Now attempting the abstract which should have been in last week for the formal Notification of Intention (to submit). Words are reified by applied meanings (to their largely abstract sounds); yet words can be made to have other meanings. Where on this Occam’s razor is the sitting more comfortable? Or is it time to just jump off and risk coming into contact with the blade in the process, but otherwise escaping the challenge of making meaning so ‘simple’ that is ‘acceptable.’ I like to think that I say what I mean, and it just happens sometimes that the meaning is not so common, so I bear mis-understanding as a price for this act of saying. This is a prime example of the lossyness of mediatory carriers. The OED (Oxford English Dictionary) has been a constant companion since I realized I had free (university) access to it. I like the Old English and Norsk usage examples which are given for some words going back to the 8th Century or earlier. Thanks to knowing Icelandic! Best of all are the full etymologies which trace the lineage of shifting meaning as attached to these bits of symbolic chicken-scratch. ‘Commonsensical’ meanings are nothing more than the dominant understanding (or lack thereof) of the shifting sands of language. For example, the OED definition of ‘common sense,’ see below, m’gosh!
(more …)

This putters through my Inbox:

The Critical Engineer considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.

The Critical Engineer considers any technology depended upon to be both a challenge and a threat. The greater the dependence on a technology the greater the need to study and expose its inner workings, regardless of ownership or legal provision.
…

more at http://criticalengineering.org/

Yes, engineering is a package of protocols which guide much of the social energies of the present and recent (long!) past. Raising the topic is quite important as a precursor to altering the influence that it imposes (or that we submit to). The nature of the threat includes death as an outcome, the nature of the seduction is life. The challenge is first to bring such ideas as this to the surface for dialogue, and then comes the task of mapping the connections between ‘everyday life’ and the dependencies on (the) engineering (mentality).

Etymology: < post-classical Latin analysis act of resolving (something) into its elements (13th cent. in British and continental sources) < ancient Greek ἀνάλυσις action of loosing or releasing, fact of dissolving, resolution of a problem, in Hellenistic Greek also solution of a problem < ἀναλύειν to unloose, undo ( < ἀνά- ana- prefix + λύειν to loose: see lysis* n.) + -σις -sis suffix. Compare French analyse critical study of a work (a1630), method of resolution and demonstration in mathematics (1637), method of reflection and exposition in philosophy (1637), method which employs deductive reasoning to establish the nature, structure, and essential features of something, starting from its constituent parts (1690), summary (end of the 17th cent.), chemical analysis (1726), grammatical analysis (1775), Italian analisi (1598 in Florio; subsequently from 1669), Spanish análisis (a1621), German Analysis (probably 15th cent.), Analyse (18th cent.).

* ‘A plinth or step above the cornice of the podium of ancient temples, which surrounded or embraced the stylobate**’ (Gwilt Archit. 1842).

** A continuous basement upon which a row of columns is supported.

hmmm, wow! The “systems analyst” takes on an entirely different appearance and role! To loosen, release the solidity of social construct.

Men think in terms of models. Their sense organs abstract the events which touch them; their memories store traces of these events as coded symbols; and they may recall them according to patterns which they learned earlier, or recombine them in patterns that are new. In all this, we may think of our thought as consisting of symbols which are put in relations or sequences according to operating rules. Both symbols and operating rules are acquired, in part directly from interaction with the outside world, and in part from elaboration of this material through internal recombination. Together, a set of symbols and a set of rules may constitute what we may call a calculus, a logic, a game or a model. Whatever we call it, it will have some structure, i.e., some pattern of distribution of relative discontinuities, and some “laws” of operation.

…snip…

In one sense, all these models are physical. They consist of symbols which are states of physical objects, and traces of physical processes, whether in brain cells, ink marks, electric charges, or what not. Similarly, the operating rules, according to which these symbols are to be permutated or combined, and new symbols derived from them, are constraints on physical processes.

…snip…

If anything is to be knowable by any physical process, there must be in it some unevenness of distribution. What we call “evenness,” as well as “randomness”, can then be treated as special cases of such distributions.

…snip…

Unevenness, structure, distribution are fundamental physical properties of everything-all matter, all energy, all processes — in the universe we know, and even in any universe we can imagine. Indeed this unevenness is the physical condition of all knowledge, all observation and all representation by symbols, all imagination and all understanding.

…snip…

What may count in intellectual history, then, may be not only the actual properties of a physical or social process which people accept at some time as a material model for some other process, but rather the idealized or implied properties which they ascribe to the implied formal model behind it. — Karl W. Deutsch, “Mechanism, Organism, and Society: Some Models in Natural and Social Science”

back to the anisotropic distribution of energy/matter in the cosmos as a (the) primary source. or the source of all that is knowable. if there was no difference, there could be not be life. differentiation is therefore a fundamental operation of the cosmos. and a yin-yang cycling is as good a model for that differentiation/change process as any.

500 grams of carbon dioxide per passenger-mile flying
250 grams of carbon dioxide per passenger-mile driving

These are very approximate/average numbers and are affected by the type of plane/vehicle and its relative efficiency.

We are changing the course of nature. Or, more precisely, without life on this planet, nature would be different. We are life in this place. Or we are life, as life is a perturbation of basal flows. An always-inchoate flow, but never completely still. This is all we are, a way for the cosmos to increase entropy, perhaps, as some believe, the best way for the cosmos to increase entropy, to wind down, into a cold and silent nothing.

But it’s all in the language, isn’t it? And even the language needs to get shucked, ripped from its stalk, tossed away to reveal and remind of the truth that the word is not the phenomena that it de-scribes …

Back to:

All Roads Lead To Rome.

as principle.

The questions are, What is Rome, and What is a Road?

et cetera

Nine km. in three days, not bad — it’s actually getting easy — I need to do more sprinting and drills, but just moving faster is best, feeling the greater resistance of the water and consequent speed. That and watching the sky and listening to the birds on the walk from my office to the pool. The sky was exceptionally dark and clear last night, it got down to maybe 40F, pretty cool. Totally dreaming about being in the bush, as they say here, in the back-country, the wilds, the wilderness. To watch the stars sink right to the black edge of the world. Squatting, eyes tearing in the chill condensate of mid-night. The Southern Cross is practically at Zenith now which seems strange, but at a similar latitude as in the north in winter, Polaris also reaches quite close to Zenith. Pity no chance of catching a good sky on this tour. Now too many folks to visit with before possible departure, too many things to do, including whether not to leave again.

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

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

> 2.What kind of different phases in your life have you experienced as an artist?
> Do you work as a full-time or part-time artist? Or do you, for instance, only
> occasionally engage in artistic activities or organize exhibitions?

> 3.How do you finance your work, career as an artist?

> 4.What do new technologies or digital technologies mean to you as an artist? How
> would you depict the role of technology in your artistic work – and in the art
> world in general?

> 5.You are an artist and work in the field of the arts, but do you also work or
> associate with other (closely related) fields? Do have difficulties in combining
> or reconciling these fields or areas with your work as an artist?

> 6.What does networking mean to you as an artist? Are you networking
> “electronically”? What kind of networks or forums are you involved in?

> 7.During the past ten years, have you noticed changes in those instances that
> you work and collaborate with (associates, partners)?

> 8.How much do you know about author’s/copy rights? Are you familiar with the
> contract practices relating to copy rights? How do you see the question of
> authorship in the context of new art forms and digital technologies? Are
> copyrights supporting and/or limiting artistic expression?

> 9.Do new technologies increase, extend or in some way limit the possibilities
> for aesthetic or artistic expression? From the artist’s point of view, what new
> or different do they bring to artistic work and practice?

> 10.How and what do you communicate or interact with the audience? What is the
> role of communication in artists’ work today? What does interactivity mean to you?

> 11.Are there other, even more relevant or topical, issues that should be asked
> about art and technology now in the year 2011? What are these?

> Any comments and criticism towards these questions are also welcome!

Human beings do not live in the objective world alone, nor alone in the world of social activity as ordinarily understood, but are very much at the mercy of the particular language which has become the medium of expression for their society. It is quite an illusion to imagine that one adjusts to reality essentially without the use of language and that language is merely an incidental means of solving specific problems of communication or reflection. The fact of the matter is that the ‘real world’ is to a large extent unconsciously built up on the language habits of the group . . . . We see and hear and otherwise experience very largely as we do because the language habits of our community predispose certain choices of interpretation. — Edward Sapir, ‘The Status of Linguistics as a Science,’ Language, Vol. V, pp. 209-210 (1929).

