Thursday, August 12, 2010
Monday, August 9, 2010
Brian Massumi/ Erin Manning: lectures on process philosophy
William James' "process philosophy"
chaos/accidents/order/creativity.
pre-suppositions begins with over-richness extending into clarity that sustains throughout.---> the Poem.
To look at the underlying orders that pre-limit the organization of the Subject.
Without framing, the intensities don't know where to put itself.
A.N.Whitehead's "affective tonality"---> re-thinking of spacetime.
The question of how affective tonality comes into being.
affect<----> sensation How the affects accumulate into the event; a tracing of constructive events.
o--0--o--0--o--0--o--0--o--0--o--0--o--0--o--0--o--0--o--0--o--0--o--0--o--0--o
Epicenters of Force, infinite potential variations of itself.
Giorgio Agamben's essay "The Example"... selection of an infinite series of examples.
James' "singular body is a society." The virtual & actual as conditions of each other.
(The blog as one big organized panic attack.)
(Hair Hearts Flip is a collaborative panic attack.)
(To find ourselves inside habit.)
(For me, Catholicism offered an objective narrative voice.)
(A couple years ago I wondered about the nuances of Christianity in basketball.)
(knowledge appears first as purely entertaining through playfulness and love.)
(knowledge as instinctive habit.)
Sports could use a little Bergson.---> shout out to Sean Smith.
Capitalist time could also use some Bergson.
How vagueness (in time) became precision.
Ode the sensation of Darkness.
Phantom limb. Phantom Cinema.
The identity I created in/for Flip (from Hair Hearts) was a way of re-inventing myself; a dream that took place in the everyday virtual in order to cope with the loneliness of everyday physical interactions with strangers. A mirror shared with someone else; Hair on the other end of the line affirming this dream. Hair & Flip's virtual interaction wouldn't have been possible without the magic of the Internet and for this, I am grateful to the same thing that keeps us in our separate cities and towns; a distance that keeps us on the threshold of missing each other in order to keep writing. For now, I'll call it an aesthetics of survival.
Saturday, August 7, 2010
kitsch manifesto
To make the destruction of kitsche more happy.
A happiness emerges out of kitsche.
To uplift kitsche by returning it to the realm of tenderness.
To seek tenderness and endearment in what is kitsche.
To move between the poles of irony and tenderness spawned by kitsche.
That kitsche be kind.
To not use kitsche as a vehicle to increasing levels of irony unless irony also be kind.
A return to Hallmark birthday, anniversary, wedding cards, etc.by way of Love.
A happiness emerges out of kitsche.
To uplift kitsche by returning it to the realm of tenderness.
To seek tenderness and endearment in what is kitsche.
To move between the poles of irony and tenderness spawned by kitsche.
That kitsche be kind.
To not use kitsche as a vehicle to increasing levels of irony unless irony also be kind.
A return to Hallmark birthday, anniversary, wedding cards, etc.by way of Love.
Martin Hielscher on Adorno: Lecture 2
On Paul Celan: autobiography by Paul Celan.
"Death Fugue"= the poem is the grave. Poem is the casket.
words= objects, particles
Celan's poetry is an aporia without solution.
Adorno's instrumentality of language.
The poem itself already speaks the "I". No matter how much one tries to avoid the self in a poem, one will find the "I" reflected inside its own negation, deterence of it. Poem is housed in the body.
To be inside of Love without being destroyed by it.
Gadamer's "Who are You & Who am I?" critique of Celan.
(poetry, literature, condemned to borrowing concepts from the time-code of Critical Theory.)
(I am interested in viewing critical theory as a theater of potential playfulness while not betraying the concepts and adding onto them. It is a playfulness also in reaction to the inescapable circle of theory as commodity within the dreamscape. I think Adorno would laugh if I turned him into a caricature of himself.)
Contemporariness is feeling the familiar.
Art presents itself in disguise.
(If reality were lived as a work of art, art would have no purpose; there would be no need to want and recognize such truths in a work of art. This might be why you often don't find artists in galleries and museums.)
"Death Fugue"= the poem is the grave. Poem is the casket.
words= objects, particles
Celan's poetry is an aporia without solution.
Adorno's instrumentality of language.
The poem itself already speaks the "I". No matter how much one tries to avoid the self in a poem, one will find the "I" reflected inside its own negation, deterence of it. Poem is housed in the body.
To be inside of Love without being destroyed by it.
Gadamer's "Who are You & Who am I?" critique of Celan.
(poetry, literature, condemned to borrowing concepts from the time-code of Critical Theory.)
(I am interested in viewing critical theory as a theater of potential playfulness while not betraying the concepts and adding onto them. It is a playfulness also in reaction to the inescapable circle of theory as commodity within the dreamscape. I think Adorno would laugh if I turned him into a caricature of himself.)
