I run across this excerpt from Bruce Elder. It’s a little dense.

Brakhage has even argued that artistic forms relate to our embodied nature. The relation is most obvious in rhythmic forms, for all rhythm, he insists, derives from the throbbing of the heartbeat. Brakhage believes that physiology is what ultimately determines what we see. He believes, too, that physiology has a large role in determining what forms artists produce. The conception of cinema that he offered from the mid-1980s to the mid-1990s, that cinema can present what he calls “moving visual thinking,” he also bases on a notion of the body, for this idea of cinema proposes that film’s great strength is that it alone among art media can present the prime matter of thought before it passes through the filter of language. Adults are ordinarily unaware of the prime matter of thought but, he maintains, a fetus or infant is. This prime matter derives immediately from the synapses and reflects the nature of corporeal processes. At times Brakhage even identifies this thought matter with changes in the nervous system and so insists that his films actually present the “sparking of the synapses” or “the light in the brain.” He even avers that his films do not present pictures of moving visual thinking but convey the energies of moving visual thinking itself. One of the poets and poetic theorists Brakhage has read most avidly is Charles Olson. Olson’s poetics were fundamentally anti-mimetic, and his antimimeticism rested on his claim that a poem generally does not depict what it is about but, rather, by reawakening the energies of an experience in a reader’s body, actually recreates the experience. One suspects this fundamental proposition had a significant role in shaping Brakhage’s ideas on moving visua1 thinking. more “moving visual thinking”

Friday, 01 February, 1963

Rec’d ELE’s note to WIW re: the TRAP III Spectral Film Calibration & Processing,” enumerating what I’m supposed to get done.

Made arrangements w/ Henry Lane to use a 35 mm SR camera for the Kwaj trip, and left a draft memo VAN/to J. W. Ewers requesting issuance of a camera pass.

Picked up what looks like a fine book “Space Mechanics,” by Nelson & Loft. It seems to have the irreducible elements in 245 pages.

Worked on the film specs table.

Clear -1˚F

My, it’s nice to have some cash again!

Call from Ed Poore wanting a speech reinforcement set-up in the Hawey Room on Tuesday next for the Church Annual Meeting. He said Ken Olsen had put the gear together for the ’62 Annual Mtg. I called Ken and he said he put up to more speakers in the Hawey Room, and had several mikes feeding the present amplifier now located in Doug Rafter’s office. I’ll try to connect this tomorrow.

Borrowed a tape writer from Dave Moore’s office so I can put labels on the various audio panels.

Read some of “Modern Physics for the Engineer.”

mucker, amok

John Brunner immediately comes to my mind as events continue to develop in our over-crowded and hyperventilating, hyper-mediated world:

True, you’re not a slave. You’re worse off than that by a long, long way. You’re a predatory beast shut up in a cage of which the bars aren’t fixed, solid objects you can gnaw at or in despair batter against with your head until you get punch-drunk and stop worrying. No, those bars are the competing members of your own species, at least as cunning as you on average, forever shifting around so you can’t pin them down, liable to get in your way without the least warning, disorienting your personal environment until you want to grab a gun or an axe and turn mucker.

Brunner, J., 1999. Stand on Zanzibar, London: Millennium.

‘Mucker’ is a word coined by the science fiction writer John Brunner in his great novel Stand on Zanzibar. The word derives from ‘amok,’ which will require a bit of history. It is a Malay word, and a person who goes violently insane, rushing through the village and murderously attacking everyone in his path, is said to have ‘run amok.’ In what was an egregiously idiotic statement, even for him, the eminent French critic Georges Bataille called running amok the purest manifestation of revolt, “the movement by which man rises up against his own condition and the whole of creation.” (Bataille never ran through the streets of Montparnasse madly slashing with a kris, so he either lacked the courage of his convictions or was a hypocrite with a small — a very small — modicum of brains.) The Malays, inevitably, were and are more sensible: they kill those who run amok.

A ‘mucker,’ then, is someone who runs amok; the times havin’ a-changed, now they use guns. As always, they are people driven to murderous madness by intolerable frustration, repression and conformity, whether in an isolated kampong or the Postal Service. So far muckers seem to have been mostly Americans, but just the other day the radio carried news of one in Germany.

It does Mr. Brunner’s prescience great credit to have foreseen the need for this word, back in 1964; and it does the rest of us no credit at all, for letting such a word be needed. — Cosma Shalizi

And then there is Firmin DeBrabander article in the NYT: The Freedom of an Armed Society. I have been known to say, lecturing, “There are three freedoms on the US: the freedom to shop, the freedom to get gunned down in the street, and the freedom to be lonely.” Of course, an extreme position, and containing a cynicism that gained depth over the years by virtue of subjective observation of the system in the US, and many other systems elsewhere. But imho, a small dramatic exaggeration not far off from the reality.