Listening does not mean waiting impatiently, while someone else speaks of things that do not concern you: it means sympathetically identifying yourself with the speaker, his background, his desires, his troubles, understanding them as much as possible, and tactfully suggesting outside points of view, not too alien to his own, which may aid him in whatever problem is being uttered.

Matters of interest only to yourself are never proper subjects of more than passing reference.

Whatever your theme, be good humored. If you can sprinkle wit and humor into your conversation, you disarm almost any ill feeling on the part of others in the group. For laughter, it must be remembered, releases our prejudices. — Lloyd Smith

This advice floats on a surface of socialized presence. Slightly pithy, gendered, with a dated language that suggests quaint and formal relations of the past. Where are we now, in the swirling, mediated, media-saturated present? The opportunity for concentrated face-to-face dialogue seems almost as quaint, though along with the quaintness there is an explicit loss, somewhere behind the fractured and discontinuous surface of modern communications.

Could this explicit loss be the source of a growing and extremely deep angst that underlies wide-spread (and expanding) social insecurity? That the implied dis-connect between a world of hyper-socialization and the world we happen to be within and part of gives rise to …

blah blah blah …

Again, back to voice. Given the process of coalescing. In order to bind threads of disparate disciplines, different socio-cultural systems, and idiosyncratic paths, a voice which allows some transcendence of localized protocols of communication is necessary. That voice must needs to be poetic in a fundamental sense. It need not have a particular density or timbre, but it does need to be located somewhere within and without any and all those disciplinary spaces.

Is a poetic voice immediate or is it cumulative? It is supposed that the smallest increment of uttered language, the phoneme can hardly be a poetic vocalization. So, maybe language is generally cumulative, accretionary, in that geologic sense of layered erosional deposition, reification, burial, uplift, and consequent re-erosion. In this instance, it is then possible to find a shiny-smooth cobble of, say, cloudy quartz. Well-balanced, raising expectations of imminent knowledge of something when in the hand, pleasing to the eye. What are its origins since arising from the heart of stars: silicon, oxygen. At one point following the gravitational accretion of the planet, the silicon was oxidized by some environment rich in oxygen. Silicon dioxide. Under pressure, super-heated, igneous differentiation allowed masses of these molecules to collect and form crystalline agglomerations within a cooling batholith. Uplift and erosion brings that raw mass to the surface where it is shattered slowly, washed by waters, and dragged downwards by gravity. The cobble is smoothed with many others, and buried with all those, pressure cementing them all again into a single mass, a conglomerate. Another uplift and erosional cycle breaks the conglomerate cement and releases this smooth stone into a creek bed, into a river, where it is further polished. Holding it in the palm, what is its voice? What does it say? How does it speak to its temporary holder? What does it say other that the mute message of gravity to be let down, to be given back to the earth? If the holder knows, they might read signs in the surface, in the raw presence of the thing-ness of the cobble. The signs point to histories and pathways. The reader has to understand the basic elements of those signs in order to create their own understanding as to the origin of the object. But of its pure presence, nothing need be known, but only the immediate experience of the Self in juxtaposition with this thing. Naming all this is the root of language.

As the poetic, the transformed erosional product of language, the cobble might be heaved through the wall of the proverbial glass house of culture, period. Howl.

There is missing, in the long paragraphs of text that has characterized this work, this labor, there is missing any tacit explication of Self.  That dimension of be-ing is always held behind various structures and impediments, calcifications and reifications. Without any potential for at least mirroring that which is out there, separated from the wet eye and dry skin, reflected constituents of anything true.

So, false or antithetical meanings constantly overtake the possibility of saying (something) profound(ly) that “I am.” Instead there is duplicitous blather. Not that this is rooted in anything internal, actually not at all. The internal as a direct expression of conscious and unconscious presence is always authentic. It is only when that internal state collides with the social, even in the mental articulations of language, where pre-tension arises.

What life can compare with this? –
Sitting alone quietly by the window,
I observe the leaves fall,
the flowers bloom as the seasons come and go.
Do you understand, or not?
– Seccho

Some people walk with both eyes focused on their goal: the highest mountain peak in the range, the fifty-mile marker, the finish line. They stay motivated by anticipating the end of the journey. Since I tend to be easily distracted, I travel somewhat differently — one step at a time, with many pauses in between. Occasionally the pauses become full stops that can last anywhere from two minutes to ten hours. More often they’re less definite. … Trapped by our concepts and languages and the utter predictability of our five senses, we often forget to wonder what we’re missing as we hurry along toward goals we may not even have chosen. I became a tracker by default, not design, when my tendency to be distracted by life’s smallest signs grew into an unrelenting passion to trace those obscure, often puzzling patterns somewhere, anywhere — to their source or end or simply to some midpoint in between. But when I began tracking lost people, what had begun as an eccentric habit — following footsteps on the ground — quickly matured into an avocation. … I now commonly walk toward a single goal: to meet the person at the other end of the tracks. — Hannah Nyala (from Point Last Seen).

Abstract

The DCA project “The Road” is a psycho-geographic perambulation through a web of personal, social, and universal trajectories which form a new knowledge-base on the cosmos as an entropic system of energy flows. Within this worldview the project explores human presence, encounter, and interaction including a close look at the effects of techno-socially prescribed protocols on those indeterminate flows of energy. As a multi-modal online data-space, the project offers a variety of navigational strategies connecting a rich variety of audio, video, text, and image sources from the candidate’s extensive personal archive of creative material.

Introduction

The armature for this DCA as originally proposed was the concept of the amplifier. An amplifier is essentially a device that takes an incoming flow of energy (signal), and through an influx of power, generates a defined outflow of energy with a greater (directed) intensity. The amplification process needs an independent energy source to increase the signal strength. It also requires a set of protocols that guide the flow of energy from input through output: a coherent signal is a controlled energy flow as defined by applied protocols.

The road, as an expression of a techno-social system (TSS), exemplifies, or, more precisely, is one of these protocol-defined pathways. It was this realization during the last year of research which shifted my focus from the amplifier to the road as both a real and metaphoric concept that opens a rich space for inquiry. The road allows the TSS to express amplified energy flows along its protocol-defined pathway. It is not difficult to conceptually extend the idea of the road as any pathway for the directed and concentrated expression of energy of a TSS. (more …)

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

This is the jacket blurb I wrote in ten minutes — the day Lina was sending the book to the printers!

We’ll be providing a pdf file of the book at some future date, after the final symposium and exhibition in Berlin (coming up this week! see info below), and when any sales of the existing print run are over and done with.

Presented by The European School of Visual Arts (EESI), the Academy of Media Arts in Cologne (KHM) and the Vilnius Academy of Arts (VDA)

Migrating:Art:Academies:

Conference – 15-16 October 2010, 13:00 – 18:00
Exhibition opening – 14 October 2010, 19:00
Exhibition – 14-16 October 2010
Opening times – daily between 10:00 – 19:00

Collegium Hungaricum, Dorotheenstrasse 12, Berlin

The two-year project Migrating Art Academies (MigAA) comes to a close with its Laboratory V Migrating:Art:Academies:. This exhibition and conference, organized in cooperation with Collegium Hungaricum Berlin, will map the territory around an ensemble of new and innovative forms of creative practice. During MigAA students from the European School of Visual Arts (EESI, FR), the Academy of Media Arts in Cologne (KHM, DE), and the Vilnius Academy of Arts (VDA, LT) traveled in Media RVs (recreational camping vehicles) throughout Europe, engaging the local cultural and environmental milieu, and creating art works “on the road.”

“The wealth of Migrating Art Academies was unanimously proclaimed by both the participants and by those who they encountered in the course of the project. This creative experiment was also an excellent educational laboratory and such laboratories undoubtedly play a critical role in a time of European-wide reforms in art education.” says Sabrina Grassi-Fossier, the MigAA coordinator and director of European School of Visual Arts, Angouleme/Poitiers.

The combined MigAA exhibition and conference does not claim to be a full picture but rather a presentation of life-sketches, fragmentary practices, and evolving processes. These active threads together chart a new territory for learning that turns away from most traditional academic strategies. This open event is meant to critically address this new approach and to open it up for public dialogue.

On Thursday, 14 October, Migrating:Art:Academies: will open with an exhibition of works by more than thirty students from the three European art academies at the Collegium Hungaricum Berlin. The selected projects, developed during the four consecutive MigAA laboratories in Berlin, Vilnius, Linz, and Royan, range from drawings and maps to installations and interactive works.

The laboratory will also present a 300+ page reader as a summary of the two years of distributed and mobile research. The book, divided into three essential parts – Migrating:, Art:, and Academies: – serves as a navigation supplement for the exhibition and the conference as well as the overall project.

The conference will take place on Friday and Saturday, 15 – 16 October and is divided into four panels: Migration, Education, Technology, and a final Round Table session with the participating students.

