Judith Balso & Phillipe Beck: Talk 2
Experience is a special pre-condition for experiment.
Experiment as political and ethical problem in the poem.
"The ascent into the effect..."-Philippe Beck
[Folding the summers into halves
is not a hobby
is not origami attempts at the word.]
[The pressure of a swing in its inevitable un-swingingness.]
-->return to Alice Notley's Descent of Alette.
[Language as the air around a swing.]
[Language as the air from where dirigibles made appear.]
[Poetic language is a return to nothing.]
{To make boredom more dramatic.}
Philippe Beck might be a poet because he looks like one.
[I believe that true boredom is impossible to experience unless its purely entertaining.]
[Boredom is an ability.]
[the book-form itself gives me pressure.]
[I'm not sure yet what my obsessions are or who they come from.]
[Some poets simply know how to capitalize on the lower-case "i". For instance, Tao Lin.]
Tuesday, August 18, 2009
Monday, August 17, 2009
poetry seminar
Judith Balso & Phillip Beck: Lecture 1
A friendship between poetry & philosophy.
Why did Plato exclude poets from thought? B/c he thought poets were linked to false appearances.
Heidegger thought poetry was essential to thinking. Balso thinks the risk is that poetry is subordinate to philosophy.
Balso thinks poetry is decisive for philosophy:
1. What poets can teach philosophy about language.
2. We can learn from poets about the separation between politics and history and what it can be through poets.
3. Philosophy has to learn from/with poets the question of ontology; the being of thought.
4. Poets can teach philosophy the question of the multiplicity of thoughts.
(Philosophy is another kind of thought from poetry, hence, a multiplicity of thoughts.)
Balso considers Stephane Mallarme, Wallace Stevens, Fernando Pessoa, Mandelstam, Pasolini, Philippe Beck, Gennadi Aiji, Bei Dao, Yang Lian.
Pessoa & Stevens dealt directly with ontological questions. Also, poets Giacomo Leopardi and Reynaldo Jimenez.
Multiplicities of Thought:
-Poets exist in their poems. Poetry develops itself through its readers. Poetry is a vast reserve of decisive thoughts.
Often what you don't understand in a poem is the core of the poem.
Pleasure is where thought exists in the poem. Meaning is only a part of the poem. A poem always speaks non-directly. In poetry, language is the material-->two planes of existence in poetry-->singularity of language inside poetry.
1. "Poetry must be a capacity of coldness. It must retire from all these fables and impulses. It must be capable of creating distance to pathos and it must be capable to speak non-directly. To speak directly is too simple." Be Dao
2. "The indirect is representation at its highest."-Philippe Beck
So then what does poetry build in speaking indirectly and with coldness? ∑hat new forces is it creating when speaking non-directly.
3. "The prime function of poetry is being purely and simply available." -Paul Celan
Philosophy follows poetry. Poetry is available to exist first for philosophy. Thought as exists through poetry itself; to catch what is coming and to dispose it inside itself.
"Poetic reason is not the reason that decorates truth, no, truth is rhythm. poetry is the attempt to tell the rhythm of truth." Beck
4. "Many languages fly through this world but when language produces can neither increase nor diminish the silent sorrow of mankind." -Bei Dao
"Poetry makes occur another kind of clarity via operations that give density to the real." -Bei Dao
Poetry must already exist as poems. According to Wallace Stevens' "pressure of contemporaneity". The poet must be exposed to this pressure. This is why poetry brings question of thought to itself.
What is thought in poetry? It lies in the acknowledgment that poetry thinks and the investigation of how it thinks.
Ars Poetica. Self-conscious and self-productive of thought; a capacity to constitute the world, being its own measure of thought.
Poetry is the subject of the poem when the poem has reached is maximum.
1. Question of the "impersonality" in poetry today.
2. Question of "availability" related to openness in poem.
3. Condition of distance related to history and politics.
4. Condition of re-consistency. "Poetry is a consistency of the world which rouses consistency in poem.
Abstract Poets: Is it true then that poetry is 50 years after painting? Balso certainly makes this allusion without intending to.
1. Poet is constant subject of poet. (Frank O'Hara's "Personism", Olson's "Projective Verse".)
[I really believe Mallarme was the first true "electronic poet" within context of historicity.]
[The body as a publishing house where poetry and technology can also be housed within the physical body and not the other way around. The poet should not be subject to the medium but should invoke a poeticization of the media apparatus.]
[Mallarme says "The verse has been touched". His essay "The Crisis of Poetry" which 100 years later led to the practice of "digital poetry".]
The poet's identity is put at a distance.
Rimbaud's "I is another."
Pessoa's heteronyms: campos, caeiro, reis. [The unconcealdness of each identity seems similar to the identity-cloaking of blogging.] Pessoa's "Ode to Maritime".
The poems are the biography of the poet.
A poet is someone who thinks with his whole body, is a manual thinker.
Music is only a metaphor for this separation of poetry from music.
Poetry creates for itself separations in order to create distinctions and to preserve the signifying space around it. Poetry is an infant begging for attention.
-poetry creates its own reading method--> Mallarme.
There are no prose pieces from Mallarme in full volume in north america.
"Immaculate Tongue"--> exposes the idea as a temptation and impossible point where poetry can not reach--> totally private-->[take a look at the tongue of Saint Anthony.] The double state of speech: immediate, crude (propaganda) & essential (poetic).
[To disinfect language from the contamination of ________.]
Poetry separated a tongue within language.
"The poetic act consists in seeing suddenly that the idea separates into several states of equal value..." Mallarme.
Installation: videotape my tongue reciting my poems, just the mouth, tongue, and teeth.
Thought is gibberish. Gibberish is vulgate.
-flickering-->thought-->concentration-->vulgar.
-the poem is peculiar and general.
Hegel's Aesthetics.
---------------------------------------------------------------------------------------
"Conversations On Dante" by Mandelstam
1. The quality of poetry can be defined by rapidity..one has to race across the weeds of a river cluttered with boats moving in disorder.
Mallarme emphasized syntax.
Molina is trying to figure out a "painterly syntax"= and uttering and solidification of words in reaction to the digital surface. Language as sculpture with no materials.
Catallus' "The Origin of The World".
The poetic tongue is always finding how she can replace the antagonistic statements with true thoughts. Poetry is fighting a historical war all the time.
[One will know when one is looking at a poet, as I once told Carlos Lara on the cellphone from the swiss alps to san diego.]
Poetry Piece:
1. Catch the words that are in constant movement through popular media.
2. Hold as many as you can in yr memory.
3. Watch them float across the room just before falling asleep.
A friendship between poetry & philosophy.
Why did Plato exclude poets from thought? B/c he thought poets were linked to false appearances.
Heidegger thought poetry was essential to thinking. Balso thinks the risk is that poetry is subordinate to philosophy.
Balso thinks poetry is decisive for philosophy:
1. What poets can teach philosophy about language.
2. We can learn from poets about the separation between politics and history and what it can be through poets.
3. Philosophy has to learn from/with poets the question of ontology; the being of thought.
4. Poets can teach philosophy the question of the multiplicity of thoughts.
(Philosophy is another kind of thought from poetry, hence, a multiplicity of thoughts.)
Balso considers Stephane Mallarme, Wallace Stevens, Fernando Pessoa, Mandelstam, Pasolini, Philippe Beck, Gennadi Aiji, Bei Dao, Yang Lian.
Pessoa & Stevens dealt directly with ontological questions. Also, poets Giacomo Leopardi and Reynaldo Jimenez.
Multiplicities of Thought:
-Poets exist in their poems. Poetry develops itself through its readers. Poetry is a vast reserve of decisive thoughts.
Often what you don't understand in a poem is the core of the poem.
Pleasure is where thought exists in the poem. Meaning is only a part of the poem. A poem always speaks non-directly. In poetry, language is the material-->two planes of existence in poetry-->singularity of language inside poetry.