DeBrabander’s argument is profound, and despite the mis-statement about ‘high-calibre’ (an M-4 is distinctly not high-calibre, but rather high-energy & high-velocity, a difference that those in the know will quibble about), he explores the effects of the mere presence of a weapon. Ever see the looks of unarmed civilians around the world in the presence of armed intruders or militias? No free speech under those conditions. Ever had the situation of being around someone who is openly armed and there is a verbal conflict going on? Ever been armed in such a situation, when the Other is un-armed? The dialogue takes on a certain form. And that form is not open.

everything left behind?

Meet Jane at The Goat this AM — good to catch up with her. One big point in our conversation struck me hard: she observed that the students entering university now are products of the “No Child Left Behind” indoctrination ‘education’ ideology of the G. W. Bush Regime. Incessant teaching to standardized (albeit state rather than Federal) testing narrowed the range of possibility for teaching holistic views of the world. This partially explains difficulties I am observing in class related to “seeing the Big Picture” of the world. A text becomes a string of unrelated possible-factoids that need to be absorbed and returned on demand, without an accompanying (and necessary!) (CRITICAL) sense-making when there is a socially-constructed reality at play.

The blog suffers some here, few notations of the actuality of momentary living. Meeting Jane, breakfast with Chris & EJ at Dot’s Diner, meeting Jim at the CU Art Museum and later a beer at The Sink (where Obama recently popped by for lunch), talking to Lisa on the phone, she has to walk outside for the signal not to drop, talking to George on another bad connection as he sat in an airport waiting to fly to Norman, Oklahoma to give a writer’s workshop, talking to Bill, skyping with Loki, emails to my students, and to a hundred Others, job applications, compiling texts of living and mostly dead writers, not much reading done, though. And hardly a glance at the sky, except to watch a couple gliders rising under some winter-ish looking clouds spinning off the divide.

Summary

The systems process appears to this writer as a continuing specification of ignorance and the associated activity of remedying this situation. A more conventional view is that this process is an activity of a number of people who individually and collectively engage in a continuing examination of problems and their related objectives, the generation of alternative ways and means of reaching these objectives, and the selection of the most attractive on a cost effective basis, hopefully tempered throughout by operational judgment and some intuition. The output is usually a report that recommends a specific course of action to responsible management, or it may be a document that recommends a selected design or engineering structure over others that have been considered. From an overall point of view, the systems process is one that enables those carrying it on and those receiving its output to narrow the areas of the application of judgment and to focus more clearly on the basic issues involved. As in all human activity, this process cannot be substituted for direct confrontation with the details of the subject nor for the hard work necessary to expose these details. One thing is certain, the application of the systems process educates and sharpens the perceptions of those who apply it.

Hopkins, C., 1972. The Systems Process. OTP White paper, Washington, D.C.

Dr. Ronald Milton Bernier 1943 – 2012

Was sad to see that another CU colleague had passed away recently. Ron had a finely tuned and very droll sense of humor which was a deLightful foil to the often dour departmental atmosphere. I advised him with technology issues relating to his teaching and research, and we had numerous fine conversations around that though the topics often drifted far afield.

CU-Boulder art professor emeritus Ronald M. Bernier died Jan. 25, 2012, as a result of complications arising from multiple sclerosis. He leaves behind hundreds of former students who spent their CU education trying to get into any and all of Ron’s art history classes.

He was born on June 19, 1943, in St. Paul, Minn., to Olivette and Milton Bernier. Ron held an undergraduate degree from the University of Minnesota, obtained his master’s from the University of Hawaii/East-West Center, and received his Ph.D. from Cornell University. His love of art was established at a young age. He told a Coloradan writer in 2005 that he remained grateful to his second-grade teacher who brought to class a brochure of the Maori people of New Zealand.

“I remember asking, ‘Are there really people like that?’ She said, ‘Oh, yes, but very far away.’ I have been looking for those faraway people all my life.”

He went on to share his enthusiasm and passion with generations of students while touring the most remote regions of the world, including Nepal. He wrote the first book ever published on Nepalese temples. His love for places, people and their art was propelled by the fact that much of it was quickly disappearing amid modernization.

In the early ’70s Ron was awarded the Teaching Recognition Award from CU-Boulder. After 35 years with CU, he was awarded the title of Exploratory Emeritus of Art History, a one-of-a-kind title for a unique and truly talented visionary. He leaves behind his friend and partner of 45 years, Dianne Bernier, as well as many friends in the Boulder area who will miss his wit and humor.

solving this?

But we are up against a curious paradox. Something of immense importance to all of us does not find expression in the literary arts. The rational side of man, with its scientific and technological expressions, gets little literary space. It is curious that science and technology have always occupied so small a place in literature. What important literary figure, except Diderot, seriously occupied himself with the problems of technology? This is all the more extraordinary when one considers that literature is supposed to hold the mirror up to life. In life people spend a great deal of time involved in the technology of the period in which they live. They work, and their jobs are connected with technology and the organizations technology engenders. Yet one sees little evidence of this in literature. — Aldous Huxley

I have a little hope to somehow tap into a solution, or, an attack on this issue. The issue did come into my awareness this past spring, in Melbourne, following some conversations with different ‘humanists’ where I realized how poorly they understand the operational paradigms of technology. And, how they look at the world through a literal or metaphoric lens which effects an almost-complete disjunction between the ‘realities’ of the (techno-)social system that they are fully embedded within, and how they imagine that social system operates.

