hybrid hypertext 2004

w h a t  i s  b e c o m i n g

_________________________________VIS 149/ICAM 130

Seminar in Contemporary Computer Topics:
"Chaos Never Died": Nonlinear Structures in Recombinant Culture

Marcel Duchamp's Art Coefficient
"For all that you intend to acheive and don't, there is an equal amount that you acheive that you never intended."

                                                                              Part I

Nonlinear recknological   Strategies: tendencies towards the rhizome: Theory and Practice: Modernist and Postmodernist

     April 13
d  e  l  e  u  z  eWeek 3

                  2       0       0       4
                                             Spring______________________________________________recknological           ________________________

_______________________________   V   _________________________________
"un socialize" the eye and attempt to establish a connection with the present tense of unmediated, un socialized sensory information (which is,
Socialized Vision:
--an extended anecdote

                                  Images relating to socialized vision                           

                           "un socialize" the eye

                                make apparent the limitations that are imposed on our vision through
          various socialization processes within Western culture.

"seen" these limitations

visual habits
where_ever you go and use it to frame your view.

Reference material

                                       Modernism, Avant Garde movements                                        
             Dada, Surrealism, Explanation of the Surrealist Parlor Games Exquisite Corpse
    Avant Garde Cinema up to 1964                                                                                                          


   Luis Buneul & Salvador Dali “Un Chien andalou (An Andalusian Dog)” (1928)
             “Meshes of the Afternoon” Maya Deren (film on video)
             Cut up Films” William Burroughs (film on video)

Rhizome Versus Trees
Analogue Rhizomes: a discussion
--Rhizome is a figurative term used by Gilles Deleuze and Felix Guattari to describe non-hierarchical networks of all kinds.
Quotes from Deleuze and Guattari:
"A rhizome ceaselessly establishes connections between semiotic chains, organization of power, and circumstances relative to the arts, sciences, and social struggles."
"Multiplicities are rhizomatic, and expose arborescent pseudomultiplicities for what they are."
"Write, form a rhizome, increase your territory by deterritorialization, extend the line of flight to the point where it becomes an abstract machine covering the entire plane of consistency."
"Let us summarize the principal characteristics of a rhizome: unlike trees or their roots, the rhizome connects any point to any other point, and its traits are not necessarily linked to traits of the same nature; it brings into play very different regimes of signs, and even non sign states. The rhizome is reducible neither to the One nor the multiple... It is composed not of units but of dimensions, or rather directions in motion."
[The quotations above are from A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Deleuze and Felix Guattari. Translated by Brian Massumi. University of Minnesota Press, Minneapolis. 1987.]

ants = rhizome

      W h a t i s b e c o m i n g ? alice_becoming_smaller_and_bigger
   "This is the simultaneity of a becoming whose characteristic is to elude the present.

   becoming does not tolerate the separation or the distinction of before and after, or of past and future.
       the now club meets in heredom to become
       W h a t i s a n E v e n t ?
Stoics : states of affairs of bodies
          "TheThe only only time time of of bodies bodies and and states states of of affairs affairs is is the the PRESENT. There are no causes     and effects among bodies. Rather all bodies are causes--causes in relation to each other and for each other. In the scope of the cosmic present, the unity is called Destiny."    W h a t i s a m u l t i p l i c i t y ?  "Let us summearize the principal charactoeristics of a punctual system:   (I) Systems of this kind comprise two base lines, horizontal and vertical: they serve as coordinates for assigning points. (2) The horizontal line    can be superimposed  vertically and the vertical line can be moved horizontally, in such a way that new points are produced or reproduced,      under conditions of hirzontal ffrequency and vertical resonance (3)
From one point to another, a line can (or cannot) be drawn, but if it can it takes the form of a localizable connection; diagonals thus play the role of connectors between points of different levels or moments, instituting in their turn frequencies and resonances on the basis of these points of variable horizon or verticon, contiguous or distant.  The systems are arboresent, mnemonic, molar, structural; they are systems of territorialization or reterrrritorialization. The line and the diagonal remain totally subordinated to the point because they serve as coordinates for a point or as localizable connections for two points, running from one point to another.