1. "Poetry must be a capacity of coldness. It must retire from all these fables and impulses. It must be capable of creating distance to pathos and it must be capable to speak non-directly. To speak directly is too simple." Be Dao
2. "The indirect is representation at its highest."-Philippe Beck
So then what does poetry build in speaking indirectly and with coldness? ∑hat new forces is it creating when speaking non-directly.
3. "The prime function of poetry is being purely and simply available." -Paul Celan
Philosophy follows poetry. Poetry is available to exist first for philosophy. Thought as exists through poetry itself; to catch what is coming and to dispose it inside itself.
"Poetic reason is not the reason that decorates truth, no, truth is rhythm. poetry is the attempt to tell the rhythm of truth." Beck
4. "Many languages fly through this world but when language produces can neither increase nor diminish the silent sorrow of mankind." -Bei Dao
"Poetry makes occur another kind of clarity via operations that give density to the real." -Bei Dao
Poetry must already exist as poems. According to Wallace Stevens' "pressure of contemporaneity". The poet must be exposed to this pressure. This is why poetry brings question of thought to itself.
What is thought in poetry? It lies in the acknowledgment that poetry thinks and the investigation of how it thinks.
Ars Poetica. Self-conscious and self-productive of thought; a capacity to constitute the world, being its own measure of thought.
Poetry is the subject of the poem when the poem has reached is maximum.
1. Question of the "impersonality" in poetry today.
2. Question of "availability" related to openness in poem.
3. Condition of distance related to history and politics.
4. Condition of re-consistency. "Poetry is a consistency of the world which rouses consistency in poem.
Abstract Poets: Is it true then that poetry is 50 years after painting? Balso certainly makes this allusion without intending to.
1. Poet is constant subject of poet. (Frank O'Hara's "Personism", Olson's "Projective Verse".)
[I really believe Mallarme was the first true "electronic poet" within context of historicity.]
[The body as a publishing house where poetry and technology can also be housed within the physical body and not the other way around. The poet should not be subject to the medium but should invoke a poeticization of the media apparatus.]
[Mallarme says "The verse has been touched". His essay "The Crisis of Poetry" which 100 years later led to the practice of "digital poetry".]
The poet's identity is put at a distance.
Rimbaud's "I is another."
Pessoa's heteronyms: campos, caeiro, reis. [The unconcealdness of each identity seems similar to the identity-cloaking of blogging.] Pessoa's "Ode to Maritime".
The poems are the biography of the poet.
A poet is someone who thinks with his whole body, is a manual thinker.
Music is only a metaphor for this separation of poetry from music.
Poetry creates for itself separations in order to create distinctions and to preserve the signifying space around it. Poetry is an infant begging for attention.
-poetry creates its own reading method--> Mallarme.
There are no prose pieces from Mallarme in full volume in north america.
"Immaculate Tongue"--> exposes the idea as a temptation and impossible point where poetry can not reach--> totally private-->[take a look at the tongue of Saint Anthony.] The double state of speech: immediate, crude (propaganda) & essential (poetic).
[To disinfect language from the contamination of ________.]
Poetry separated a tongue within language.
"The poetic act consists in seeing suddenly that the idea separates into several states of equal value..." Mallarme.
Installation: videotape my tongue reciting my poems, just the mouth, tongue, and teeth.
Thought is gibberish. Gibberish is vulgate.
-flickering-->thought-->concentration-->vulgar.
-the poem is peculiar and general.
Hegel's Aesthetics.
---------------------------------------------------------------------------------------
"Conversations On Dante" by Mandelstam
1. The quality of poetry can be defined by rapidity..one has to race across the weeds of a river cluttered with boats moving in disorder.
Mallarme emphasized syntax.
Molina is trying to figure out a "painterly syntax"= and uttering and solidification of words in reaction to the digital surface. Language as sculpture with no materials.
Catallus' "The Origin of The World".
The poetic tongue is always finding how she can replace the antagonistic statements with true thoughts. Poetry is fighting a historical war all the time.
[One will know when one is looking at a poet, as I once told Carlos Lara on the cellphone from the swiss alps to san diego.]
Poetry Piece:
1. Catch the words that are in constant movement through popular media.
2. Hold as many as you can in yr memory.
3. Watch them float across the room just before falling asleep.
Tuesday, August 11, 2009
the erotic line
Chris Fynsk: Lecture 2 on Heidegger's "Origin of the Work of Art."
Art (through technology) is the lever into a "new beginning"-- the situation of humanity in the contemp. world.
How does truth manifest itself in a work of art.--> The truth would not happen without art.
Why is art a necessity for truth? The work precedes the artist in which the artist (be)comes to know oneself thru the work of art.
[art doesn't exist for itself. one could compare it to Barthes' state/moment of the 'zero degree'.]
"Lethe" obscurity, forgetting. "Alethea" a play of non-concealment entailing a dimension of a turning away or closure. Something unmasterable that escapes...
Technique is a process of putting everything (in the world) at disposal.
[This feeling that human beings are being mastered by technology.]
One arrives in a world that is already there. We can never master our selves. We have limits to this capacity and to this powerlessness. There can be a transcendental b/c we can't control it.--> to think the finitude of the human being!!! to think the powerlessness!!!
"Sacrifice" of one's life for one's country.--> [How Heidegger's view is speculatively connected to the purges of the Holcaust.] [Fynsk does not think there is a connection because Heidegger's notions of sacrifice was conceived in 1935. I think Fynsk does not see the potential or at least crucial connection between MH's notion of sacrifice and the act of purging as "self (or other) sacrifice" within the context of "ethnic cleansing" within WW2 Germany.][ This "event of truth" in the sacrifice is evident in the tens of millions of lives that were "used" to make this "event" a "truthful" one. It can be argued that Jews and the surrounding social minorities in fascist Europe were used as sacrificial lambs with reverence to "national socialism" within the religious apparatus. Strains of MH's fascist tendencies were poetically expressed philosophically.]
How does Art present itself?
-objectivity, presence-->hermeneutic circle. Hence, "All works have this thingly character."
-"Inscription of truth in a finite event..." What is at work in the work, the being of work in the work. In the art work, truth is at work (duh!).
[MH offers to art this sense of omniscience.]
[Michael Jackson as an electrical embodied work of performative art.]
-The way in which a human being crafts a world--crafts a world in relation to things.
[How this can be applied to cosmetic makeup.]
Where is art real?--> where truth is at work.
[Art is an expression of the propensity of the artist's truth.]
[Art as an expression of the truth of one's being.] The problem is in defining what being is. The attempt in defining is not necessarily a work of art. Forget the term "art" altogether and replace it with attempts toward being.]
Producing a world for itself.-->poesis, in itself and for itself.
The "thing" already gave itself to us-->the way its given to us.
-The projection of language into the thing.
-The utterance of human beings in relation to their things.
-A concept of the thing based on sensibility and asthesis. ( A process of schematization occurs in recognition of the thing in order to then evolve a sensibility.) There is a form of feeling which gives us a relation to things.
How we relate to the thingly character of art:
1. Too far from the thing.
a.) schtimung: mood, or way of being attuned which reveals our dasein in ways that are special. Capable of being touch, of being affected. A way of being moved, of being moody or responding in relation to our world.
b.) angst: a state in which we are most immediately attuned to the very fact of our being, without fear in the exposure in being given over to the world.
2. Too intimate with the thing or space.
3. Neither too close nor too far.
(Form & Matter distinction)--> Hence, the thing concept.--> Equipment and production. Tension between form & content. Binaries of Metaphysics. If Subject & Object is coupled, then representation has command.
What is the figural character of the art work?
MH wants us to see the artwork as a self contained thing, as a thing which stands apart in a special way, over-against us in its self-containedness; that which has a strange presence over us, an otherness in which truth is inscribed in the work. (True) Art & Truth are inseparable.