So, today I have to forge a short footnote on the ideas behind “systems theory” for a general and likely unwitting audience. Not easy.

But did turn in a final draft a couple days ago. One hurdle, now 120 days of writerly hell ahead.

grim Shaw

THE DEVIL: And is Man any the less destroying himself for all this boasted brain of his? Have you walked up and down upon the earth lately? I have; and I have examined Man’s wonderful inventions. And I tell you that in the arts of life man invents nothing; but in the arts of death he outdoes Nature herself, and produces by chemistry and machinery all the slaughter of plague, pestilence and famine. The peasant I tempt to-day eats and drinks what was eaten and drunk by the peasants of ten thousand years ago; and the house he lives in has not altered as much in a thousand centuries as the fashion of a lady’s bonnet in a score of weeks. But when he goes out to slay, he carries a marvel of mechanism that lets loose at the touch of his finger all the hidden molecular energies, and leaves the javelin, the arrow, the blowpipe of his fathers far behind. In the arts of peace Man is a bungler. I have seen his cotton factories and the like, with machinery that a greedy dog could have invented if it had wanted money instead of food. I know his clumsy typewriters and bungling locomotives and tedious bicycles: they are toys compared to the Maxim gun, the submarine torpedo boat. There is nothing in Man’s industrial machinery but his greed and sloth: his heart is in his weapons. This marvelous force of Life of which you boast is a force of Death: Man measures his strength by his destructiveness. What is his religion? An excuse for hating ME. What is his law? An excuse for hanging YOU. What is his morality? Gentility! an excuse for consuming without producing. What is his art? An excuse for gloating over pictures of slaughter. What are his politics? Either the worship of a despot because a despot can kill, or parliamentary cockfighting. I spent an evening lately in a certain celebrated legislature, and heard the pot lecturing the kettle for its blackness, and ministers answering questions. When I left I chalked up on the door the old nursery saying –“Ask no questions and you will be told no lies.” — George Bernard Shaw, The Devil speaking in “Don Juan in Hell,” Act III of “Man and Superman,” 1902

easy out

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To write something compelling, in a sustained long form or even a short note, requires the writer to step outside normative social existence. Writing, as with any archival process, makes exception of lived-life, at the very same moment that the writer steps out of that lived moment. It is the same process as with photography except that the photographic stepping-out is typically of shorter, more fragmentary duration. Long term archiving of life — text, images — is a debilitating condition which, while projecting fragments of a life forward into other lives, at the same time, spends more quickly the life that is immediately available. The writer and image-maker begin to live a conditioned life, as actively passive consumers of staged tableau — or so they imagine. They condition themselves to see life as only a sequence of these discrete tableau, while the constancy of life in between, in its fullness, is ignored.

A low pressure system east of Tasmania brings rain squalls that flood the street out front this morning, and a deep bend in the gutter on the back roof is shooting water right down the side of the house onto the electric water heater. hmmm. doesn’t look good.

Thursday, 23 February, 1961

Gave Gail the draft of Recommendation E; her typewriter is out of order, so someone else got it.

Went in to MIT in evening to hear Gen. Bergquist, Cdr. C2D2, speak at an IRE/PGEM mtg. He made 3 points of interest to me: 1) That integration in the case of different functional areas must cut across these areas and go into each functional area in depth; 2) That the military must function in the light of the C2 System/Weapon/Logistics combination; 3) That AFC2D2 is using simulation — at SDC and here — to ascertain the essence of integration, i.e., the subject matter of each functional area that is essential for command purposes. He hit the point on all of these.

In a discussion with JFN, he (after a session with the other group) wants JLV & I to work up a position to answer the question of whether of not to put automatic machine-to-machine communication in at all Simplex Centers. This is the wrong problem, but we’ll do it!

Foggy
Rain in PM

Arrived at office at 0745.

Went to hear Gen. Bergquist talk about the C2D2. It was good, see record in work diary.

Picked up NJH about 9:45 PM.

Wednesday, 11 January, 1961

Spent most of morning talking to JFN re: the organization of the copy for slides for next weeks discussion at Ft. Benjamin Harrison. Finally decided that we will make all but those for Admin Support on 8-1/2″x11″ sheets with the executive typewriter.

Spent rest of day trying to organize the rest of the mt’l into a set of slides for the briefing. The idea is to work up a satisfactory set of slides for both this presentation and that for JSAC on 8 February. Finally JFN decided to make 8-1/2″x11″ originals for the slides using the typewriter for all except the Admin Support. I’ll try to make up a single diagram for this activity and hand out copies of the seven diagrams we now have showing the sectional components of the Admin system.