Friday, 15 October
13.00 : Migration panel
16.00 : Education panel

Saturday, 16 October
13.00 : Technology panel
16.00 : Final Round Table

About Migrating Art Academies

Migrating Art Academies is an ongoing joint educational project of three European higher education institutions: the European School of Visual Arts (EESI, FR), the Academy of Media Arts in Cologne (KHM, DE) and the Vilnius Academy of Arts (VDA, LT). Its primary purpose was to research and develop a progressive model of education that combines new and innovative forms of creative practice, collaboration, cooperation, and production. For the duration of the project, students had the possibility to work in an autonomous zone situated between virtual and real worlds, as well as between their normal home environment and new, unfamiliar places. The students investigated and engaged the local environment at the same time as developing creative projects in response to their experiences. The MigAA project is financed by the European Commission Culture Program 2007-2013. For more detailed information, please visit: http://www.migaa.eu/.

The conference language is English. Admission is free.

Migrating Art Academies team:

Mindaugas Gapsevicius (top e.V.), Sabrina Grassi-Fossier (Coordinator, EESI), Jonas Hansen (KHM), Zilvinas Lilas (KHM), Alvydas Lukys (VDA), Sylvie Marchand (EESI), Vaclovas Nevcesauskas (VDA), Martin Rumori (KHM).

ed: This short note is the epilogue for the Migrating:Art:Academies: book. Otherwise because the heavy duty editorial tasks, I didn’t have time to write something more comprehensive on the ideas surrounding movement and learning, maybe next time!

Advertising :: Congregatio de Propaganda Fide

The root vertere, to turn; Sanskrit vartayati he turns; advertere, to turn towards. Drawing the attention (attendere, to wait for). To wait to be turned towards the object of desire. Give it your attention, your life-time, your life-energy. And you shall be free! Ignore it at your distinct mortal peril. As goes advertising, so goes capitalism. Sex for goods.

The force behind adoption of protocols. If advertising is the nice side, what is the obverse? Coercion (sensory input), propaganda (sensory input), persuasion (language-based), peer pressure (sensory input), norms (sensory input) …

But what about the time where attention is paid to it — versus the time spent in actually following its advice (or promise of reward) — the suspended times of non-being?

There needs to be a repetition of certain concepts at numerous junctures — energy, thermodynamics, flows, order, flux, fields, reminders of the Newtonian language, control, image-based articulations of all key-worded concepts, and precise observations on the structure-of-relation of the (declining) Military-Industrial system. Choosing examples of technological deployment, tracing the affectations of it, across the full distance, simplifying (reducing) the connections. Connecting the altered flows and the ‘original’ flows, along the entire way (using thermodynamics as a foundational guide).

Dialogue, sound, and music are good examples.

Identifying between altered and originary flows is in itself is likely an impossible task. I would suspect that all comprehensible flows are already in a (corrupted!?) state?

Selling individual vision to an Other: convincing, forming mental models that will allow compelling suasion; pressing opinions, argument, elegant frameworks; all constructed with language, words, characters, academic form, journalistic style, flaccid prose, basic text, with footnotes or hyperlinks; bibliographic references to other words, other texts: but where is a praxis? Praxis weakens to a barely-lived presence fighting to become in a dominant social structure of insipid spectacle that maintains the attentions of a vast majority of the population. Those being watched increase in number to challenge that of the passive watchers. In many cases the passive watchers are the watched, and vice-versa. The consumption of the passive watchers is expansive, limitless, a whorish gaping maw willing to not just taste, but to gorge on anything that is mediocre, maudlin, bland, and self-serving; safe, pre-digested, pureed, and acceptable. Worked over. ‘urrrrp’

Indigestible fodder, poison, anathema, bloating farce, and gaseous prophesy.

The world is drowning in verbiage.

All protocols lead to artifice.

without framing the precise context, a couple quick notes to Rob, regarding the Internet of Things (IOT) and social pro-activity:

and

The road novel: a tracing of the displacement of the embodies Self across the Greater (or Lesser) Unknown. The road journal. The road. What is it about the road. It’s not merely a metaphoric interpretation of life, it is life. blah-blah-blah.

(in clipped phraseology)

Writing the fluid movement, framing encounter, hopeless task except as is comes closer and closer to the asymptotic point of writing-while-be-ing. It’s not a wall to break through, it is a separate reality. Talk about parallel universes! Writing and be-ing. Writing-in-be-ing.

Writing is the pen/cursor traveling across the page/screen. A locked dialectic of eye-to-2D-surface. Smoldering neuronal fire slogging between.

Writing what is(was) is always the case.

Back to the idea of the performative expression. That of telling the stories from the road. I did this in an annotated form in the performance at the Ultimate Akademie in Köln, Al Hansen’s old haunt. But how to do that in a way that is meaning-full in the context of this thesis project?

Obviously, there are many domains where verbal language is not useful or sufficient for description, and the many alternate systems used by humans, like mathematics, music, chemical symbolisms, graphics, maps, etc., show that this has been addressed since a long time. But some aspects are not covered yet. The main missing factor is dynamics. All notation systems are static and don’t cover the essentially dynamic character of life. This is a possible problem for a civilization that commits by far the largest part of its cultural memory to a system of static representations. In many non-western cultures, there is (or was) a strong tradition of non-verbal, dynamic cultural transmissions and it needs to be noticed that western civilizations have lost “the science of ritual” to a large extent (Staal 1982). There is the large field of cultural movement patterns that are not amenable in principle to static representations, since movement, when frozen in a static form, simply vanishes. Dynamis is incontrovertible with Stasis. This essential lack of all the static CMM that are so widespread in western civilizations alerts us to the possibility that perhaps there may be some very essential factor that civilizations are losing when they commit the bulk of their cultural transmission to written, static representations. — Andreas Goppold, Criticism and defects of writing and language

I wake up this morning remembering spatial plans for grocery stores in Prescott, Arizona, and then, one in Kiel and another two in Berlin, Germany. As I started to think about it, after a few minutes, I came up with (mental) spatial maps for more than 50 different food stores in ten countries. Small segments of an enormous set of spatially-framed memories of tens of thousands of situations passed through. Repetition of exposure is more likely to create and lock those memories into recall-ready be-ing. It is what structure and structured situations impress onto the embodied life. The access to these memories arises as a sequence of resonant flows across consciousness. As mindfulness scans a region of mind, resonances appear as bright spots of particular order in a dim background. Resonance is a fundamental indication of higher or concentrated energy states. Fundamental quantization of resonance will cause distributed peaks and troughs in the strength of resonance. The subtlety of resonance guides our movement through the flows around us.

(Who cares?)

Does it matter that dominant views exist? Does it matter that humans are faced with a decision to submit to those views or not? To matter is probably the wrong question, because matter locks us into one view to begin with.

How to transcend the rigidity of extant protocol? Opposition is no cure. Poetry is perhaps one pathway, poetic stretching, morphing of the protocol.

Poetry. The Prose Edda, especially the Skáldskaparmál comes to mind, Snorri’s guide to the forms and language of the Saga, and the process of kenning or naming the objects of that world. Imagine making such a device for covering the territory of inquiry. It brings up the text sketched, though later scrapped, for the Hybrid Spaces workshop: The Hybrid: This and/or That. Could be a useful source for later on…

I was telling someone the other day that I am a good participant. I know how to jump into a situation and contribute in a way that is sensitive to the ambient flows that are happening at the same time as clearly manifesting a unique set of contributing flows. Perhaps a bit too conservative in respecting the paths of those ambient flows, but it’s probably better to be slightly more conservative than liberal. Uhh, such loaded terms. Useless words after they are so distorted by socio-politics of certain cultural configurations. Although it is ironic to note that here in Australia their political meaning is in (antipodal) opposition. Which simply emphasizes the idiocy of politics (as Peter Tosh observed once: Politics, poli means people, ticks are parasites, politics, parasites on the people). Words, language, always tends to go through this reification process. Followed by a morphing process when the reified language becomes overwhelmed when attempting to explicate new situations or when circumscribing known situations with a different point-of-view. The reified structures will be bolstered and protected until usage simply makes them redundant.

When slipping into an unknown (participatory) situation, immersing, the senses are in full-open configuration to read potential threats, opportunities, and possible pathways of expression. A process of extremely rapid differential comparison of patterns of flow occurs. In the subset of those situations that may be defined as having socio-cultural frameworks present, there is an explicit search within the Self for existing protocols of behavior — an awareness of resonant regions where known protocols have been internalized previously as emphatic neural patterns, and an awareness of dissonant points where protocols are unrecognized, unformed, or, literally, without meaning. What the hell is going on here?