[When art happens, it displaces its context. The artwork is the origin of the content, whereby, the thing bears with it an event.] This event gives us the code.
[Imagine a culture with no mirrors.] --> The event character of the art work which redefines relations between selves, things, and world. Thus, the world is formed incessantly.
The force of the familiar (the everyday life) is too great. We must stay close to the event (or truth) to guide us in shaping the familiar.
(Stems from Greek notion of production; things of use, property, ownership, tools, objects of use; pragmatics--> used carelessly in relation to Art.)
[Purpose disappears in the toolness of it. Matter is used up in the tool, whereas, art is brought forth in the tool.]
["De-naturing of language in the typewriter..."]--> the materiality of ink and paper as earthly component of "art". This both true and bullshit.]
[Typing is a different gesture of approaching and relaying (poetic) language all together. Poetry need no longer be an "earthly" task if the earth also floats in outer-space.]
[Outer-space poetics via technology.]
[Technology can work to bring poetry into outer-space, can make us sensitive to this potential.]
Is it ethically Fun to See a Poet's face on a Candy Wrapper?
Pierre Alferi Workshop
Linearizatin within writing tells you in one way in which the signs should be read.
"Boustrophedon"--a kind of writing which mimics how cattle plough--a prehistoric form of linear writing--later evolving into varying forms of linear writing--means & process of standardization and coding of characters.
[I need to at least try to understand at the bare bones the painterly syntax of my "linear" writing.]
-In early prehistoric writing there was an intended direction of the birth of letters in terms of shape.
-The origin of Germanic alphabet stems from Syrian images and character. For example, the image of the head of a cow: a triangle with two horns at the top of both ends of a triangle representative of the letter "A".
-Pictograph-->Phonograph as in Egyptian hieroglyphs. (Symbols were added to warn that the pictograph signifies something else.)
-Hence the saying "etched in stone."
[The concept of a page stems from the darkness of the sky; the computer screen followed the page which is a phenomenon of the sky.]
[The grid signifies distance between living beings.] [Space cannot be broken, only images and symbols and other nouns.]
Mary Shapiro "Words & Images"
-the gravitation between letters and objects.
[Alphabet letter= person. Page= room. Persons represent some kind of letter in the alphabet if every letter were considered a type of psychological state.]
-Bubble symbol in cartoons stems from early conception of scrolls coming out of the mouth.-->magical, benedictions.
[The image is a slave to language because language is the word of God.]
[I need to learn about the origins of pictographic writings to help gain understanding of the syntactical structures underlying my writing.]
[To "build" a piece of text conceptually/literally/physically.]
[Explore the sentence conceptually & physically so that: The page= Sculpture.]
[Consider the technical, grammatical, and cultural productions and mechanisms of Television and its possible traces to the origins of Language as a sacred original bond with God.
[Television as an omniscient expression of God's omniscience.]
Linear Narrative--->Pictographs. Semantic Writing. Board Games. Radio. Film. Television. Video Games. Internet.-->Non-Linear Narrative. What now is the "scene of writing"?
[We are condemned to live fictional existences in an Age of Mass Anxious Media. Our future-history is already forgotten since there is nothing real to remember. The future will look towards the multi-faceted medias as footnotes to the fiction we are producing by and through it.]
[The painterly qualities of syntax; the physicality of language as a reaction to the metaphysical digitality of culture. Language then yearns to be solid and written on stone.]
[What is this hopelessness I feel about art?]
[Everyone seems to have some kind of camera unknowingly embedded in their consciousness.]
[Does manipulation of technology make "magic" or the "divine" any more or less real if we consider the two to be sources of mimesis?]
Saturday, August 8, 2009
There's a Planet in my TV
Siegfried Zielinski: Lecture 6: Flusser
Vilhem Flusser "To Think Further Communicology".
A midget genealogy of "media theory".
"Medium" defined as the space between above and below, between the rising and the setting sun, and also referred to as a public meeting place. Since early modern times, it is customary to understand a medium also as an incorporeal context in which something may take place..."
Theoretically, it began after the Second World War.
What is Media Theory? Media as a term begins as a neologism--An interdiscursive praxis. As such it is oscillating and processing between the discourses of sciences, arts and technologies.
Methods of Media Theory are permanently in a stage of transit--without a home and without discipline. It doesn't exist because its completely imaginary.
[A bunch of junk that can fit in micro-physical space--> a gesture and attempt to eternity. Media starts with a lack resources.]
(Kulleshov-->developed concept of montage. Time-based. Spoken poetry.)
Benjamin's
1. "Das Telephone"
2. "On The Minute, Just In Time"--> on the dictatorship of time.
-Harold A. Innis 1894-1952 (McLuhan's intellectual father). "The Bias of Cummunication", "Empire & Communication".
-Ernst Kapp "Philosophie Der Technik", 1877.--> "organ projection": every technology is a projection of organisms by the human being.
[Look into Rob Spence's camera prosthetic eye: http://www.finesttech.com/techonology/filmmaker-places-camera-in-his-prosthetic-eye.html]
Adorno & Horkheimer's "Dialectics of Enlightenment": nature vs. technological constraints. Culture Industry-->pornographic-->fun without reason.
Laswell Formula 1948
Who--> Says What--> In Which Channel--> To Whom--> With That Effect
Information Source (message)--> Transmitters-->(signal) Noise Source (received signal)--> Receiver--> Destination
-DeFleur's development of the Shannon & Weaver model, allowing for feedback.
-Gerhard Maletzke 1972. Feedback. (the drawn formula is representative of video-tapes.)
-Norman Wiener, "Cybernetics, or Control and Communication in the Animal and the Machine".
-Martin Heidegger "The End of Philosophy & The Task of Thinking".
-Tiqqun Group, "Cybernetics & Revolt". Paris, 2001
[To trace the poem, you have to study the objects that surround it.]
"Apocalyptic writers are writing their own problems". -Zielinski
-Formulative Evaluation process of "Children's Television Workshop". February, 1979. Hence, "Sesame Street". Funding for this project: $8,180,000.
Founders of Cultural Studies:
Richard Hoggart
E.P. Thompson
Raymond Williams
Protagonists in a Media Context:
Stewart Hall
Stephen Heath
John Ellis
Hoggart- The Uses of Literacy (1957)
Williams- Culture & Society (1958)
Williams' "Television: Technology or Cultural Form (1974)/The Long Revolution (1961)
Christian Metz- The Imaginary Signifier
[In effect, the individual-body becomes a televised-body. Both bodies are reciprocal. The third-body is fleeting within the reciprocation; there exists a media induced poetics of this reciprocation taking pleasure in not being articulated. ]
Paranoia (attitude of fleeting time) and Melancholy (too attached to time) are pathologies of time.
Hubertus von Amenluxen: Lecture 6:Vilhem Flusser Seminar
Massimo Kachari--> thinking of the sacred in an architectural space.
Jean Genet's plays-- "fertile sterility of a work of art". (walking on the line or collapsing!)
[The threshold is an imaginary line between sound and image. There can be no formal strategy for being in/on the threshold for once you stand on the threshold there is the pleasure of disappearing.]
[I am not searching for any sort of definable poetics. Only that which can be defined at the moment of death.]
[Poetry has reached a threshold of relentless "rhizomatic" points. At the frontier of poetry being defined, one will find the back of a face.]
[Poetry may be a child of an unfolding digital landscape in copulation with a new rise in spiritualism.]
[Can no longer turn the face away from the sun doubly reflected from the screen.]
[Poets need to travel to outerspace, outside of real time and into the unfiltered margins of the solar system to experience the impossibility of language.]
[I am already blogging you from the moon.]
What is trust?
Putnam's "Bowling Alone"--->Nicholas Newman---> we need to decrease complexity to gain trust. This issue effects our experience of a mediate reality.