Started to summarize the Phase I Bases of Design list.

Took DCH to BSA mtg. Four young chaps from the Acton Boys Club were there to demonstrate boxing. DCH was one of the two who sparred; he did well.

Worked on the old piano, gluing a few pieces together. It surely is a most ingenious device.

The Scouts are planning an overnight hike to the Acton Forest this Saturday night; I’ll try to go.

twiddling thumbs for the Knighthood

In art and literature the problem is different. On the one hand, freedom is more possible, because the authorities are not asked to provide expensive apparatus. But on the other hand merit is much more difficult to estimate. The older generation of artists and writers is almost invariably mistaken as to the younger generation: the pundits almost always condemn new men who are subsequently judged to have outstanding merit. For this reason such bodies as the French Academy or the Royal Academy are useless, if not harmful. There is no conceivable method by which the community can recognize the artist until he is old and most of his work is done. The community can only give opportunity and toleration. It can hardly be expected that the community should license every man who says he means to paint, and should support him for his daubs however execrable they may be. I think the only solution is that the artist should support himself by work other than his art, until such time as he gets a knighthood. He should seek ill-paid half-time employment, live austerely, and do his creative work in his spare time. Sometimes less arduous solutions are possible: a dramatist can be an actor, a composer can be a performer. But in any case the artist or writer must, while he is young, keep his creative work outside the economic machine and make his living by work of which the value is obvious to the authorities. For if his creative work affords his official means of livelihood, it will be hampered and impaired by the ignorant censorship of the authorities. The most that can be hoped — and this is much — is that a man who does good work will not be punished for it. — Bertrand Russel (1968, p. 66-67)

Russell, B., 1968. The Impact of Science on Society, New York: AMS Press, Inc.

Thanks for that positive, pragmatic, and ultimately true statement of current affairs. Fifty years later. We can only hope.

about time

as quoted in Katinka Ridderbos’ book on time:

Carson, Northern Irish writer and poet, opens his book Fishing For Amber (1999) like this: It was long ago, and long ago it was; and if I’d been there, I wouldn’t be here now; if I were here, and then was now, I’d be an old storyteller, whose story might have been improved by time, could he remember it.

Time, Ridderbos, Katinka (Editor), West Nyack, NY, USA: Cambridge University Press, 2002.

So what about this fragment gleaned from my notes? I suppose it is about how to tell a story, how to give it voice and perhaps humor.

myopia and narrow vision

What is certain is that even a skill as abstract as literacy has an unexpectedly strong physical aspect. In the history of humanity, our attention has shifted from the horizon to the length of our own arms: the printed page or the electronic monitor, or at the farthest the television screen. (p. 237)
Our Own Devices: How Technology Remakes Humanity, Tenner, E., Alfred A. Knopf, New York, 2003

 
This shifting of attention has deeply affected the eyes, with a documented rise in myopia in more literate societies. Nothing like a myopic population: with the simultaneous illusion of tele-vision being foisted on bodies everywhere!

Edward Tenner, in Our Own Devices examines a number of basic technologies and their affect on embodied cultural/social participation. Think athletic shoes, chairs, eyeglasses, typewriters/keyboards, baby nursing bottles, flip-flops, and helmets. Where did they come from, why did they develop, and ultimately, what is their affect on users.

There are so many examples of this, one need only select any particular technology and begin to meditate on its source, its uses and (mis)applications: the affects on human presence gradually become apparent. The deeper the meditation on these, and the wider the field of affect is likely to surface. Tenner’s detailed histories become a bit tedious if the reader’s curiosity wears away, as the tone of the writing doesn’t change throughout, but it is in the examination of the details that connections can be made and eventually some basic principles emerge. Tenner himself is a bit glib about the meaning of the deduced affectations, and remains neutral with a slightly optimistic outlook.

In the case of computer keyboards, though, for example, he does not go beyond the direct dialectic between inventor, device, and user. Doing this, he neglects the affectations that arise not from direct usage of a device, but the indirect affects which are present as the widest context in which the device arises in a complex techno-social system. Clearly, this is not his goal, rather it appears to be more of an entertaining and surficial cabinet-of-curiosity stroll through the obscure history of everyday objects. In my opinion he misses a potent opportunity to carry through to the deeper relations between technology, technique, fundamental social relation, and embodied be-ing.

a multi-modal life

If I could have written this DCA thing before, I would have. It is a question of style and form only. As I have already written reams (megabits) of pure (well, relatively pure) text already, megabits, not in Word, but in BBEdit, close to code, pure code; not to mention the reams of paper writing that preceded that. On an old portable manual typewriter. From picnic tables in the Great Sand Dunes on crisp winter mornings, to attic havens in the dark Icelandic winter. Drilling words out out out to the many Others. Printed direct onto papers from flat or slightly curvilinear screens to nine-pin printers. Usually, on the obverse, each sheet of that paper was already a xerographic work in itself, thanks to sometimes free access to photocopy machines in various places. Photocopy art. Nobody knows what that’s about anymore. And the postcards. The thousands of them, all silver-prints. Tight hand-written like the 4000+ pages of journal, with double-ought Rapidograph pen and permanent India inks. Sometimes exploding with the pressure shifts of flying too much. Is a remix in order, of all this life-energized output, a tracing of threads? Correlated with all the memorable human encounters — teaching, exhibitions, studios, happenstance, friends, friends-of-friends, shared meals, and strangers — what can be made from it? And how to proceed.