Participation is a crucial role in any social system. As the reciprocal action to the projection of structured (participatory) situations by an Other, participation is half of a whole. It is in relation to the applied and, by nature, limited (imposed, proffered) situation. Without participation, a participatory social framework is no source of energy/power to be projected outward in fulfillment of the goals of the wider social system. Participation, whether understood to be explicit or implicit, is a tacit acknowledgment that the goals of the social system are acceptable to the participant. It also provides the system with its primary energy source in the form of the (attentive) life-time/life-energy of the participant.

On a side note, this is one of the weakest points in the deployment of numerous online playgrounds. Much thought is put into user-interface design, and the protocols of participation, but little is given to the actuality of there needing to be a set of active participants available and willing to put their life-energy into that particular protocol. A well-designed system of protocols, one that resonates with participants at the same time as allowing sufficient degrees of expressive freedom (from those existing protocols) will attract users. It appears that the algorithm-hunters at FaceBook are quite adept and put their highest goal to simply keep the user in FaceBook, whatever it takes. Stripped of artifice and pretense, it is a Machiavellian strategy, but one that makes total sense. All roads lead to Rome: good for the Roman Empire.

Take, for example the idea of sharing a photograph online. If one examines the layered protocols that exist and, in a very real way, direct the flows of energy. First there is the scene to be photographed. There is a set of energy flows available within that situation — which actually constitute the situation. The eye receives a sub-set of those energies, based on the evolutionary protocols of the eye. The brain senses a range of resonances and dissonances of affect of that impinging energy. Based on those reactions, combined with the awareness of a pre-existing concept of taking a photograph, one picks up the techno-socially constructed device called a camera. A small room with a hole on one side. The room (in this era) is a small and complex compilation of energy pathways which allow control of the hole and of the Light energy entering the hole from the outside. The complexity of the cumulative pathways are defined by a tremendous range of interlocking protocols developed by the Techno-Social system. Industrial standards are an expression of one level of the protocols along with basic social standards (which are the substance of the social system!) which accrete as a system (of human relation) evolves. The Light energy entering the hole is convolved with this set of pathways (through the CCD at the back of the room and a data transmission/storage system, etc — one can breakdown the system into numerous sub-systems each with a related set of quite rigid protocols-of-production). It is useful to keep in mind that the originary energy apprehended from the phenomenal scene has initiated this entire process and though it is reduced through the action of the protocols, it is still present (in another form if you need that material metaphor).

Compressing the numerous iterations of the step-wise process for the sake of brevity, the image file is transferred to a server which is connected to other connected devices which allows for an Other to receive the reduced trace of that originary energy.

It cannot be underestimated the affect on the originary flow of energy phenomena that the complex layering of protocols applies by the time the final radiation reaches the eyes of the Other. Without doing an in-depth study of all the device(s) involved in the process, it may not seem so overwhelming, but indeed, each sub-system and sub-sub-system has an entire prescribed set of protocols which precisely define how that device reacts to the passage of energy through it. The protocols are the result of more and more finely refining the production processes and begin with the particular processes that are imposed on the concentration of materials as they are pulled from the ground (no to mention those necessary for finding where to look in the ground for the right materials to begin with). Production processes have protocols for dimensional tolerance, purity, electrical conductivity, and other parameters, as well as meta-protocols on protocols. (see organizations like ISO which coordinate some of the hundreds of thousands of standards which humans have applied within their Techno-Social systems.)

It would appear that large numbers of people living in the so-called developed world are increasingly willing to submit to deeper and deeper layers of (globally-applied) protocols in order to maintain connection with other members of their tribe. Each deployment of protocol is a directed flow which taps off life-energy for the system imposing the (dominant) protocol.

Back to the original idea of participation. It is precisely the arrangement of protocols, guiding the flows of energy through the complex systems which will allow or disallow for individual participation. If the complexity of the protocols are too much — where the individual cannot refine his or her particular embodied energy expressions to fit the reductive pathway — the protocol will either continue to exist as a limited (possibly elite) pathway of expression and impression, or it will pass away. The history of technology is littered with dead protocols: ones which, for a time, shunted vast quantities of human energy in the service of the system, others which were created and used once and discarded as not efficient enough to tap the energy required to maintain their own hegemonic existence.

(Early adopters represent no revolutionary vanguard, but rather a type of individual motivated to adopt newly-imposed protocols. This with the thought that the adoption of these imposed protocols will somehow give evolutionary advantage. But in this Light, adoption may be seen as an expression of conformity to (and explicit support for!) the ever-more dominant Techno-Social system.)

more on participation later…

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.

A theory is the more impressive the greater the simplicity of its premises, the more different kinds of things it relates, and the more extended its area of applicability. Therefore the deep impression that classical thermodynamics made upon me. It is the only physical theory of universal content which I am convinced will never be overthrown, within the framework of applicability of its basic concepts will never be overthrown. — Albert Einstein

and this work will (already) require an a-cyclic slippage into and out of mechanistic language which makes so much of the territory un-mappable (before a new language can be framed). a skimmering skittering across hot metal plates causing dissipation and evaporation. (where transformed language is a compressed gas, waiting for temperature and pressure changes to expand to fill a dialectic space — wherein the words and word-constructs are tested for vacuity or fullness). Conscious use will govern whether or not there is a sense of movement or an underlying stasis in the text. Thankfully it is a DCA and not a PhD so there is plenty of room for experimentation.

[and a pox on all you slackers who underline in pen or pencil or highLight texts in library books. I don't give a damn what you think is important, so keep yer grubby hands away from public domain books!]

The language is based on joining and dis-joining, you see. That is, it’s a perfectly good language if we could use it properly. It has to be used as an artistic form and not as a rigid tool which is supposed to reflect reality exactly — reflect what is exactly. It’s like the notes in music. They look quite separate, but when they’re played, they’re not separate. — David Bohm, dialogue with E.Nada

A necessary feature of the thesis project is inconsistency. For it to be a rich learning experience, it should be variable or stochastic. How to achieve a creative inconsistency, then? Where changing perspectives and voices and models and worn pathways exists in profusion that is at the same time, not overwhelming. A sequence of statements (each a consistent sound-bite), with threads of difference demarcating their extent, applicability, and style.

remember:

Flow in reading
Flow in writing
There is no beginning
There is no ending

All else is abstracted, and becomes manifest from the unstable, unknowable, vague, vast, rich, unending flux.

Any abstraction is a sub-system of a whole and can be considered in its own right.

Fundament(al)
assumption
:implicat(ions)

Life does not end and is implicate in the whole.

Underlying assumptions (assumed and unarticulated) are always there (in academic studies) and this is an explicit revealing of one that predicates or prescripts this work.

Latour’s network(s) of relations (in ANT) are complexifying descriptors for a multiplicity of flows where each actor in the network are the origin and recipient of various flows. Or, they are merely the nodal locales of concentrated flow (as conscripted by the social structures). Again, back to the observation that the structure of the social is the prescription that forces flows into rarefied and concentrated zones or pathways. Each attenuation (measured in relief to a ‘natural’ background flow) becomes an actor in full, constant, and distributed relation to at least some other points in the field. The theory, the image of a multiplicity of flows, taken to a near-infinite limit, a beyond-multiplicity, an infinity of nodes would then approximate “reality.” If the network is functioning properly — that is, constructing a plausible account of real social systems — the network will be “an expression to check how much energy, movement and specificity our own reports are able to capture.” (Latour) Those reports, though, are always reductive and incomplete. A map locating the nodes and noting the flows across each one is not the lived territory in time, nor does it accurately express the character of the flows, which in the end are more important than the nodal points.

Is this blog a report? If so, the question becomes how it might more accurately invoke the territory of inquiry. [indeterminacy, trans-disciplinary (discipline being "mortification by scourging oneself", yikes!), without genesis or terminus, and sampling as many strands of lived-impression (not just screen-mediated living) as possible.]

If network is an accurate description of a situation then a consideration of the order that the network imposes on the situation is called for. Network and order, (including Latour’s actor-network) is about the application of a decodable order applied to a diversity of actors within the object of study. It implies reduction, though hints at an ever-expanding point-of-view. It is couched in language (report, correspondance, academic paper, speech, communications) which is problematic, but this limit is applied to practically anything social. Order is rooted in the negentropic tendencies of life in opposition to the entropic character of all non-life. (Depends — is an accretionary disk of stellar matter, through gravity, rising as anisotropic presence of order as the star forms negentropic, or not — is there any fundamental (ordered) difference between varying (relative and Cartesian) densities of energized matter?) The biggest problem with most current usages of network is that very often the nodes are well-defined (to a fault), as are the geometries of connection, but not so much the qualities of the flows between. I’ll have to pay attention to that lack as I troll the literature. There is the (network) engineering efficiency approach which examines the issues around signal transmission and reception including power usage and signal/noise ratios — which are inextricably linked to amplification issues.. But the efficiency is determined after the fact of the signal being strictly defined by existing protocols.

ack! my usage plunges into a cesspool. the Jekyll and Hyde of free-style and efficient. faggeddabouddit!