Rainer Werner Fassbinder's "The World On a Thread". 7 hour TV series. 1976.
[Nothing has been done yet because each is singular, each can only exist at one (known) particular "place" and "time".]
Test the possibilities of Echo & Narcissus.
Massimo Kachari--> thinking of the sacred in an architectural space.
Jean Genet's plays-- "fertile sterility of a work of art". (walking on the line or collapsing!)
[The threshold is an imaginary line between sound and image. There can be no formal strategy for being in/on the threshold for once you stand on the threshold there is the pleasure of disappearing.]
[I am not searching for any sort of definable poetics. Only that which can be defined at the moment of death.]
[Poetry has reached a threshold of relentless "rhizomatic" points. At the frontier of poetry being defined, one will find the back of a face.]
[Poetry may be a child of an unfolding digital landscape in copulation with a new rise in spiritualism.]
[Can no longer turn the face away from the sun doubly reflected from the screen.]
[Poets need to travel to outerspace, outside of real time and into the unfiltered margins of the solar system to experience the impossibility of language.]
[I am already blogging you from the moon.]
What is trust?
Putnam's "Bowling Alone"--->Nicholas Newman---> we need to decrease complexity to gain trust. This issue effects our experience of a mediate reality.
Rainer Werner Fassbinder's "The World On a Thread". 7 hour TV series. 1976.
[Nothing has been done yet because each is singular, each can only exist at one (known) particular "place" and "time".]
Test the possibilities of Echo & Narcissus.
Friday, August 7, 2009
Archangel Gabriel: Patron Saint of Communication
Telephone Booth by Banksy
Siegfried Zielinski: Lecture 5
Giovanni Fontana "War Instruments" 1420.
"The Devil As Automaton" by Anthony Grafton--Essay in the History and Philosophy of Artificial Life. edited by Jessica Riskin. "Genesis Redux" (University of Chicago Press 2007.)
Herwig Weiser "Liquids".
Religion and Technology= Performance
Norman Klein "From Vatican to Vegas"
--->specific technologies of communication in relation to theology. Dissecting the parallels.
The ritual form of looping which reproduces psychological intensity through/of repetition. This is an essential gesture in religious practices. Hence, the Rosary and Mala beads.
University of Glasgow, Theological Department: Technicity & Religion. Conference Oct.14-16, 2009.
Hollywood as a system was founded by the Catholic establishment. The system of approaching the psyche of a people was an invention of the Jesuits.
List of Catholic Directors:
Hitchcock
John Ford
Luis Bunuel
Fritz Lang
Francois Truffaut
Buster Keaton
Fellini
Scorsese
Jean Renoir
Coppola
Eisenstein
Eric Rohmer
Jean Luc Godard (Calvinist)
Chaplin (Agnostic)
Purgatory is where the imaginary orgy or martyrdom takes place. Utmost limit towards purification. Catholic church is excellent in stage production, mise en scene.
Botticelli's 95 Illustrations of Dante's Allegory.
Jesuits founded by Ignatius of Loyola, "Exercitia Spiritvalia"
To purge one self from Mass media. [Note the term "Mass" in Catholocism]
text-->prayer-->loops
-----------------------------------------------------------------------------------
Dr. Zielinksi is touching heavy potentialities for the concrete relationships between structures in Catholicism, mass media, & Hollywood. [.. believers of the church and of Hollywood.]
[Refer back to 2004 series of poems "On the Utility of Catholic Saints" as part of B.A. thesis at Naropa.]
[Punctuation as a technical/programmable literary means for looping and re-combination of text as practiced in collaborative digital piece with Daniel C. Howe, "Roulette", Spring 2008. This strategy for punctuation began with previous series of poems entitled "Roses of the Non-City" also part of B.A. thesis.] [The "breaks" and "irritations" of each punctuation sign is an extremely Catholic effects of purification, hesitation, guilt, fear, sin as used in "Roses of the Non-City".]
Punctuation sign-->punctum<--catholic host
["Roulette" possesses Catholic tactics in the looping, line-breaking, and punctuation, as well as there being a sense of procrastination of death. Consider the Catholic tactics/effects in the technical practices within digital writing.]
Catholicism, digital technology/practices (as a ritual).
Up to 18th century, Catholic church was allowing to use technology to praise God.
[Technology is a fall from grace.]
[The shape of musical instruments are representative of the shape of the sound combined with culture and time in which it is produced.]
Mario Schneider "Singing Stones"--> Sounds stemming from Asia and Africa contain the darkest sounds that are beyond concept.
Robert Fludd. Developed cosmogony of sound "Ultrique Cosmi Mairoris scilicet et Minoris, Metaphysica..."
"A Media Theory of Angels"-- a book someone needs to write.
"Cantichordum" Jean Mombaer's Rosetum. Early 16th. century.
Each vowel: a=happy, e=hope, i=? , o=fear, u=hate. This in relation to Rimbaud's poem "Voyelles" (1872)
Anasthasius Kircher's "Poetical Machine" (1650). Re-combinatory columns in a box-machine based on sequencing of infinite outcome of texts.
"Believing/Faith Machine": electric offertory box in Naples. 2005
Technological apparatuses that assist us in increasing our faith.
"The electrification of the churches."-Zielinski
"The machines believe in us and we should fulfill this faith."-Zielinski
Battery-powered plastic Buddha machine from China, 2005.
Siegfried Zielinski: Lecture 5
Giovanni Fontana "War Instruments" 1420.
"The Devil As Automaton" by Anthony Grafton--Essay in the History and Philosophy of Artificial Life. edited by Jessica Riskin. "Genesis Redux" (University of Chicago Press 2007.)
Herwig Weiser "Liquids".
Religion and Technology= Performance
Norman Klein "From Vatican to Vegas"
--->specific technologies of communication in relation to theology. Dissecting the parallels.
The ritual form of looping which reproduces psychological intensity through/of repetition. This is an essential gesture in religious practices. Hence, the Rosary and Mala beads.
University of Glasgow, Theological Department: Technicity & Religion. Conference Oct.14-16, 2009.
Hollywood as a system was founded by the Catholic establishment. The system of approaching the psyche of a people was an invention of the Jesuits.
List of Catholic Directors:
Hitchcock
John Ford
Luis Bunuel
Fritz Lang
Francois Truffaut
Buster Keaton
Fellini
Scorsese
Jean Renoir
Coppola
Eisenstein
Eric Rohmer
Jean Luc Godard (Calvinist)
Chaplin (Agnostic)
Purgatory is where the imaginary orgy or martyrdom takes place. Utmost limit towards purification. Catholic church is excellent in stage production, mise en scene.
Botticelli's 95 Illustrations of Dante's Allegory.
Jesuits founded by Ignatius of Loyola, "Exercitia Spiritvalia"
To purge one self from Mass media. [Note the term "Mass" in Catholocism]
text-->prayer-->loops
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Dr. Zielinksi is touching heavy potentialities for the concrete relationships between structures in Catholicism, mass media, & Hollywood. [.. believers of the church and of Hollywood.]
[Refer back to 2004 series of poems "On the Utility of Catholic Saints" as part of B.A. thesis at Naropa.]
[Punctuation as a technical/programmable literary means for looping and re-combination of text as practiced in collaborative digital piece with Daniel C. Howe, "Roulette", Spring 2008. This strategy for punctuation began with previous series of poems entitled "Roses of the Non-City" also part of B.A. thesis.] [The "breaks" and "irritations" of each punctuation sign is an extremely Catholic effects of purification, hesitation, guilt, fear, sin as used in "Roses of the Non-City".]
Punctuation sign-->punctum<--catholic host
["Roulette" possesses Catholic tactics in the looping, line-breaking, and punctuation, as well as there being a sense of procrastination of death. Consider the Catholic tactics/effects in the technical practices within digital writing.]