Big question. The difference between that lived praxis and the reflection on praxis. Or is there a difference, is a difference necessary? Or is the difference a construct itself, an artificial category, a social imprint? A remnant of Whorf’s linguistic framing which, simply stated, says that a language alters the way one thinks. Or, to go a bit further than Whorf, that a language is a particular set of (neural) pathways upon which energized thought follows along, passes through. The pathways form as the language portions of thinking form in ones embodied presence. This suggests that a multi-modality of expression is an attempt or penchant to explore different pathways of (neural) energy flow, each along its accustomed way. Life is multi-modal. And energy is the substrate that the modes are embossed in. Embossed patterns which fill with flow, or over-flow. When energy does not have a predetermined pattern to move within, how will it express? It will leak into other spaces, bleed over into other patterns, or simply build up in some corner of the body until it is expressed in pathology.

keywording, filing

such a massive issue in a trans-disciplinary space. listing everything or nothing or SIPs (Statistically Improbable Phrases). maybe the SIPs would be the best phenomena, as it is a tangible mapping of non-standard word usage … mapping out new conceptual spaces. kind of like those emails from a few years back, spewed out by random text generators (or a thousand drunken monkeys reading the confetti of paper-shredded copies of Naked Lunch and pausing at spontaneously proscribed intervals to jot notes on where precisely those confetti-signs sent their proto-humanoid minds.

Ich bin mit meinem Dasein zufrieden(?)

oder

Every man’s work, whether it be literature or music or pictures or architecture or anything else, is always a portrait of himself. — Samuel Butler

heavy shuffling through the digital archive and web links to assemble something meaningful via zotero. heavy work, reading reading reading. some semi-classics to remind, and enjoy the luxury of reading to gain or revivify knowledge. Kittler, Grammaphone, Film, Typewriter; Latour, Reassembling the Social; Vygotsky, Thought and Language; McLuhan, Understanding Media, along with reviewing the already substantial library/bibliography assembled on my hard drive from the last 20 years of info-filtering in the media-sphere. dragging copies of all that into Zotero, slowly, along with hundreds of bookmarked sources, and then the keywording begins, starting the cycle. plenty of SIPs there.

such a massive issue in a trans-disciplinary space, etc…

Zotero, an open-source project, by-the-way, a victor today when a Circuit Court judge throws out a law-suit coming from Thomson-Reuters, makers of EndNote, the monopoly research/thesis writing/citation tool out there in academia.

silent selection

Buber’s story illustrating that Silence is communication opens a certain mediatory path. Especially that of listening, a critical reciprocal of expression: the act of open impression. A kind of inversion, equivalent with Simon Weil’s framing of human obligations versus the traditional (and often violent) struggle for human rights. This inversion also maps into the qualities of presence and absence implicit in the mediated technological space. Where scripted and centered Silence is necessary for balanced expression. (Both the silence of meditation and the silence of listening).

Kittler, in Grammaphone, Film, Typewriter: plowing through his expansive, eclectic interwoven threads examining the development of technology and the ensuing affectations on social systems, on people. I perhaps haven’t given him credit previously that he deserves, although I always found his presentations to be too dense to follow (simultaneous translation probably didn’t help — native speakers surely had to focus to follow his thinking). And this book didn’t come out in English until 1999, so wasn’t available when I was crossing his path. He makes clear points on the connection between technological development and war, the contingencies of warfare which don’t merely draw technological systems into a problem-solving process, but actually arise purely out of the need to more effectively, efficiently kill the Other. Optimization of defense, primacy of offense, protection of home-lands, via reducing the potential for the Other to accomplish the same. Natural selection. Is this what drives the techno-social system?

Kittler holds a fascination for these mechanisms, a boyish focus on the tool and on the technological ground of war without once making any moral approbation or moral critique of the way it goes. Has he given up? Does he care? Is he a techno-determinist? Does the intellectual fascination not accept moral argument? Or is the disinterested contemporary academic not allowed to take a moral stance?