I would prefer that this whole thesis stay out of the regime imposed by semiotics — that being the approach to social inquiry as an expression of how the dominant worldview is itself dominated by abstracted elements — rather than focusing on the flows of energy themselves. The abstracted systems do, of course, have a heavy bearing on the regime of flows within the social, and largely govern the pathways along which energy flows. However, in order to understand the dynamics of the flows which underlie the abstractions, one has to clear away the abstraction. I hope to frame the issue of language and protocol only to the degree that makes it possible to subtract it from the picture.

Consider the difference as framed following: when two people are speaking to each other, one can make a fundamental structural observation that breaks down the process into the movement of sonic energy and the presence of language. What is the sonic element? It is the movement of embodied energy, energy arising from the embodied presence of one person, arising from the complex negentropic life-form of one. This energy arises through the precise evolutionary configuration of body which allows for that expression, the lungs, the throat, the voice box, the mouth. It is projected through the ‘medium of substances’ between the two, into the embodied presence of the second. Into the ear canal to energize the neural system that is hearing. This is a fundamental. This phenomena exists independent of the language being used, and regardless whether that language is shared by the two people.

Proxemics then becomes a question of potentialities and possibilities of flow or not-flow as proffered by the arrangement of energized bodies (at all scales!) — not simply a systematic coding of the arrangements and orientations of bodies in a Cartesian space. Hall does include body-heat (thermal code) in his list of proxemic behavior along with other sensory “codes,” but stays away from the actuality and implications of energetics (as illustrated by the previous paragraph. (A System for the Notation of Proxemic Behavior, Edward T. Hall, American Anthropologist, New Series, Vol. 65, No. 5, Selected Papers in Method and Technique (Oct., 1963), pp. 1003-1026)

The presence of language, then, is a formulator of meaning. Language does not carry energy itself. What one says is different than how one says it. The use of language (merely) imposes a modulation (amplitude, frequency, in time) of the energy movement. This modulation is a learned social function. And of that imposed modulation, when examined closely, it loses some of its monumental qualities (semiotics-as-deterministic-abstraction-of-abstraction):

There is no language in itself, nor any universality of language, but a concourse of dialectics, patois, slangs, special languages. There exists no ideal “competent” speaker-hearer of language, any more that there exists a homogeneous linguistic community … there is no mother tongue, but a seizure of power by a dominant tongue within a political multiplicity. — Deleuze and Guattari (Rhizome)

(a title: On The False Invariance of Text)

Writing is oscillation, it is frequency, it is tone and overtone. It is directed at a hundred thousand invisible targets some not yet alive, most dying, some dead. It is all-encompassed by the infinite flux of be-ing at the same time as being uncircumscribable. Resonance drives the text. Without resonance, the text is more than dead, it is simply not. Null, less-than-zero. Silent. While speaking in tongues, interfacing with one another, we tack meanings to the words, sounds, making them become for a moment, a surfacing out of a wider flow of dis-connection. Or merely happenstance accretion, coagulation, a resulting (sepsis-in-mind) of something (quelque chose), making: turbid agglomeration becomes acculturation.

The whole engagement with the idea of doing the doctorate arises from a combination of pragmatics and desire. The pragmatic considerations are real to the degree that the author understands the social value of ideas that are formally exposed, independent of format, and that the Other takes up, paying life-time and attention to. This is a basic premise. Desire enters the process where there is the need to be recognized, this, not on a social scale, but on a simple and uncorrupted personal scale. There is the deep risk that both these motivations are hollow and base-less. To defeat that potential, the process will be open and open-ended, unending. It will not begin and end with bound covers and stitched bindings. It will mimic life that came from who-knows-where and is going elsewhen.

One point of this blog is to de-stabilize the general process of writing to the degree of opening up expressive possibility. It is not here to be a blog, with endless sifting through and cross-referencing of network sludge. It is an armature on which to hang the infinity of idiosyncratic individual inputs and some limited external inputs into the process flow.

The armature of the final work is a combination of practice-based activities and a display of input-output (re)sources. Thematic threads (flux, energy, continuum, flow, movement, change, sound), and must needs vocal, aural, oral output/interface. The allowance to rest in writing, here, is a giving-up, a surrender, to the order. And critique cannot dominate the work. it must be proactively positive after shifting the basis of the argument from a traditional worldview to one based in energy, flow, and distributed presence. And transform the argument from argument to metaphor, to incantation, to invocation, to song, to a lived/living dialogue replete with rejoinder, complaint, excuse, bombast, and obscure platitudes.

Produced by writing, philosophical statements are no more authentic or truth-bearing than are literary expressions, and literary expression are no more pseudo than are philosophical dicta; they both fall victim to (or rather take advantage of) the figurality of language, its uncontrollable semantic slippage and syntactic leaps and bounds. In fact, the more one believes one can stay clear of or break free from the sign’s dictate, the deeper one is likely to sink into the ever widening semiotic quicksand. — Briankle Chang, (1996) Deconstructing Communication: Representation, Subject, and Economies of Exchange. Minneapolis: University of Minnesota Press. (p. 202)

Looking at Foucault’s conception of discourse as a conflation of semiotics and postmodernism (gag on that stone-like term). Of course, the State (or, in my terms, the Techno-social system), when exercising power has to project power along more or less defined pathways. That is a fundamental characteristic of the TSS — its cumulative ability to (and process of) refining and ultimately reifying the pathways through which power (energy!) moves through the system. This power/energy ultimately and necessarily moves between human participants in the system and the pathways are, ultimately, sourced and targeted through the space of flows (between individual beings) to the individuals themselves, the Continuum of Relation. (see my comments on code in the previous posting, where code is a reified or institutionalized discourse pathway that carries energy between humans.) The expression of power, though, comes not from some externalized and monumental State. The concept of State is simply the active collectivization of individuals life-time/life-energy which dynamically coalesces into a relation or constellation which is a source of projected power. The force of projected power being the ability of a collective to gather excess energies, and organize them (negentropically) in such a way that they may be projected along a chosen pathway. This is where various levels of both subtle and overt control and coercion find their exercise — within individual lives as those lives are mapped into a collective space of more singular flow (vs flows).

Michael Bauwens on the iDC list: I think the important insight that travels from free software to money is this. Power lies in the code and in the invisible structures that enable or dis-enable actions and relationships, what Alexander Galloway calls ‘protocolary power.’ The great insight of the current age is that money has a code as well. But just as we do not have the power to change the code of microsoft, we do not have (yet) the power to change to code of political money, so the alternative world-constructing route is to peer produce our own, differently coded money.

sotto voce: This brings up the thought that code and money are both likewise abstracted representations of Power that have to be actualized through two processes: 1) a participatory social grouping who choose to believe (have faith) in the power of the abstraction to cause material change in their lived existence and 2) a means for the abstracted instrument to interface with a real (material) regime of existence. Power, in the end has to be or has to have available a way to apply itself to life, to an individual life, to be delivered (as that change).

For example, code describes what a device can or should do in theory. It needs the device to make that actually happen. Code without the physical transmission of power (kilo-calories, joules, megawatts, whatever) is a complete abstraction and is of no consequence. The machine or interface that actualizes the code is embedded in a specific field of power flows — i.e., the electrical generation and delivery system, manufacturing systems that depend on transportation networks which depend on hydrocarbon fuel power, etc. This larger techno-social infrastructure that is essentially a field of directed energy flows depends on a whole host of humans believing that the code will ultimately improve their lives on earth. If there arises a doubt that the code will do this, the whole system starts to unravel. If it becomes clear that the code is failing to bring power to the user, they will stop putting their life-energy into propping up that techno-social protocol and the infrastructure it is embedded within.

The code of religious teaching, the code of social behavior, the code of the machine, and the code of economic instrument all have the characteristic that they are completely dependent on being actualized this way, else they have NO power. In the end, the code is merely a socially prescribed pathway along which real energy is forced to flow.

Faith in code(d abstraction) produces a shared or centralized capital of potential power, but there always needs to be a tangible means for translation from code to be-ing. The body is the primary means for code to become lived action or the source of applied and energetic change. That would be the minimum device necessary, all other devices are simply amplifications of the body-as-energy source.