Contemporariness is feeling the familiar.
Art presents itself in disguise.
(If reality were lived as a work of art, art would have no purpose; there would be no need to want and recognize such truths in a work of art. This might be why you often don't find artists in galleries and museums.)
Thursday, August 5, 2010
Martin Hielscher on Adorno: Lecture 1
Natural Beauty chap. in "Aesthetic Theory".
Critical Theory is without an ontology and a re-evaluation of western philosophical tradition for the sake of practice and not theory in itself. (Benjamin, Marcuse, Adorno).
- The catastrophe of 20th century is to be true to the victims of history, i.e., Holocaust as rationality "gone wild."
Heidegger's "Technological Age"---> the categories within layers of Communication.
Outer vs. Inner nature.
Rationality which produces catastrophes, i.e., "Natural Disasters" in USA in a controlled mediated environment.
Adorno's trinity: Mass Culture. Mass Media. Culture Industry.
Communication is a standardized language, of pre-formed life in products.
Critical Theory is a distrust in public communication.
The concrete experience & phenomena in Media. Theory changes according to the media climate.
Ques. What kind of practice follows from Critical Theory?
Critical Theory is a an oeuvre of work within the utopia of master narratives.
Heidegger: To step into the circle and work through the given language as they are provided through the structures. Everything is already mediated.
Adorno thought Heidegger pretended to have contact with The Other.
[A conversation this afternoon with Sean Smith in Saas-Fee about poetics and interfaces. I suggested to use the "other" as a temporary marker to designate that which is on the other side of the "skin" of the screen/Internet suggesting the possibilities of an other to be contacted through the Internet which got me thinking about Edison's attempt to telephone the dead and the late 19th century glass apparatus to catch spirits in the aether (developed by some Scottish physicist also a member of the Society for Psychic Research at Cambridge) which then became instrumental for the invention of Television.]
To work oneself through language for the Non-Identical.
Concepts make sense through identification---> to identify with a concept/event/non-event.
Adorno identifies a Language of Categories (also experienced in mass media): organization/differentiation/destruction.
State--> Public-->Acceptance of Public imposition of the state.
What can we do with the sollipsism of a material existence?
The body as a fixed criteria.
The body as Non-Identical= process in time.
Aesthetic Experience:
- To get out of the "given"; to reject the falsehoods and sleep paralysis of society as expressed through Entertainment and Culture Industry.
Ques. How can the aesthetic experience infiltrate the so-called culture industry? Can the authentic aesthetic experience ever withstand the demands and forces of the culture industry without being swallowed whole?!
------------------------------------------------
Art is where Truth presents itself; follows a language; a commentary within the social product.
A Poetics of Objects is at hand.
True authentic art is a promise.
(They say postmodernism abandoned utopian thinking. A growing emergence of Multiple Utopias breaking out of the universities. Of course we know Utopia is never possible except only its process-oriented attempts. It can only work without the paradigm of absolutes, but use the absolute as a wall to pit itself against.)
(All philosophies are master narratives. This shit is one long story in the mouth of reason.)
Mass Communication destroys Art.
Public Communication destroys Philosophy.
The artist is the medium for truth to reveal itself.
The work itself will tell you if its true.
Art exists for the logic of its own inherent process.
Ques. What if art brought capitalism to and end, instead of working to survive within/because of capitalism?
Adorno's prescription drug is Happiness. (Minima Memoralia) Happiness as defined as passive, letting go, floating on the water. Happiness is without fear of weakness.
No matter where we find ourselves, we must endure the conflict and stay true to suffering; to look at the circumstances that prevent us from living a life worth living.
-------------------------------------------------
The Poet is always a mythical creature within the myth of capitalism.
The Poet must show us how to snap out of the capitalist myth.
What is Contemporary remains contemporary.
Space produces excesses. The excess is that which confuses the hell out of meaning. To love natural beauty without naming it. Beauty rests in the unknowable.
Benjamin states we can never escape mediation.
Critical Theory is without an ontology and a re-evaluation of western philosophical tradition for the sake of practice and not theory in itself. (Benjamin, Marcuse, Adorno).
- The catastrophe of 20th century is to be true to the victims of history, i.e., Holocaust as rationality "gone wild."
Heidegger's "Technological Age"---> the categories within layers of Communication.
Outer vs. Inner nature.
Rationality which produces catastrophes, i.e., "Natural Disasters" in USA in a controlled mediated environment.
Adorno's trinity: Mass Culture. Mass Media. Culture Industry.
Communication is a standardized language, of pre-formed life in products.
Critical Theory is a distrust in public communication.
The concrete experience & phenomena in Media. Theory changes according to the media climate.
Ques. What kind of practice follows from Critical Theory?