Opposed to the punctual system are linear, or rather multilinear, systems. Free the line, free the diagonal: every musician or painter has this intention. One elaborates a punctual system or a didactic representation, but with the aim of making it snap, of sending a tremor throught it. A punctial system is most intersting when there is a musicain, painter, writer,philospher to oppose it, who even fabricates it in order to oppose it, like a spring board to jump from. History is made only by those who oppose history (not by those who insert themselves into it, or even reshape it).

they have to do with becoming; transhistorical   V
There is no ac
t of creation that is not transhistorical and does not come up from behind or proceed by way of a liberated line.

page 50_Nietzsche opposes history not to the eternal but to the subhistorical or superhistorical: the Untimely, which is another name for haecceity, becoming, the innocence of becoming (in other words, forgetting Chaos as opposed to memory, geography as opposed to history, the map as opposed to the tracing, the rhizome as opposed to arborescence).


Required reading due for next week:

             _____________________________________________      V      _____________________________________

                              --Grahame Weinbren, “The Digital Revolution is a Revolution of Random Access”, Telopolis

Week 4
      April 20

              Analogue_to_Digital Rhizomes, a discussion:
Graham Weinbren,
                                                              s “The Digital Revolution is a Revolution of Random Access”
          Reference material
           Post Modernism
        Experimental Film and Video               
                                         Demo: Nonlinear editing systems: Final Cut Pro, et.al,

                                         David Blair (USA). "Wax Web" 1994
                                                                                                                           Conceptual Aerobics: TBA

   >                                                                            V            

      >                                                      V

          >                           V

                              V going in all directions  "It is 1981. The(y) show me a videodisc. They explain what it is and how it works. And I realize that the language,          V       the  possibilities, the significance of cinema is forever changed."        "                                    "

                      V                       V

          V                                           V     montage, control over the edit.    the edit is the meaning of the language.

V                                                              V  etc.

                                                                  x "Give up control of image sequence and you give up the cinema we know.

"The videodisc made it possible for the images embedded in its surface to appear in sequences other than that in which they are recorded.


So the sequence of images can be determined at presentation time rather than during the process of production. Suddenly the viewer can have                                                                                                            some control over the montage.


"If it is true that montage is at the center of cinematic meaning, this potential shift in control has profound significance. The           interactive filmmaker's task becomes that of producing a set of film        materials and plotting some pathways through it. The viewer then follows the pathways, deviating or continuing in a line as the mood takes him.".......And maybe, in the process, the        filmmaker gives up controlling what his work means - or, alternatively, the nature          of cinematic meaning is transformed in the process." (eyelash on the page).

                   end of page 15 
                       beginning of of page16                                                                                                 
                                              Graham Weinbren begins to ask questions in paragraph one by saying "What can a system of pathways.......
shifting truth status   shifting truth status 

the breakthrough is
random access
to data.
the breakthrough is
random access
to data.
the breakthrough is
random access
to data.

                                                                                                                   1  "...random access brings about a cinema        different in what it can say and how it says it, in the manner it represents reality and the aspects of reality it can represent."

       deemphasizing the sequence of the images. To repeat  :   random access    allows the sequence of images to be determined at the time of presentation, rather than fized during the production process.    viewer determines the sequence

                                                                                               So the first structural issue is to find a cinematic or narrative form that deemphasizes sequence.

Dream interpretations of Freud as examples of narrative structures that make the same sense and have the same narrative effect whatever the sequence in which they ar encountered.                                                                           factors extraneous to the story-structure shape the narrative but in no way effect the content of                                                                                                        

                                                                                                      the content of the story.    Freud's writing was very linear and thus limited its expantion into

a living whole.                                                                            

2   "Another advantage secured by presenting the non-sequenced narrative as a tightly wound ball of dat to be unwoven through interaction is that the sense of simultaneity x is preserved. As viewer, the very fact that I have produced an element implies that its logical or expressive or evidentiary weight is equal to that of another element that I might have accessed.                                         The burden of making relationships between the parts of a work has shifted from author to viewer." page 17                                                                                                        

                            Distributed Networks




Required reading due for next week:

Part II
Nonlinear Strategies: Static and Time-based Visual Art

V_________________________________________________________________________________________ V

Static       image(        )rhizomes

V--Timothy Druckrey, "From Dada VTo Digital: Montage in the Twentieth Century", Metamorphoses: Photography in the Electronic Age , Aperture, 1992V
Recommended reading
                                         --Peter Weibel, "The World as Interface: Towards the Construction of Context-Controlled Events-Worlds". Electronic Culture, Technology and Visual Representation. Ed. Timothy Druckery. Aperture, 1996. 338-351
Required reading:

V--Stan Brakhage. from "Metaphors on Vision". Film Theory and Criticism, Introductory Readings. Ed. Leo Braudy and Marshall Cohen. Oxford Press, V
1999. 228-234