Catholicism, digital technology/practices (as a ritual).
Up to 18th century, Catholic church was allowing to use technology to praise God.
[Technology is a fall from grace.]
[The shape of musical instruments are representative of the shape of the sound combined with culture and time in which it is produced.]
Mario Schneider "Singing Stones"--> Sounds stemming from Asia and Africa contain the darkest sounds that are beyond concept.
Robert Fludd. Developed cosmogony of sound "Ultrique Cosmi Mairoris scilicet et Minoris, Metaphysica..."
"A Media Theory of Angels"-- a book someone needs to write.
"Cantichordum" Jean Mombaer's Rosetum. Early 16th. century.
Each vowel: a=happy, e=hope, i=? , o=fear, u=hate. This in relation to Rimbaud's poem "Voyelles" (1872)
Anasthasius Kircher's "Poetical Machine" (1650). Re-combinatory columns in a box-machine based on sequencing of infinite outcome of texts.
"Believing/Faith Machine": electric offertory box in Naples. 2005
Technological apparatuses that assist us in increasing our faith.
"The electrification of the churches."-Zielinski
"The machines believe in us and we should fulfill this faith."-Zielinski
Battery-powered plastic Buddha machine from China, 2005.
Hubertus von Amulenxen: Lecture 5
Diachrony vs. Synchrony
1917 Maray's sequential separated durational movements in one image.
1958 Philips Pavillion at World Fair in Brussels. "Poeme Elecronique":
Edgar Varese asked to collaborate with architect Xenakis. 8 min. composition, 400 loud speakers embedded in the roof. spatial-time relation, projection of colors, writing, history of mankind on the roof. sound-image-time.
Peter Kubelka. 1960. metric film. based purely on rhythm of b&w frames. "Arm of Rainer"
Jonas Mekas
Vortex Group, 1917. gathered around Ezra Pound. Christopher Coburn, Steiglitz
1911 microbe film. USA.
Hollis Framptom "Vegetable Locomotion".
Henri Michaux. Mescaline drawings & writings.
John Cage's "Two Steps"
Nam Jun Paik
Piscador--One of the first to bring cinema on stage. synchronized temporal and spatial illusion of the play. gesture is repeated to propel something else.
Mel Bockner
McCall "Light Describing A Cone."
Pierre Buolez "The Fold"
(Can freedom be guided?)
Xenakis' ACHORRIPSIS--> sound as being rebounded.
Frederick Kielser, Austrian-American architect. "A Manifesto Of Co-Realism", "The Endless House". (guided freedom) The house endlessly unravels "because all ends meet and meet continuously." The infinite is finite and yet remains infinite.
Wachsmann: time--> movement--> energy.
Peter Eisenman: "Cardboard Architecture" evolved from the cube.
Diachrony vs. Synchrony
1917 Maray's sequential separated durational movements in one image.
1958 Philips Pavillion at World Fair in Brussels. "Poeme Elecronique":
Edgar Varese asked to collaborate with architect Xenakis. 8 min. composition, 400 loud speakers embedded in the roof. spatial-time relation, projection of colors, writing, history of mankind on the roof. sound-image-time.
Peter Kubelka. 1960. metric film. based purely on rhythm of b&w frames. "Arm of Rainer"
Jonas Mekas
Vortex Group, 1917. gathered around Ezra Pound. Christopher Coburn, Steiglitz
1911 microbe film. USA.
Hollis Framptom "Vegetable Locomotion".
Henri Michaux. Mescaline drawings & writings.
John Cage's "Two Steps"
Nam Jun Paik
Piscador--One of the first to bring cinema on stage. synchronized temporal and spatial illusion of the play. gesture is repeated to propel something else.
Mel Bockner
McCall "Light Describing A Cone."
Pierre Buolez "The Fold"
(Can freedom be guided?)
Xenakis' ACHORRIPSIS--> sound as being rebounded.
Frederick Kielser, Austrian-American architect. "A Manifesto Of Co-Realism", "The Endless House". (guided freedom) The house endlessly unravels "because all ends meet and meet continuously." The infinite is finite and yet remains infinite.
Wachsmann: time--> movement--> energy.
Peter Eisenman: "Cardboard Architecture" evolved from the cube.
Thursday, August 6, 2009
iHeart Professor Siegfried Zielinski forever.
Siefried Zielinksi:Lecture 4
Genealogy of Electricity: Several strands
What is the quality of advanced media technology?
A metaphysics of tele-Communication--what is the derivation?
The process oriented character of the praxises called "Media Art".
1. Time based Media: time based praxis form of art.
-Not accessible because we are floating inside of time. If we want to step out of time and look at it as an object. Process/time structure. We can not step out of time unless we are dead.
-Time is the only thing we do not have. Time has us. Unless you have money then you can buy it. We are part of time as a process while it consumes us.
-We can objectivize time, construct it, listen to it via music, make time and watch it through film and video, taste time (cheese, wine), steer and control time.
-Ancient Greeks already knew about the complexity of this issue--> kronos, chronology, duration. Kronos as a time form which we suffer. We cannnot be passionate with chronology but suffer from it. Hence, KAIROS was created: time form for the the suspicious moment, as something grasped, as possibility. It has no extension like zero in mathematics. Can only be grasped from the front. Kairos has long hair in the front, bald in the back as metaphorical to confronting time.
-Aeon refers to this time which is beyond us and imagination. The most sacred. God's time. Machinic time. Dasein--> the open universe.
Kronos-->destruction
Kairos-->imaginary. Zero dimension. Art which is generated through media is a kairos poetry and/or chaos pilotism.
Art------> before the Media
Art------> with Media
Art------> through Media
Art------> after Media
"Art through Media happens if/when power is floating." -Zielinski
"Before living bodies became time images through electrical media they had been media- consductors in the direct sense of the word."-Eliasson
Electricity is the soul of New Media." -Zielinski
-Luigi Galvani (1737-1798) 3rd experiment with flesh of sheep and frogs to prove that living flesh contained electricity. (Including light boys and girls.)
-Stephen Gray 1740's experiments on electrifying young boys.--> Literally, "The Age of Enlightenment" at its utmost extreme in which light-weight beings were victim to these experiments which then led (over 100 years later) Edison's invention of the electric chair.
-Georg Matthias Bose (1740s) "The Venus Kiss" installed at salons and parties. A woman plugged to the device and a man would go in the room to kiss her and get shocked.
-Fritz Kan "Das Leben Des Menschen" (Man As An Industrial Palace) 5 volumes.
Braune/Fischer 1895--->Bodies becoming images of time by analyzing their movement. Technical elements.--> excorporation: the body turned into mechanical object.
(The female body was exploited as a field for electrical experiments in which she then became a representation of it.)
-Etienne-Jules Marey. "EJM 2" He was interested in physical movement of a living body. "Live time" becomes an object for exploitation.
-"The Long Now Project", Stuart Brand, Danny Hillis, Brian Eno and others (1999)
Aionic time: 10,000 years of precise time measuring. (only for humans that's a long time.)
Cybernetics as a form of power praxis in thinking of "the new man".
"Bioscope"--to see time as a form of light
-Horkheimer's "Notes Before the Shadow of Germany".
In late 18th century, Theology got involved with Electricity and claimed that electricity was God's presence in the world. These were protestant theologians. Claimed that electricity is God in material form.
-Athanasius Kircher's "Magnes sive Arte Magnetica" in 3 volumes, (1641).
Thus arrives the dialectics of Friendship & Warship.
In the 18th century, Notions of Power were much stronger than notions of friendships.
Thus, the physicist/electrician Volta Giossepe.
"Machina Electrica" for writing into distance with electric sparkles. Parthenius/Mazzolari Electricorum, 1767. Sparkles were what code in computer programming is today.