Critical Theory is a an oeuvre of work within the utopia of master narratives.
Heidegger: To step into the circle and work through the given language as they are provided through the structures. Everything is already mediated.
Adorno thought Heidegger pretended to have contact with The Other.
[A conversation this afternoon with Sean Smith in Saas-Fee about poetics and interfaces. I suggested to use the "other" as a temporary marker to designate that which is on the other side of the "skin" of the screen/Internet suggesting the possibilities of an other to be contacted through the Internet which got me thinking about Edison's attempt to telephone the dead and the late 19th century glass apparatus to catch spirits in the aether (developed by some Scottish physicist also a member of the Society for Psychic Research at Cambridge) which then became instrumental for the invention of Television.]
To work oneself through language for the Non-Identical.
Concepts make sense through identification---> to identify with a concept/event/non-event.
Adorno identifies a Language of Categories (also experienced in mass media): organization/differentiation/destruction.
State--> Public-->Acceptance of Public imposition of the state.
What can we do with the sollipsism of a material existence?
The body as a fixed criteria.
The body as Non-Identical= process in time.
Aesthetic Experience:
- To get out of the "given"; to reject the falsehoods and sleep paralysis of society as expressed through Entertainment and Culture Industry.
Ques. How can the aesthetic experience infiltrate the so-called culture industry? Can the authentic aesthetic experience ever withstand the demands and forces of the culture industry without being swallowed whole?!
------------------------------------------------
Art is where Truth presents itself; follows a language; a commentary within the social product.
A Poetics of Objects is at hand.
True authentic art is a promise.
(They say postmodernism abandoned utopian thinking. A growing emergence of Multiple Utopias breaking out of the universities. Of course we know Utopia is never possible except only its process-oriented attempts. It can only work without the paradigm of absolutes, but use the absolute as a wall to pit itself against.)
(All philosophies are master narratives. This shit is one long story in the mouth of reason.)
Mass Communication destroys Art.
Public Communication destroys Philosophy.
The artist is the medium for truth to reveal itself.
The work itself will tell you if its true.
Art exists for the logic of its own inherent process.
Ques. What if art brought capitalism to and end, instead of working to survive within/because of capitalism?
Adorno's prescription drug is Happiness. (Minima Memoralia) Happiness as defined as passive, letting go, floating on the water. Happiness is without fear of weakness.
No matter where we find ourselves, we must endure the conflict and stay true to suffering; to look at the circumstances that prevent us from living a life worth living.
-------------------------------------------------
The Poet is always a mythical creature within the myth of capitalism.
The Poet must show us how to snap out of the capitalist myth.
What is Contemporary remains contemporary.
Space produces excesses. The excess is that which confuses the hell out of meaning. To love natural beauty without naming it. Beauty rests in the unknowable.
Benjamin states we can never escape mediation.
Siegfried Zielinksi notes.
Miao Xiaochun, Dumont Publishers Cologne 2010.
- work on Renaissance images.
The strong tendencies to integrate Art into strategies--> the market, business, etc.
Marketing eats everything up--> Art can't survive inside it. Flash Mobs as suicide bomb attempts on the Internet.
Hans Bellmer's Doll. A hermetic work, erotic obsession. 1932. Decided not to do work that can be used by society. A contortion of the female form.
Per-Son---> translated as "sounding through". Dating to Renaissance theater--> masks--> sounds coming out/through the mask. Personality as something always constituted.
"Electricity is the Soul of New Media", Siegfried Zielinski.
(Poetry is a perpetual longing & flirtation with the Other.)
(A Poetics of Electricity...)
Fritz Kahn, "Man as an Industrial Palace." 5 Volumes 1928-1932.
(Knowledge as projected onto the Body as a cite for experimentation & "getting to know" of developing knowledge as a time code specific to its own space & time also altering. Knowledge is temporal. We must understand the apparatus in which knowledge is developing & being disseminated. There is no way to "know" the apparatus itself since its in a perpetual state of flux.)
Marqui de Sade's Justine (positive) & Juliet (negative) in relation to theologi electrici & materializing God.
Athanasius Kircher. 17th century.---> presence of God through Electricity. Later, with Descarte and onward, this was molded into a materialist theology.
Physical Theology:
- insecto
-bronto
-litho
-itchyo
John Freke's "A Treatise on Electricity". 1688-1756. "Fabulum vitae". Electricity feeds all living & non-living things.
God--->Electricity--->Humans = This relationship produces, is an expression of the tripartite relationship through things.
Das Venus Experiment.
Joseph Beuys---> Johanne Richter's Physics as Art.
Allesandro Volta (1745) inventor of artificial electricity.
Tuesday, August 18, 2009
Mallarme is still writing electric poems.
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.]
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.]
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