Reindeer on the Road

mikropaliskunta is back again! An expedition collects artists to explore the nationality of a tourist in Canary Islands 03-10.march.2009 The travel can be followed in real-time at renewed website https://www.mikropaliskunta.net

mikroPaliskunta is a series of interdisciplinary expeditions exploring contemporary imagined nation called Finland and its eco-social changes in a sustainable way. mikroPaliskunta has already made two expeditions: across Finland from north to south by a biodiesel car with a stuffed reindeer in 2006 and around Berlin by bicycles in Germany in 2007. This spring, the group starts a series of expeditions themed The Finnish on Holiday. The first expedition in the hell triangle of tourism is made to Canary Islands – the ever-popular holiday destination and a border shore for African refugees risking their lives to enter European Union. Following two expeditions head to entertain centers in Vantaa and Lapland in Finland The Finnish culture is moved to warm climate in Canary Islands. How does tourism intensify presented national identity in tourists themselves and in local people? Also, the affects of mass tourism from perspective of economic depression and ecological awareness is an interesting subject matter, explains media artist and member of the expedition Mari Keski-Korsu. mikroPaliskunta website is renewed for the Canary Islands expedition. As with the earlier expeditions, also this expedition can be tracked almost in real-time. The artists of the expedition work with their own individual themes producing articles, photographs, videos, maps and a series of performances about coffee drinking as a social phenomenon. All the materials about this and the past expeditions are exhibited at the website. Members of the expedition include media artists Mari Keski-Korsu and Mika Meskanen, photographer Eija Mäkivuoti, author and scriptwriter Taina West. Researcher of sustainable consumption and production Satu Lähteenoja is a special guest of the expedition. mikroPaliskunta is supported by Arts Council of Finland and Finnish Cultural Fund.

Jean-Marie Gustave LeClezio

WOW, my all-time favorite writer, Jean-Marie Gustave LeClezio won the Nobel Prize for Literature! Splendid! Incroyable! Very deserving! I first picked up a copy of Les Giants, The Giants, in English translation back in 1987 or so at the CU Boulder library. I was hooked. Fantastically minute and prismatic observations of everyday moments. Incisive and elemental critique of human be-ing on the planet. On one of my trips to Paris in the 1980s I attempted to make contact with him through his French publisher, Gallimard, but was not successful.

I suppose this will get more of his books into translation which is a good thing, IMHO. I think that at least seven of the thirty or so may be found in English, slightly more than that in German.

as a preface to the online Center of the Universe documentation, I use

So everything is ready: ready for the journey to Purgatory, the journey to the land of black and white… The last remaining area of imperfection seems to disappear; the perfect work of not-being, a beautiful poem, monochrome and illegible. — J-M. G. LeClezio

Le Clézio, J.-M.G., 2009. Desert, 1st U.S. ed., Boston: David R. Godine.

dkfrf review

Rinus makes some nice notes on the Amurikan evening at das kleine field recording festival last week in Kreuzberg.

Rinus is one of those intelligent and grounded souls who facilitate events that are the polar opposite of pretentious. informal, humane, and best, they include a collection of found artists. artists who are connected by their desire to connect with others in an open way. my impression of the evening of performances was largely the comfort with which it proceeded. for example, I had not intended doing a visual set, thinking conservatively it was about field recording. but when Brandon got the video-projector set up, I thought, yeah, why not. so I started the evening with a slowly-building barrage. guilty, sure, of a phat mix. Rinus noted that it divided the crowd — it’s that polarizing influence that I seem to have. hmmm. it’s partly the software, got to explore how to slow it down for a more meditative mix. density. (going back to the thoughts about levity and density a few weeks ago). Brandon’s set was a perfect counterpoint to mine with the levity and Light of his life.
more “dkfrf review”

angel of history

cycle to a Transmediale co-project, transitlounge, that Jodi is part of, hang there for awhile. the collaborators in Sydney are asleep. Jodi has invited her writer’s group who actually show up. meet yet another writer in Berlin. this is becoming a theme. then off to Doris’ place for what I didn’t realize was a regular sit-down dinner. I’m late. Barbara is there, so we have a chance to catch up after one lady left finally — I didn’t get her name, but she talked almost non-stop for three hours. amazingly no one told her to shut up. she seemed used to be the talking nexus, uff. a cold ride home on the borrowed bike in the pouring rain.

This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress. — Walter Benjamin, “On the Concept of History”

Sarah Chung

former student Sarah lets me reprint this article she wrote recently about her creative practice:

Sarah H. Chung :: https://www.myspace.com/sarahhdot

I am an experimental multimedia artist, a student, and a teacher based in Denver, Colorado, USA. My latest artistic pursuits are a combination of various mediums including still image, video, sound, sculpture, light, and performance. Most recently I have been collaborating with another female artist, Heidi Higginbottom, to choreograph audio/visual performances using found objects, homemade instruments, contact microphones, and film loops. We make homemade contact microphones out of easily attainable and affordable materials and use them to amplify the sound of the movement of objects. We have used objects ranging from dishware, tile, typewriters, music boxes, sewing machines, thumb pianos, toys, water, or any curious object we can get our hands on. Our intentions are not to make melodic pieces of “music,” but to isolate and arrange pure commonplace sounds that would normally be easily lost in the proceedings of everyday life. While these objects may be ordinary, they refer to a vast web of associations and marked memories. By arranging them, we create a new resonance in the relationships the objects and symbols have with one another. These relationships are meant to be memory cues that can be triggered by sensory experience. We are in the process of experimenting with different technologies and digital software to incorporating projections, audio delay, editing and looping.