-Jean Baptiste de la Borde "Clavequin Electronique", circa 1760's. Electricity used to make music. The origins of electronic music was from de la Borde.
Archaic Chinese clockwork: powder burning in a labyrinth is showing time consumption which also created the fluid appearance and disappearance of an image.
-J. Antoine Nollet (1700-1770) Develops The image of electricity. Uses electricity to create image which served as a prelude to cinema with regard to literally WATCHING time through the development of FIREWORKS. This derives from Chinese fire explosives. Used to celebrate God and frighten people (Jesuits.) Images in time for the first time. [But what about the shadow from Plato's Cave? Was this not an image based on time already through fire and shadow?]
-Georg Christoph Lechtenberg (1742)
-Ernst Florens Friedrich "Theory of Sounds" (1787)
-Phono-Autograph, Leone Scott, 1857. First experiment with Text translated into Sound.
Media Art stems from functionalities, possibilities, experimentation from 18th century.
-Johannes Ritter (1800's) Damaged his body to prove electricity. Dealt with epistemologies of sound & image. Died at age 33. Opium addict and alcoholic. Wrote 6,000 of noted works. Used his own body as a laboratory. Investigated sound as frequency. For him light and sound was a question of frequency. He thought of the entire universe as a gigantic instrument which produced sound. The Sun produced the purest sound; a true form of giving. The Sun is the source of all visual experience. [Let Media begin with the Sun at least!!!] Walter Benjamin loved him.
-George Bataille's "The Economy of the Universe"
-Karl-Heinz Stockhausen--a musical descendant of Ritter. Explored possibilities of tape-recording, investigated musical structures of many levels. His last esoteric piece "Cycle of Life" runs for 24 hours.
Finally, the Separation of the Message from the body of the Messenger--> the Electric guitar and amplifiers.
Now we are stuck tryen to Rent Time--- oh hell no.
Hubertus von Amelunxen: Lecture 4
Victor Burgin's "Grativa".
The Crypt of the Gaze
1929-1932 Benjamin gave radio lectures for children.
1931-1932 Lectures devoted to past destructions.
Regarding Pompeii:
Past annihilation= present preservation.
Ashes-->plaster-->excavation of the body.
[At Pompeii:
A couple's ashes frozen in the posture of attempting to reach one another.
This remarks the incessant capture of the two lovers attempting to reach for each other. The gesture of attempting through loss caused by natural disaster preserves the despair of never coming to a point of reconciliation. This sense of the "never" is then positioned in a relentless repetition of loss within the very space of the two lovers whose hands and fingers do not join.] The artist Burgin and his collaborator meet at the original site in Pompeii to intuitively "meet" and reconstruct the poetics of seeing and being seen. Both take a separate set of 9 photographs at the same site at different times paired with a panoramic moving-image of the space. At what point does their subject position meet--that's the big fucking useless question people are wondering. At what point does their gaze fall into each others and what does it matter?
"In the light of the current myth, in which art aims to become a "total experience," soliciting total attention. the strategies of impoverishment and reduction indicate the most exalted ambition, art could adopt. Underneath what looks like a strenuous modesty, if not actual debility, one may discern an energetic secular blasphemy: the wish to attain the unfettered, unselective, total consciousness of "God."[...] language is the most impure, the most contaminated, the most exhausted of all the materials out of which art is made. -Sontag, "The Aesthetics of Silence".
Burgin. "Elective Affinities", Weimer, 2000.
"Wherever the eye wanders it has nowhere to go but wall and sky". -Benjamin
"Nihilism embodied the fear against nature." -Georg Simmel
Photography as disaster.
"The disaster ruins everything all the while remaining everything intact." -Maurice Blanchot
What speed was required to see what's behind in the "here".--Genet
(referring to propellers on airplanes when they spin.)
[Language is pure movement while listening.]
[emotional numbers as a way of unifying male and female.]
Wednesday, August 5, 2009
Ziegfried Zielinski: Lecture 3
Professor Zielinski's thesis: Photography was invented by the Christian church in Spain.
Giovanna Fontana appr. 1420 wrote books on various technologies. "The Book of War Instruments." Self-moving automatons. Developed cryptology to write book.
"Battles of Images" Exhibition. Osnabrueck 2009.
[Technology reflects culture.]
Electronic TV stems from St. Petersburg, Russia.
Optics--> monasteries in Sicily.
An issue of excess to basics. Replacing energy with fire. Powering the internet with candles. Empty contemporary. There are different variants of Modern Ages. "Modern" as an attitude--> not testing and appropriating. Pure experimentation. What is "subversive work" nowadays?
The gesture of praising & not critiquing.
Destruction of everyday experience is no longer an avant-garde attitude. The world is something to be celebrated and not destroyed. A return of the "ceremonious".
3rd Element: Something Larger than the Individual. A return to the Divine. Otherwise all experimental efforts are in vain. The Digital Age is merging once again with the Divine.
Universal programmable control unit from Arabic Medieval 12th century would later already always be considered modern.
-Dani Karawan, Isreali sculptor. Memorial for Benjamin in Port-Bou, 2003.
Short Film: A Street Arab, Cairo-Egypt, 1898.--> Contemporary Breakdancing Culture in late 20th century USA.
[How can poetry embrace commercialism while still remaining avant-garde..]
To discover something new in the old. Why can't appropriation be a form of praise? Respect for the dignity of the other.
[Never stop asking where you are and what you are doing.]
[To be content with having one person as your audience.]
[There is no stepping outside of a culture. It can only be done through intellect and the imaginary while still being in it. To be outside it through intellect and the imaginary is vulnerable to violence.]
Art is a task to make others sensitive; the aesthetic praxis of this sensitivity is secondary. To grow exponential understanding for that which we don't understand. Technology provides the possibility for application of this innately human understanding inseparable from emotion.
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Arabic Optics
A Renaissance invention-->Leonardo da Vinci.
Objectivisation of seeing stemmed from ancient greek and roman knowledge.
Plaot (ca. 428-348) Timaios S 16.
Platonic---> Allegory of the Cave.
Plato defines the eyes as highest sense epistemologically.
Professor Zielinski's thesis: Photography was invented by the Christian church in Spain.
Giovanna Fontana appr. 1420 wrote books on various technologies. "The Book of War Instruments." Self-moving automatons. Developed cryptology to write book.
"Battles of Images" Exhibition. Osnabrueck 2009.
[Technology reflects culture.]
Electronic TV stems from St. Petersburg, Russia.
Optics--> monasteries in Sicily.
An issue of excess to basics. Replacing energy with fire. Powering the internet with candles. Empty contemporary. There are different variants of Modern Ages. "Modern" as an attitude--> not testing and appropriating. Pure experimentation. What is "subversive work" nowadays?
The gesture of praising & not critiquing.
Destruction of everyday experience is no longer an avant-garde attitude. The world is something to be celebrated and not destroyed. A return of the "ceremonious".
3rd Element: Something Larger than the Individual. A return to the Divine. Otherwise all experimental efforts are in vain. The Digital Age is merging once again with the Divine.
Universal programmable control unit from Arabic Medieval 12th century would later already always be considered modern.
-Dani Karawan, Isreali sculptor. Memorial for Benjamin in Port-Bou, 2003.
Short Film: A Street Arab, Cairo-Egypt, 1898.--> Contemporary Breakdancing Culture in late 20th century USA.
[How can poetry embrace commercialism while still remaining avant-garde..]
To discover something new in the old. Why can't appropriation be a form of praise? Respect for the dignity of the other.
[Never stop asking where you are and what you are doing.]
[To be content with having one person as your audience.]
[There is no stepping outside of a culture. It can only be done through intellect and the imaginary while still being in it. To be outside it through intellect and the imaginary is vulnerable to violence.]
Art is a task to make others sensitive; the aesthetic praxis of this sensitivity is secondary. To grow exponential understanding for that which we don't understand. Technology provides the possibility for application of this innately human understanding inseparable from emotion.