With the demonstration of faith as an applied and directed energy flow through a code comes the often terrifying expression of directed social power. On the other hand, when the individual participant in a social system seeks and finds/makes expression not according to The Code, the dominant collective immediately loses a fraction of its ability to direct energy as it wills.

The diversity of languages is not a diversity of signs and sounds but a diversity of views of the world. — Wilhelm von Humboldt

Then the question of how to deal with all these books at once? Where to read them, how to take notes, how much to read in any one at a time, and such. Reading in the evening before sleeping isn’t very good, although restful. Mid-afternoon is optimal, but carving out several hours from the daily to-do grind makes that difficult. Having a space in the CMAI office is very helpful now, as there are more comfortable chairs. The collective grad offices are too noisy and busy. Dislocating to Bronte or a cafe elsewhere is possible, but not time-effective if only for reading. Ach!, the questions of methodology …

What of the experience of an opening, an open, dialogue? Re-creating that experience of presenting the Self to a random collection of Others. Or to a single Other. I keep thinking of identifying, finding an Other who would be willing to have a series of dialogues that would be re-produced for the purpose of mapping out the initial space wherein the model (as script) is to be constructed. The script being a primary resource for a 60-80 hour workshop (which would never be used because the workshops are open systems and have to leave a script behind soon after starting). It would merely point in the direction for certain issues (resourcing them), giving a framework that is an optional (inspirational) component for the process. As a multi-modal hypertextual object within a social networking space, it would imitate/mimic the knowledge-flow features of a more traditional teacher (and little or nothing else — memesis of a teacher being a fundamentally antithetical concept regarding outcomes of learning!). Fundamentally, the workshops are about attentive presence, that crucial realized, actualized, and embodied facilitation process. You had to be there. (So, back to the conundrum of being and not-being when documenting, re-producing life.)

Memory — especially the memory of human encounter — is the tangible, real resonance between the Self and Other, arising through the movement of energies. Memory is a re-configuration of the energy-field that is called body; it is a dynamically persistent re-configuration of the Self. This re-configuration requires the movement of energy between the Self and the Other. I’ve been thinking about you a lot. That is the minimum requirement, and, perhaps is the only requirement, as it is the essence of the process of encounter. It is the encounter, and the flows that are the event of encounter (the Light coming from the body of the Other, the sounds emanating from them, their cumulative presence) which precipitate change in the Self. The only further commentary might come from a qualitative exploration of the flows, and the possible blocks to flow that are ever-present in relation. This view of communications does not fall easily into the traditional phenomenological tradition of communication theory. And indeed, most theories of communication that I have run across are tightly focused on language and meaning rather than any acknowledgment of a real and tangible exchange of energies that occurs in any human encounter (even when subject to the relative intensities of mediation which, in fact, are simply the presences of different forms of energy pathways imposed by cultural conditions (both internal and external to the encounter)). [burbling parenthetic expression, uff]

Responding to Michael Connor on the [NEW-MEDIA-CURATING] list:

In the gallery it presents a kind of ontological mirror reflecting back and stabilizing our own sense of self in its apparent stability and autonomy… By contrast time-based art, interactive art, and all art involving some form of interaction over time tend to do the opposite. Perhaps this may be a partial explanation of the continued resistance to such work in mainstream institutions.

sotto voce:

structural organization. weaving this space of inquiry, exposé, or a web of deceit. a fabric of cloaking, or a dust cover for an old arm chair.

Van Leeuwen’s overview (in Multimodal Discourse) of an expressive situation that he labels semiotic production frames first a (situated) discourse which is then subject to design (to shape the delivery mechanism) which is materially formed in the production process followed by distribution (one-to-many propagation). these conceptual and actual stages are closely bound to a semiotics-based view which is rooted in the abstracted space of language and representation. this, despite the fact that the expressive action is indeed a real, tangible movement of energies from the producer to the receiver/consumer — it is not abstract. it is in this space between the models built in the abstracted semiotic space and the real executions that Dialogue, in the extended definition that I propose, occurs. it does not preclude any (most) semiotic models, but is sets the limits of their applicability that arise from the abstraction process that is inherent in language. the Dialogue model looks at these processes, steps in semiotic production as a continua of socially applied protocols which guide (provide a pathway for) energized expression from the Self to the Other — so that semiotic production is clearly not the thing itself, but an abstraction of it. (Van Leeuwen notes this when reflecting on the separation from embodiment that written language imposed on this abstraction process).

he suggests that two mechanisms for the establishment of ‘new’ forms of discourse — that of provenance and experiential meaning potential. the first providing memetic (not mimetic, btw) evolutionary input from other cultural sources, the second an internally generative source arising from lived experience.

multimodality clearly has an affect on the flow of energies (of expression) from the Self to the Other. the existence of socio-cultural value-systems as framed with and by abstracted linguistic (and semiotic) systems and protocols is a key formative element in the energy flow process. but again, it is not the thing itself, it merely forms a pathway for the expressive flow.

His use of terms articulation and interpretation would roughly correspond to transmission/expression and reception/impression.

In a materialistic model, the material is merely the means of semiotically-framed expression. In my model, the energy of expression is carried, in perhaps a poor metaphoric sense, through the pipe of linguistic/semiotic (and therefore social) protocol, but is another essence altogether from the pipe (which, again, is only a abstracted framework). As a social system builds up more and more complex pathways (which, in the end are blockages of open flows), it becomes more and more difficult for individuals operating within that system to find expressive pathways. This is especially apparent in social systems with sufficient or excessive energy resources. energy-poor social systems, those which are consequently, less stable, have more possibilities for less-defined actions, expressions.

It is in the consideration of the energy flow itself that many of the characteristics of formative social systems (ideologies, etc) become obvious, along with equally obvious solutions to the strictures that they apply to individual and collective human existence and consequent expression.

Understanding that my own task, to express an ideology, a weltanschauung, arises in the socio-cultural milieu that encourages certain expressions and discourages others. All social systems do this to one degree or another. And, as one key processural factor, I need for this expression to be idiosyncratic. As much so as is possible within this system. And if not within this system, then simply accept that it has to be done outside this system. eh?

But it is precisely at the edge of what a social system defines as acceptable or not is where transcendental change occurs both individually, and as a direct consequence, socio-culturally. Neither social or cultural systems are static entities which can be held or can hold to a particular standard protocol for expression indefinitely. Change is universal. And change occurs within liminal and undefined situations.

No individual person, no matter how great his stature, how powerful his will, how penetrating his intelligence, can breach the autonomous laws of the human network from which his actions arise and into which they are directed. — Norbert Elias

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.

exploring modalities of communication. of connection, of be-ing. Kittler shows up on the radar immediately (hmmm, recalling that extremely uncomfortable evening with him in that bar in Linz before the Intertwinedness happening. he needed the table to circulate around him. and it did because of the language (protocol) gap. I was not fluent in German enough to access the discussion that inevitably circulated, hovered, around him. strange situation. instead I talked with his assistant (and translator whose name I have now forgotten), a young American who came to worship Kittler in Berlin for a time. I left early as I had to catch a train to Copenhagen early the next morning.)

how to bind energy in to the text [as the particular creative output]. to be released in TIME. to the proper receiver.

that from an earlier travelogue entry. it clearly has been on mind for a long time. actually the transition from print-making to performance/happening was a mapping of that need. finding that the silver print was just too rigid a platform when compared to presence. although the print is, as with anything, in retrospect, a resonance of presence and be-ing as is any trace left in the wake of life.

this issue along with structuring days and weeks in order to be the most productive and concentrated. the chill of the room makes morning writing a bit uncomfortable up there, so, perhaps writing through the morning in the kitchen as long as there are no real interruptions to focus. the desk in the room is good though, with a decent chair. back to the Berlin writing experience. the tea pot is a crucial question. wondering whether I should have Christian send me the excellent pot that I found in Kreuzberg. insulated to keep the tea hot, enough for three or four cups, and a slide-in screen for the tea. it was perfect for a three-hour writing fest. otherwise, brewed in a regular ceramic pot, it goes cold way too fast (at the rate I drink it), that and the problem of steeping too long when doing it the British way. but so far, I haven’t found the same kind of pot here. went into one cheap Made-in-China shop in Marrickville and was so overcome by the fumes of cheapness that I had to leave with watering eyes. made me nauseous. something akin to the smell of Walmart, but with no air circulation, add dust, and knock the cheapness factor down by a couple orders of magnitude — this not in cost, but in the absolute shoddiness of the manufacturing process which may mean anything from sloppy execution, and under-optimized production standards, to dangerous or even lethal ingredients. I didn’t find what I Was looking for, and haven’t yet.

back to modalities. where this frames the issues raised in the Ways of Listening course as well. how expressive pathways are never absolute (are entropic) and depend on the continual input of energy (from the social energy bank) to maintain their hegemonic order and control over interpersonal impression and expression. there are a class of individuals in every time and system who seek to renew, evolve, change, destroy the old modalities. Cage, Fluxus-folks, Bauhaus, anyone who seeks this process at whatever scalar effect.