As a studio art major I was largely focused on traditional forms of art such as painting, drawing, and photography. It was about six years ago that I began to pay more attention to the intricate and beguiling aspects of the digital art culture. I was introduced to it from digital art courses being taught by visiting professor, John Hopkins, who is a working artist and has taught and traveled internationally. Projects included collecting and arranging self-generated media and media filtered from outside sources. These included field recordings, videos, still images, and lines of text. I had not dealt with this kind of medium prior to this, so I approached it the same as I would painting and 35mm photography. While the navigation of new software in a limited time span was challenging, the results of the projects left me very intrigued and curious about digital culture. I believe that the success of these projects were due to the non-linear process of collecting media without a finished product as motivation. Filtering media (books, internet, video, music, sound clips, etc.) provides an intuitive process for choosing content. It becomes a dialogue that interacts with an individuals sensibilities and social views. Whether I am drawn to content or pure aesthetic, some aspect of the media strikes me, and I collect it.

With human interaction, technology can be used as a tool to express emotion and the individualized perspectives of human experience. Technology brings with it an efficiency that adds new time-lines within our culture. Ubiquitous media screens flash loaded images and sounds that are intended to influence feelings and opinions about products, services, and perspectives in government. These messages compete with each other and have conditioned us to receive information at an exponentially increasing rate. In a society saturated with advertising, I feel a responsibility to express and tap into more emotive, internalized feelings and memories, and to offer a situation for slowing down. This desire is what caused me to seek out the tools and skills that could connect me with the vast and accessible network I was experiencing.

I believe it is of utmost importance for individuals to be informed about technologies so that they may exercise basic democratic principles. I had been intimidated by technology before, but I felt that placing myself outside of the existence of it is like surrendering my own rights. Technology is propelled by human curiosity, but is often used as a system of control. History is constantly redefined based on documentation. Dominant historical theories are based on those with the power to document and expose others to their material. It is crucial to actively participate in the documentation process of our own history in process.

Links: (check them out!!)
https://www.neoscenes.net
https://home.earthlink.net/~erinys/contactmic.html
https://www.pierrebastien.com/
https://members.chello.nl/j.seegers1/
https://www.mutek.org/
https://www.haamu.com/launau
https://www.colleenplays.org/
https://www.skoltzkolgen.com/

stories

I break down and have (huh?) to buy Loki a copy of the Harry Potter book (uff, even writing the name here is annoying). Why? Because each summer for the past however many that have been a target for the marketing of Rowling’s tale, someone — me on several occasions — has gotten him the latest installment for an early birthday present for the first of his usual two or three birthday parties. He always has one party in Amurika, sometimes with cousin Lexie, though she’s not here now; used to be that Amma Lillian would make him a nice cake, too. Then, when he gets back to Iceland there is one party for his friends and then another one for the adults in his family. more “stories”

the Great Society

on the way back from Phoenix, a stop at Arcosanti, which seems to be tired and spent, not so much changed since I visited about 20 years ago. some of the constructions seem to be very comfortable places for living, but overall, the infrastructure is marginal.

tripping onto small chunked bits of left-over text, text that was not consumed by the vacuum-cleaner of the ages. text that is left-over to be digested and re-formed by the reader who is a writer at the same time as reading. consume, re-form, re-contextualize, excrete.

The Great Society arose through the discovery that men can live together in peace and mutually benefiting each other without agreeing on the particular aims which they severally pursue. The discovery that by substituting abstract rules of conduct for obligatory concrete ends made it possible to extend the order of peace beyond small groups pursuing the same ends, because it enabled each individual to gain from the skill and knowledge of others whom he need not even know and whose aims could be wholly different from his own. — Friedrich Hayek

seeing hearing feeling

spend the morning with Sally Jane, checking out some of the exhibitions including a personal walk-through of the Animalia project with producers Angela Main and Caroline McCaw (more kiwis!). then on to the ART MUSEUM to see THE SHOW curated by Steve Deitz. some amazing works, leading off with the elegant live-chat-based piece.

lunch with Ken at La Victoria Taqueria, better burritos than Macho Taco which was inexplicably closed at lunch-time.

also happen upon the npr (neighborhood public radio) broadcast studio at the downtown cineplex in an unused ticket booth. was wondering where they were broadcasting from — last night I happened to tune them in at 88.9 on the car radio on the commute back to the ‘burbs. so, met Jon Brumit and

hard to begin and end the day with a rattling vibrating swervy commute that lasts about an hour, door-to-door.

some overviews on the conference:

yadda-yadda-yadda; blah-blah-blah.

so many words, so many moving images, so much sound, talking heads, and spectacle. along with nice personal encounters. the monumental, the hierarchic voices along with the personal, networked, and confidential/private.