--------------------------------------------------------------------------
Arabic Optics
A Renaissance invention-->Leonardo da Vinci.
Objectivisation of seeing stemmed from ancient greek and roman knowledge.
Plaot (ca. 428-348) Timaios S 16.
Platonic---> Allegory of the Cave.
Plato defines the eyes as highest sense epistemologically.
Tuesday, August 4, 2009
Hubertus von Amelunxen: continuation of lecture on Punctum/Becoming/Photography
Punctum:
-Transubstantiation→ substance
-Translation (literal bread into flesh)
-Symbolic Becoming (without being vulnerable to propoganda)
-Violence of imposition of host onto subject (without ejaculation necessarily being profane).
-The host as “partial object”.
The Inverted Book:
In 1830’s Mallarme conceived of a book leaving the book. Creating a mise en scene-→
Alludes to Dada & Surrealism & Oulipo. This piece was the beginning of “digital poetry” which allows for computer programmers to now compute “generative text” through algorithmic programming.
George Perec “Life of a User’s Manual”.
“House of Leaves”
“The photograph is the absolute particular […] The punctum is a partial object.”
-Barthes.
Gregory Ulfers “Electronic Monument”, 2005.
“self-analysis= self-preservation”.
“Translation doesn’t envisage itself like poetry is plunged so to speak in the forest of language but outside it, opposite the forest without entering it. IT calls and penetrates the original where the echo in its own language can resonate with the work of a foreign language.” Laplanche translating Benjamin’s “The Task of the Translator”
-Being in or out of the forest. Perhaps its being everywhere with the guidance of god or the uncanny.
[Narcissus (image) & Echo (sound)→ the emergence of sound within film; a movement towards the other. Appropriating alternate audio onto moving-image as a means to re-play or re-enact the original relationship of Echo & Narcissus.]
[An echo of reflections gathered and harbored in oneself; to echo one self while moving further into the other’s echo which in turn, echoes others echoes. Repetition simultaneously accumulates and collapses on the shoulders of Narcissus and Echo solidifying and emptying the relationship towards oneself.]
Punctum→Translation→Reproduction.
Benjamin refers to “spatial” translation. Defines the movement of translation that “does not want to be self enclosed and reduce the other to the terms of self but rather a move towards the other.”
Reproduction is related to the event, what took place, light. Presentation and dimension. Benjamin’s reproduction destroys the “uniqueness” of a work of art and moves toward a work of art in order to seize and then submit it. Reproduction does the contrary. Brings the work of art towards the person.
The moment of the unique, the singular that is lost in reproduction or repetition in every mimesis only emerges at that very loss. (A question if that loss becomes gain.) That is to say reproduction is a double movement. The moment is not extinguished. The withdrawal is the 3rd. Reproduction preserves singularity that was withdrawn thus creating a 3rd.
“The reproduction carries the reproduced into a sphere of principled otherness.”
Irwin Panofsky.
Original---------------------------------------------------------------------------→ Reproduction
Artists lie here between the process in the threshold of technique and translation of aura.
In photography everything will have always already happened.
Catastrophe of photography= gift of death
[To already have been there in the photo
even before having seen the photograph.]
“Photography is suspense without any particular expectation.” –Lyotard
Benjamin smokes hashish in Marseille, 1928.
Here he uses the term “aura” for the first time and defines it in several ways. One being
“the unique constellation of space and time.” Aura is loss.
[karmic reproduction of a generation.]
How to go about doubling or generating “loss” in the auratic sense.
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Siefgried Zielinski: Art & Technlogy Lecture
Music Automatons.
Music Automaton. Horological Devices. Time based.
Robotic flute player –Waseda University playing Korsakov’s “Flight of a Bumble Bee.”
Relation of text & image-→
Al-Jazari’s “Book of Theory and Praxis of Mechanical Arts”. Published manuscript, 1206. Arabic. from Diyabarkir, Kurdistan. Unity between technical and aesthetic capability—still a modern attitude which came much later.
Most automatons built in 19th century when clockworking was undergoing through period of inflation.
Autamatons built to celebrate the functioning univerise, sacred. Built to demonstrate technical capabilities of the engineer.
Elephant Clock, 12th century by al-Jazari. Listening & Watching time.
Automaton for Handwashing, 1206. Al-Jazari.
Drinking Device, Al-Jazari, 1206.
Giovanni Bautista de la Porta→ dark chamber experiments-→ cinema. His friends thought “the perfect illusion has the status of reality.”-→ 3D Cave @ Brown.
Al-Muradi “Book of Secrets”, Cordoba 11th century. Emir of Qatar
“Leonardo 3” reconstruction group based in Milan, Italy. Leonardo3.net
Ramib Llull “Ars magna generalis”→ reduced and formalized complex concepts from the Bible to generate knowledge from the Bible as a means for distribution.
Cryptological device/knowledge system executed via mechanical devices to generate combinatorial forms of thinking.
“Muqaddimah” astrological poetical device-→
Punctum:
-Transubstantiation→ substance
-Translation (literal bread into flesh)
-Symbolic Becoming (without being vulnerable to propoganda)
-Violence of imposition of host onto subject (without ejaculation necessarily being profane).
-The host as “partial object”.
The Inverted Book:
In 1830’s Mallarme conceived of a book leaving the book. Creating a mise en scene-→
Alludes to Dada & Surrealism & Oulipo. This piece was the beginning of “digital poetry” which allows for computer programmers to now compute “generative text” through algorithmic programming.
George Perec “Life of a User’s Manual”.
“House of Leaves”
“The photograph is the absolute particular […] The punctum is a partial object.”
-Barthes.
Gregory Ulfers “Electronic Monument”, 2005.
“self-analysis= self-preservation”.
“Translation doesn’t envisage itself like poetry is plunged so to speak in the forest of language but outside it, opposite the forest without entering it. IT calls and penetrates the original where the echo in its own language can resonate with the work of a foreign language.” Laplanche translating Benjamin’s “The Task of the Translator”
-Being in or out of the forest. Perhaps its being everywhere with the guidance of god or the uncanny.
[Narcissus (image) & Echo (sound)→ the emergence of sound within film; a movement towards the other. Appropriating alternate audio onto moving-image as a means to re-play or re-enact the original relationship of Echo & Narcissus.]
[An echo of reflections gathered and harbored in oneself; to echo one self while moving further into the other’s echo which in turn, echoes others echoes. Repetition simultaneously accumulates and collapses on the shoulders of Narcissus and Echo solidifying and emptying the relationship towards oneself.]
Punctum→Translation→Reproduction.
Benjamin refers to “spatial” translation. Defines the movement of translation that “does not want to be self enclosed and reduce the other to the terms of self but rather a move towards the other.”
Reproduction is related to the event, what took place, light. Presentation and dimension. Benjamin’s reproduction destroys the “uniqueness” of a work of art and moves toward a work of art in order to seize and then submit it. Reproduction does the contrary. Brings the work of art towards the person.
The moment of the unique, the singular that is lost in reproduction or repetition in every mimesis only emerges at that very loss. (A question if that loss becomes gain.) That is to say reproduction is a double movement. The moment is not extinguished. The withdrawal is the 3rd. Reproduction preserves singularity that was withdrawn thus creating a 3rd.
“The reproduction carries the reproduced into a sphere of principled otherness.”
Irwin Panofsky.
Original---------------------------------------------------------------------------→ Reproduction
Artists lie here between the process in the threshold of technique and translation of aura.
In photography everything will have always already happened.
Catastrophe of photography= gift of death
[To already have been there in the photo
even before having seen the photograph.]
“Photography is suspense without any particular expectation.” –Lyotard
Benjamin smokes hashish in Marseille, 1928.
Here he uses the term “aura” for the first time and defines it in several ways. One being
“the unique constellation of space and time.” Aura is loss.