(i.e., Norie is at the forefront of this process — a faculty-member advising in the fuzzy space of the DCA (Doctorate of Creative Arts) concept — they are, in general, functioning in a space of indeterminate protocols as are the candidates. making choices on what to accept or reject as possible (modal outputs) protocols within the social system (in the form of the educational institution as one specific modal expression of the wider social system). a formative space, the choices made in that space will determine the level of vitality or corruption in the unfolding/evolving social system.

modalities are independent of scale — that is, they cross many levels of a social system, of be-ing. (and, at this point, can I consider the intersection of the words modality and protocol?) modality seems to circumscribe a more material space (also discounting the phenomena of energy-transfer although it relates to sensory perception). modality, modal, mode, mood, modus (related to mete, mediate, mediation, meditation, measure, meet (met), (and in the Greek medesthai to care for, to be mindful of) — how some thing (quelque chose or process) is done, executed, performed, expressed. to take care for the expression of active be-ing. be here now. to care for being here, now. and it comes, translates to us within the social system as a measuring, circumscribing of ways of going. this seems a good example of the social system imposing its inevitable evolutionary impact on individual be-ing. from a qualitative, caring, contemplation of presence, here, now, to the quantifiable, conscripted, defined, the modal.

so the question comes back, how to circumscribe the theoretical of the work ahead? the immediate answer: with care. the only way to proceed!

radio aporee ::: open – 48 stunden neukölln ::: flickering wastelands III
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Klangspuren aus der bewohnten Welt und angrenzender Gebiete: akustische Expeditionen zu ausgewählten Orten, begleitet von stündlichen Live-Interventionen internationaler Künstler.
———————————————————————-\rsound tracks of the inhabited world and contiguous regions: sonic expeditions to selected places, accompanied by hourly live interventions of international artists.
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### PROGRAMM (may change…) ###

freitag/friday 26.6.
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19:00 uno / radio aporee
20:00 benjamin laurent aman
21:00 Adam Thomas – Preslav Literary School
22:00 john hopkins / neoscenes (remote) (stream archive)

samstag/saturday 27.6.
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17:00 jonbo-n’jovi – Seiji Morimoto, Francesco Cavaliere (rehearsal)
18:00 uno / radio aporee
19:00 open
20:00 Henrik Schröder
21:00 James Edmonds
22:00 jonbo-n’jovi – Seiji Morimoto, Francesco Cavaliere (dress rehearsal, maybe…)
later topmodel, maybe…

excerpts of elusive movies and other fragments on both days.
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Preslav Literary School (Adam Thomas) makes tape music and fragmentary fiction using lost, forgotten and repaired sounds and words. For Flickering Wastelands he will perform using multiple cassette players and tapes found in the streets of Berlin. http://preslavliteraryschool.bandcamp.com
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Henrik Schröder: belastingdienst / belastungsdienst / taxforce improvisation für präparierte schallplatten, mixer und stimmen die arbeit basiert auf vorgefundenen oder bearbeiteten sounds von computerstimmen der website der niederländischen finanzbehörden (http://www.belastingdienst.nl). dort kann sich der besucher sämtliche informationen vorlesen lassen, die sich auf das niederländische steuersystem beziehen. und zwar in englischer, deutscher und niederländischer sprache. während der improvisation werden die generierten stimmen miteinander konfrontiert, um ihre unzulänglichkeiten (insbesondere im umgang mit fremdsprachen) herauszuarbeiten und sie in kombination mit nach dem zufallsprinzip präparierten schallplatten in eine neue poetische form zu überführen. ein spiel mit sprache und deren akustischen unwägbarkeiten…
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james edmonds – is a painter who works closely with photographs and processes that describe a kind of mediated human consciousness. A residue of the real world is flattened by the recording medium to produce a mysterious other reality/material existence. Through exploring sound recording and improvisation, his work has formed a coexisting musical language which reveals a similar atmosphere and resonance to these images. http://www.oilrigcatering.com/wafflecotton/
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experimental setup of a new system by Jonbo-N’jovi. J-N-J is a duo made by Francesco Cavaliere and Seiji Morimoto, playing with automatic instruments, aleatoric motors, vibrating speakers and different percussive setups. http://www.myspace.com/jonbo00njovi
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john hopkins / neoscenes
fresh back from many weeks on the road in the Rocky Mountains of Colorado and in the Sonoran Desert of Arizona, neoscenes will take you, with hydrocarbon flaring, on a drifting trajectory through spaces that dwell restlessly between ears and leave traces of soot, soil, and water. http://neoscenes.net/travelog/ (stream archive)

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topmodel – from http://www.myspace.com/topmodeltopmodeltopmodel : “mireia sings, rinus plays broken tunes and clumsy percussive fragments on cheap instruments, magnus plays broken tunes and clumsy percussive fragments on cheap instruments, too. they tried to cover serge gainsbourg’s je t’aime once, but they failed.” (we succeeded later on)
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Benjamin Laurent Aman, french visual/sound artist involved in different noise, concrete/collage projects (poldr, Crystal Plumage, Lucie Huck Palace..). He will perform Lucie Huck Palace’s *visit#3*, on-board listening among traps, through loading places. http://www.benjaminlaurentaman.com/
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radio aporee: sound walks with fingers on the map. global mix mode listening sessions from contributions to the radio aporee ::: maps project
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go to bed reading of Qi in Ted J. Kaptchuk’s treatise on Chinese medicine and wake up early from a deep dream where I was working with a group of boisterous and engaged young people who are somehow brought together by the impulse of Barack Obama. my immediate thought upon waking is why does a political figure enter my dreams? social action is important, sure, along with an interest in community dynamics, but a politician (community organizer none-the-less)? somewhat disturbing, though that thought is outweighed by the energy of the scenario. I suppose I am missing teaching. there will be opportunities for that in Oz, although I will keep it highly restricted to workshops rather than term courses. nothing should get in the way of the appointed task.

the Qi discussion illustrates the absolute difficulty in framing a concept in the language — the specific social protocol — within which the concept did not arise. the fundamental problem of translation. and in this case, translation of a term that is so formative to any worldview built on it that if one adopts that specific term, it will map, literally, where one stands in the world. and the ensuing conclusion that the adoption of another social protocol, language, precipitates a shift in worldview. no surprise there.

one global ‘solution’ to this issue especially in regard to fundamentals like Qi or energy (noting that even here I am making no one-to-one correspondence between the two!), when ‘comparing’ fundamentals, is to consider that each human individually is observing the world, and, at the same time, the social collective that they are participating in exerts an impressive synergy on all these points-of-view, and generates a collectively determined world view. this is the dominant social protocol, their language. Both the individual and collective world view are reductive apprehensions of essentially the same phenomena — that of be-ing in the world — seen from the particular point of view of that individual or collective. Of course, there are the instances where the worldview of the collective is impressed on the individual when the individual is forced to sacrifice personal autonomy to the collective — often through violence or threat of violence. it becomes a deep issue of personal autonomy or idiosyncrasy versus the power of the collective and where to set the line.

… the unusual difficulty in making Qi intelligible in modern Western philosophy suggests that the underlying Chinese metaphysical assumption is significantly different from the Cartesian dichotomy between spirit and matter…. (Furthermore) the continuous presence in Chinese philosophy of the idea of Qi as a way of conceptualizing the base structure and function of the cosmos, despite the availability of symbolic resources to make an analytical distinction between spirit and matter, signifies a conscious refusal to abandon a mode of thought that synthesizes spirit and matter as an undifferentiated whole. The loss of analytical clarity is compensated by the reward of imaginative richness. The fruitful ambiguity of Qi allows philosophers to explore realms of being which are inconceivable to people constricted by Cartesian dichotomy …. Qi, in short, seems inadequate to provide a philosophical background for the development of empirical science as understood in a positivistic sense. What it does provide, however, is a metaphorical mode of knowing, an epistemological attempt to address the multidimensional nature of reality by comparison, allusion, and suggestion. — Tu Wei-ming in Confucian Though

furthermore, the adoption of another linguistic naming system or protocol represents the potential of seeing the world anew. at the same time as it represents a separation from the dominant or previous system. this is an essential feature of the process of immigration, this identity shift that comes through a (linguistic) re-naming the world. but it is also inherent in the process of adoption of any protocol or technology that is produced and imposed on the individual.