San Jose is interesting clash of urban-renewal towers of glass and corrosion-resistant metals: ringed some hard-core barrio Victorian bungalow scene, interlaced with the chronic homeless scattered between the shining spaces and conventioneers.

organized networks are interested in new institutional forms. tactical media has come to a stage of confronting itself. question of scalar transformation, (vs) networked organizations. democracy and networks are antithetical. bunk.

prototypes: sarai, iDC, srishdi school of art and media, indy media, etc

end up going to see a Mike Figgis remix of his film Time Code. a pseudo-press guy is giving away a couple tickets, so I snag one. he explains that he’s not really press, but a writer, and is trying to write a history of media art starting with the worldview of Gertrude Stein. I didn’t quite understand what he was trying to tell me. I suppose he very well might be a better writer that explainer. the film is a disappointment — the subject of the narrative is hermetically sealed in Hollywood and lacks any compelling visual or story elements. Mike is there, verily, and does a live “remix” which consists of rewinding the tape(!) and fading in/out the 4 different screen audio tracks. in form — the four frames which simultaneously inhabit the main screen that were recorded in four single simultaneous takes starting at the same time — there is an extremely interesting potential, especially as the overall resolution of video systems for shooting, recording, editing, and playback are gradually increasing. but the possibilities of the form seem completely wasted by the insipid narrative and visual void. is it a joke maybe?

head back to Livermore on the 87-280-680-84 pilgrimage route. not really liking that violent traverse of the land. though one segment moves across the Calaveras Valley which is still unpopulated and sports the rolling amber hills with huge live oaks scattered at stellar intervals.

VisitorStudio

Furtherfield subset Furthernoise VisitorsStudio is the place. A Flash-based live-online visual-sonic collaborative platform developed at furtherstudio by Neil Jenkins. Roger Mills organized a test run with nine artists from Europe and US to come together today for a sequence of individual and collaborative performances in preparation for events later in June. Somehow, in the juggling of files in preparation, there are grim traces of current states of mind: in extremis.

Furthernoise is an online platform for the creation, promotion, criticism and archiving of innovative cross genre music and sound art for the information & interaction of the public and artists alike.

Furthernoise encourages new methodologies and practices in creating adventurous music and sound that is not bound by the constraints of historically experimental genres. We showcase artists work through critical reviews & features as well organising performances and events on the internet as well as public venues and galleries.

&

Furtherfield creates imaginative strategies that actively communicate ideas and issues in a range of digital & terrestrial media contexts; featuring works online and organising global, contributory projects, simultaneously on the Internet, the streets and public venues. Furtherfield focuses on network related projects that explore new social contexts that transcend the digital, or offer a subjective voice that communicates beyond the medium. Furtherfield is the collaborative work of artists, programmers, writers, activists, musicians and thinkers who explore beyond traditional remits.

Contaminations

long-time digital artist and writer Joseph Nechvatal updates me about his exhibition Contaminations in the Beecher Center of the Butler Institute of American Art in Youngstown, Ohio. By programming randomized computer viruses which interact with the structure of a digital image, Nechvatal explores the dynamic and metaphoric interrelation between healthy host and the contaminations and mutations of viral attack. given the current excited state of global epidemic both virtual and carnal, these re-presentations exploring that intersection are especially relevant.

barista songs

sorry — this is no longer available!

Marianne Murdock, Arizona-based author, singer, song-writer and self-confessed-but-reformed coffee-slave releases this straight-ahead rockin’ blues number about life as a espresso-maker in a world where java is the drug of choice. Everyone’s happy to see the dealer, but the desperation for the fix over-rides everything. Baristas everywhere will be toe-tapping to this one and no doubt Starbucks employees will be line-dancing on the counters to lyrics like

… some caffeine-depleted repeater causin’ trouble in the line …

and

… you don’t want no sleeve because you like it when it’s hot …

For a free mp3 preview or to pick up your personal copy, head to https://www.baristasong.com/. What’s an addict to do now?

Dance!

Partial Description of the World

I don’t normally post long passages of other writers, but Alan (Sondheim) posted this to nettime today: it penetrated the fog of hypo-texts that floods a typical day in front of screen-life.

The power grid provides 60 Hz here at approximately 115-117 volts; this is maintained by dynamos driven by steam or coal or oil or hydro held together in a malleable grid. The grid enters the city, where electricity is parceled out through substations to cables continuously maintained and repaired. Here, the cables are below ground. They drive my Japanese Zaurus PDA which utilizes an entire linux operating system on it. The Zaurus connects to the Internet through a wireless card that most often connects to my Linksys router, which is connected both to the power grid and the DSL modem by a cat cable. The DSL is operated by Verizon with its own grid at least nation-wide and continuously-maintained. The DSL of course connects more or less directly to the Internet, which is dependent upon an enormous number of protocol suites for its operation, the most prominent probably TCP/IP. The addresses of the Internet, through which I reach my goal of NOAA weather radar, are maintained by ICANN and other organizations. These organization are run by any number of people, who employ the Net, fax, telephone, and standard mail, to communicate world-wide. more “Partial Description of the World”