[karmic reproduction of a generation.]
How to go about doubling or generating “loss” in the auratic sense.
---------------------------------------------------------------------------------
Siefgried Zielinski: Art & Technlogy Lecture
Music Automatons.
Music Automaton. Horological Devices. Time based.
Robotic flute player –Waseda University playing Korsakov’s “Flight of a Bumble Bee.”
Relation of text & image-→
Al-Jazari’s “Book of Theory and Praxis of Mechanical Arts”. Published manuscript, 1206. Arabic. from Diyabarkir, Kurdistan. Unity between technical and aesthetic capability—still a modern attitude which came much later.
Most automatons built in 19th century when clockworking was undergoing through period of inflation.
Autamatons built to celebrate the functioning univerise, sacred. Built to demonstrate technical capabilities of the engineer.
Elephant Clock, 12th century by al-Jazari. Listening & Watching time.
Automaton for Handwashing, 1206. Al-Jazari.
Drinking Device, Al-Jazari, 1206.
Giovanni Bautista de la Porta→ dark chamber experiments-→ cinema. His friends thought “the perfect illusion has the status of reality.”-→ 3D Cave @ Brown.
Al-Muradi “Book of Secrets”, Cordoba 11th century. Emir of Qatar
“Leonardo 3” reconstruction group based in Milan, Italy. Leonardo3.net
Ramib Llull “Ars magna generalis”→ reduced and formalized complex concepts from the Bible to generate knowledge from the Bible as a means for distribution.
Cryptological device/knowledge system executed via mechanical devices to generate combinatorial forms of thinking.
“Muqaddimah” astrological poetical device-→
Monday, August 3, 2009
Hubertus von Amelunxen : “Configurations of the 3rd: Touching Sense."
“I am already dead signifies I am behind.” Derrida
[Creation linked to Genet (beyond reproduction) & Hegel’s family (within reproduction).]
-3rd is always threatening. An intrusion. Appropriation of the 3rd, outsider not recognized by signification. The unnamed 3rd escapes appropriation, cannot be added, allegorical without nomenclature. 3rd emanates as it disappears, perpetual transformation, of translation. It is HERE that Benjamin & Barthes meet-→ technical reproducibility is what Barthes called “punctum”.
Punctum + Reproduction= Photography
Barthes: The gaze enters when revealing otherness. A space of loss; meloncholy. A loss that cannot be named.
Dita Appult, 1979 “The Stain that the Breath Produces on the Mirror”. From Raymond Roussel’s 1928 novel.
“With Roussel language reduced to powder in a systematically randomness tells infinitely the repetition of death and the secret of doubled origins…”. Foucault, 1966.-→ Oulipo: Cortazar, Queaneu, Roussel,
“Impression of Africa” 1928, Roussel.--> attempt to create 3rd meaning: the impression that escapes signification and the alterity between.
Foucault in 1966 “On Raymond Roussel” writes “Roussel had placed in front of our eyes in which the lens would have been gray all signifying structures are brought to a threshold where the mirror anticipates by forwarding the things in reflects through constant topological deviations. What has been there will be perpetual reverberation […] maintains the infinite difference which may be the 3rd sense.”
Roussel birthed what is now called the repetition practiced and found in “digital literature.”
Telescopage→ train accidents.
Effect of mirroring, producing terrifying echo of signifiers spreading all over.
Theory of the Eidetic. Ancient philosophies of perception depending on constitution of soul and environment. Pelicula-film or skin.
Light/Materiality/Air-→ Balzac was convinced that the photograph took away a layer of a person’s aura.
Photography is singular medium that puts an end to becoming, the becoming of the end.
“The anxiety of the signifier…” Foucault.
Breathing on the mirror as an act of momentary presence. The mirror reproduces the stain by doubling singularity of breath before it disappears.
Barthes “point without a line” was a Japanese child taking a photograph with no film inside the camera.
3rd Meaning is “The iconic message without a code”.
Eisenstein’s “Third Meaning” develops the obtuse meaning beyond signification. Outside of quantity and quality. -permanent state of depletion.
Punctum=transubstantiation. The face as constant punctum on video Skype.
The punctum is a technological being as presence and absence though always absent, dimensionaless with a single surface. The screen is the degree zero.
Point=inertia, Line= movement
Benjamin point is zero-movement. The photograph contains various moments of times.
“The point is not without dimensions. It is an element of surface infinitely small, which, as an agent executes the zero movement […] the point is cosmical because it is situated at the intersection of different directions. –Paul Klee
Sense originates and ends within the point. The point encloses gestures of giving. The point is a delayed moment.
-Certain perceptions and sensations are projected and filtered through the trajectory of the punctum thus creating more ruckus around it.
Studium Vs. Punctum: studying it versus experiencing it.
Punctum as the inscription of the past into the infinite future.
“I am already dead signifies I am behind.” Derrida
[Creation linked to Genet (beyond reproduction) & Hegel’s family (within reproduction).]
-3rd is always threatening. An intrusion. Appropriation of the 3rd, outsider not recognized by signification. The unnamed 3rd escapes appropriation, cannot be added, allegorical without nomenclature. 3rd emanates as it disappears, perpetual transformation, of translation. It is HERE that Benjamin & Barthes meet-→ technical reproducibility is what Barthes called “punctum”.
Punctum + Reproduction= Photography
Barthes: The gaze enters when revealing otherness. A space of loss; meloncholy. A loss that cannot be named.
Dita Appult, 1979 “The Stain that the Breath Produces on the Mirror”. From Raymond Roussel’s 1928 novel.
“With Roussel language reduced to powder in a systematically randomness tells infinitely the repetition of death and the secret of doubled origins…”. Foucault, 1966.-→ Oulipo: Cortazar, Queaneu, Roussel,
“Impression of Africa” 1928, Roussel.--> attempt to create 3rd meaning: the impression that escapes signification and the alterity between.
Foucault in 1966 “On Raymond Roussel” writes “Roussel had placed in front of our eyes in which the lens would have been gray all signifying structures are brought to a threshold where the mirror anticipates by forwarding the things in reflects through constant topological deviations. What has been there will be perpetual reverberation […] maintains the infinite difference which may be the 3rd sense.”
Roussel birthed what is now called the repetition practiced and found in “digital literature.”
Telescopage→ train accidents.
Effect of mirroring, producing terrifying echo of signifiers spreading all over.
Theory of the Eidetic. Ancient philosophies of perception depending on constitution of soul and environment. Pelicula-film or skin.
Light/Materiality/Air-→ Balzac was convinced that the photograph took away a layer of a person’s aura.
Photography is singular medium that puts an end to becoming, the becoming of the end.
“The anxiety of the signifier…” Foucault.
Breathing on the mirror as an act of momentary presence. The mirror reproduces the stain by doubling singularity of breath before it disappears.
Barthes “point without a line” was a Japanese child taking a photograph with no film inside the camera.
3rd Meaning is “The iconic message without a code”.
Eisenstein’s “Third Meaning” develops the obtuse meaning beyond signification. Outside of quantity and quality. -permanent state of depletion.
Punctum=transubstantiation. The face as constant punctum on video Skype.
The punctum is a technological being as presence and absence though always absent, dimensionaless with a single surface. The screen is the degree zero.
Point=inertia, Line= movement
Benjamin point is zero-movement. The photograph contains various moments of times.
“The point is not without dimensions. It is an element of surface infinitely small, which, as an agent executes the zero movement […] the point is cosmical because it is situated at the intersection of different directions. –Paul Klee
Sense originates and ends within the point. The point encloses gestures of giving. The point is a delayed moment.
-Certain perceptions and sensations are projected and filtered through the trajectory of the punctum thus creating more ruckus around it.
Studium Vs. Punctum: studying it versus experiencing it.
Punctum as the inscription of the past into the infinite future.
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