Trans-disciplinarity is a popular expression for the need for thinking (and expressing!) outside the cubic space defined by any limited social system or sub-system. Innovative solutions are often found by combining many possible strands of thought from disparate disciplines and points of view. Critical engagement of a plurality of voices is essential when moving in trans-disciplinary spaces, and this will constantly be kept in mind to the degree possible. The use of language in a trans-disciplinary space is a particular challenge which, to a significant degree, determines the successful outcome of the attempt to bridge disciplinary spaces. Indeed, disciplinarity is often defined by the cumulative social use of a specific linguistic system that is exclusive to the discipline. As a former engineer, and now as an educator and artist for the past two decades, I have significant experience in coherently bridging the somewhat isolated linguistic spaces that define those different ‘worlds.’

It is clear that there is a solid need for this kind of inquiry in the trans-disciplinary space of techno-social systems given the intensity of technological development and the complexity of globalized human presence. It is my desire to contribute to the search for sustainable principles and systems that honor first the need for a healthy continuum of human relation instead of placing technological solutions at the forefront. This, at the same time as acknowledging the fundamentally symbiotic inter-relationship of the two concepts.

no fond member/consumer of any blogospheres, I have to link to this Huffington Post Stefan Sirucek article on the election…

Now, in a highly touted “change” election, one party is running a former D student who himself admits to being hot-headed and impulsive, whose low-road campaigning has tarnished both the electoral process and his own reputation and whose political ideas become less credible with every emerging reality. As his running mate this man has, either recklessly or cynically, chosen a woman who believes instead of thinking, who knows little of the world and whose every tortured sentence is an affront to the logic of language itself.

Forget the White House. The only public building these people should be heading for is the library.

yes, it’s true, few Amurikans have even a modest command of the language of the land — but I want, after eight years of a distinct lack of intelligent and thoughtful speaking (not to mention actions!), a political leader who can speak at least a handful of coherent words in a row, better yet, a number of sentences, or even several paragraphs. without teleprompters, handlers, and the assorted spin-meisters that ride herd on these … puppets … like so many … sheep. not to mention a media who only serves the interests of, you guessed it, THE MEDIA. sheesh, enough of this!

robocalling anyone?

geesh, Junkers JU-52′s flying over the city. two weeks ago it was the Douglas C-47′s, now it’s the Junkers. does this have any geopolitical significance? I was feeling a bit funny the first time I saw one of those planes flying over Germany some years back. so that’s what it was like — to see low-level paratroopers pouring out of those things (not sure how often the Wehrmacht did that, but). or just a slew of those plowing across the country skies, bringing troops to the battle.

just back into town, now I recognize when I hear one of these machines. accustomed, but aware.

headed down (south-east) into Brandenburg to Zeesen to visit with Ulrike at the family dacha (well, actually a large and nicely designed home of her parents — the dacha is in the back yard.) she’s up from Zürich for the weekend. the lake is a few meters away. it is delicious. nothing like skinny-dipping in a summertime lake in the German countryside.

she tells about her uncle who lives next door in his beautiful rammed-earth house. I am fascinated to run across this technology existing here in Germany. and there is Sunny, the happy bulldog. conversation drifts along wide paths through language. Saturn setting in alignment with the first-quarter moon, Mars high, Venus rising only in the early morning. nice to sit in the top-floor deck and watch stars, though the sky does not get completely dark any more as the Solstice approaches.

finding the wall. on a stroll with Jim and MH for a splendid afternoon, cloudless sky, 20C in the shade. not bad, well, to be honest, pretty damn nice weather after all the cold crap in the preceding weeks. find the wall, The Wall, wandering through Friedhof der Sophiengemeinde, and there it is, a preserved section, along with a pile of grave markers, and a row of stacked pieces of The Wall, crumbling away slowly, rebar showing. head home after dinner. tired in the relative heat.

Dialogic relations have a specific nature: they can be reduced neither to the purely logical (even if dialectical) nor to the purely linguistic (compositional – syntactic). They are possible only between complete utterances of various speaking subjects … Where there is no word and no language, there can be no dialogic relations; they cannot exist among objects or logical quantities (concepts, judgments, and so forth). Dialogic relations presuppose a language, but they do not reside within the system of language. They are impossible among elements of a language. — Mikhail Bakhtin

when describing what I observe in the world, I can choose which pre-existing configurations (of an existing language) to use. this will determine the audience. pictures on a wall. objects in a room. speeches, houses, meals. presence. and absence.

movement, nomadism. the restless need for an alternate point-of-view. could this have erupted in that caged feeling of family? being the hamster in the cage and being poked with sticks through the bars. looking for a safe corner somewhere in the bar-delimited space. but never finding it. never safe from those tortuous energies raging around the enclosed space of relation. no escape. with the ultimate result being to curl up in a ball, fetal, and accept the brutality that life brought along. insecurity, fear, and above all, a deep lack of trust in those Others.

now, to trust? how to trust when the early lessons were all about how never to trust. sad eff-ing state of affairs. broken trust. that was the chief operating principle in the meta-structure of family. a self-fulfilling distortion of human relation. breaking the cycle by re-discovering what it is to trust. recalling the trust expressed by friends through their open welcomes and open doors.

pondering the best way of delivery of the Regime text. possibly a podcast.

always the question: how to express?

is it mere ego-centricity that places a priori limits on the reception of Self-expression? or an internal complicity in guaranteeing obscurity? density of expression is an interesting concept. what are the conditions where density is counteracted? isn’t that where levity is found, or expressed. (it does go back to Light and Gravity again). where the gravity is that-which-coalesces, that-which-brings-together, which tends to stasis(?). and Light is the dispersive element which tends to activity. working with Light (photography), to counter the dark gravitas of Family, the density of matter that is the Self. finding expressions of Light, versus the dense expressions of language, for example. how this all works. creating Light in language, levity. that’s something I have talked to Nick and Deb about, no, not really talked about, but actually practiced. the practice of levity. (I finally saw that the trauma of Family had gradually driven levity out of my be-ing — levity I once held and expressed).

what factors contribute to the levity of a text? (certainly oral delivery allows this Lightness, ahah, a revealing of principle!) how to decrease the density? by inserting Life into it. orality. skipping the printed Regime.

I style the orality of a culture totally untouched by any knowledge of writing or print, primary orality. It is primary by contrast with the secondary orality of present-day high technology culture, in which a new orality is sustained by telephone, radio, television and other electronic devices that depend for their existence and functioning on writing and print. Today primary culture in the strict sense hardly exists, since every culture knows of writing and has some experience of its effects. Still, to varying degrees many cultures and sub-cultures, even in a high-technology ambiance, preserve much of the mind-set of primary orality. — Walter Ong

migrating realities, day two. people going WAY over time, people reading papers. understandable a bit when they are second language speakers, but I thought at one point, why not have a native speaker reading it for them? (it would be more understandable and wouldn’t require their presence). my hand goes up, I’ll do it! annoying aspect of, again, the meta-structures of the encounter. as do dominate all social encounters. but tend to restrict and form the formal.

situation in Lithuania. empty spots, people leaving. an empty landscape (compared to Central Europe), poor standard of living, life expectancy, wages, employment. not good. but the emptiness is a nice thing. the politics of emigration.

Johannes Deutsch: WDR cultural spectacle, Mahler’s Second Symphony, gala concert … (Ars Electronica, Linz, big-ass spectacle). with live manipulation.

(and with that, I quit taking notes) <>

the last evening was nice. the conference panel in Savannah, which I managed to do from Hubertus’ flat, across the street from GdK, was not so good. my intervention was in poor comparison with the power-point presentations some of the other’s did. but I just couldn’t bring myself to engage with that hyper-limited platform. it is so ubiquitous in the pathway it prescribes on a presentation. clearly, though, Adobe Connect, the collaborative platform, is also so limited and restricted to particular forms of hyper-socialized human encounter. although limits can stimulate creativity if there is a resonance between the two people who are connecting via that pathway. it doesn’t resonate with my be-ing. I don’t use it again. f-2-f resonates. minimizing encounters mediated by cultural spectacle. focus as close to f-2-f as possible.

the performance, as with most performances is fringe, a good concentrated group, but small, the young folks wander off when the Vilnius student crew leaves. some people had come after reading on the site of my connection to Stan Brakhage. interesting conversations afterward. and a nice denouement, wandering back down to Potsdamerplatz and so on home. running on adrenaline.

today ends with a longish wander from Gdk to Pariser Platz in the reception center for the Akademie der Künste, thanks to Hubertus. wow!