--Babette Mangolte, "A Matter of Time: Analog versus Digital, the perennial question of shifting technology and its implications for an experimental filmmaker’s odyssey", "Camera Lucida
VCamera Obscura, Essays in honor of Annette Michelson", edited by Richard Allen & Malcolm Turvey, Amsterdam University Press 2002 V

OCR translation of the following text

in_gernal the feeling how the internet is like a digital rep of dada and collage (collage)

kawahara = river valley


photography is deteriorating as a fact

because it is the result of deep problems of representation itself (representing itself/

lin = chinese = two trees standing next to each


Estavillo = estar = that's it, sweet, that's good

we go from dada to digital which makes us all dada_ists 

yesterday i took a rhizome picture from a scientific website and
i put it in my hipper text and changed its meaning.

I am a medium_ist

Rose Se la vee (aka DuchamP) said

artists are all mediumistic

yao = it used to mean, in china, aristacratic name that ment
(perhaps, it means female dude)

digital is just another medium you can redefine your boundaries



Phorography emerged in a century recording of (t)rime.

recknological change on rhe self in ~ , - ~ ducrion of non-Euclidean geometry,
the modem eri. Contingen`, episodic, ~ ~ ~[ atomic theory, and the Special Theon
rerse, photography forced culture to ~ ~ _3i' of Relariviry, the autonomous con-
encounter irs presence as historically J hn Heartf eld Metamorphosis, 4/34 AE 13, Number 33, ceprs of space and time rhat had pre-
specific and temporally loaded. 16 Augus' 193i, page 536 v~ously grounded sc~enr~f~c pracr~cc
For nearly half a decade, photogra- were shattered. The scientific break-
phy recorded the effects of marerial cultural change. In portrairure, rhroughs at the early part of rhe cenrury had immediare repercus-
the image served to establish the self as a social presence. In docu- sions in the arts. Revolutionary science founded revolutionary art
mentary photography, the image served as a material wimess to in reconsuturing representarion. The 'moralization of objecrivity"
rransformarions of the urban environmenr or as icons of coloniza- rhat had haunted bourgeois science through the mneteenth century
tion in the imperialist expansions into "foreign" territories. The was supplanted by rhe mastery of objecriviry. As an epitaph,
blunt urgency of rhe image was rarionalized as scientific and objec- Futurist leader Fillippo Tommaso Marinctti wrore, "Time and space
tive, while irs form became mediared by positivism and aesthetics. died yesterday."
In every sense, photography established itself as a cross berween En many ways, the entire rwentieth century has been spenr grap-
absolure faa and essentialist art. pling with the rupture of continuiry initiated in its first decade.
If the images of early phorography were roored in remporalities From physics ro rhe deveiopment of gene splicing, rhe logic of
whose effeas were distinctly social, a transformation would soon totaleing narratives has been eroding. As pertinem in the arts
From Metamorphoses: Photography in the Electronic Age by Timothy Druckrey. (01992 by Aperture Foundation. Permission to reprint granted by the publisher.
' 2z ' ._~ .
they are in physics, biology, and politics, the themes represented by was rejeacd in favor of an inversion of this process, in which rhe
fragmentanon and rupture permeate our concemporarv theories of consumption of images and meanings penerrated more deeply into a
identity, race, language, and dreaming, which are splimered inro troubled cultural order than did rhe novelty of originaliry. Arcists no
bits with meanings rhar are neither linear nor singular. Ionger had to be "makers' of piaures; the creanve act was usurped
How, then, can the recent development of electronic imaging be or sublated. For the first rime. mass cultural images were consumed
contextualized in the history of art? The answer does nor exist as not for their aesthetic value las in Cubisml but for their political
a simple shifr in rhe srructure of image formation and processing, effea. Walter Benjamin wrote about this phenomenon, understand-
but in a larger historical shifr that, on the one hand, aligns rhe ing rhat the revolutionary strength of Dada lay in its challenge to
produaion ot signs with technology and, on the other. Iinks rech- art's authenriar According ro the Dadaisrs, everv scrap of realin is
nology with communication and discourse. art if we pUt a frame around it-and that frame is arbitrar`: The
The rechnical demands surrounding the making of compurer- Dadaistst morto was, "We'll rake the idea of the frame and put in it
based arr often shroud the confrontation with ehe issue of representa-
tion. In fact, what haunrs so much writing about rechnology is a
sense that its usefulness will be usurped by inevitable upgrades. If this -
dubious notion ot obsolescence is to be countered, it should not be ~~ _~
with rhe lingering assumption rhat art can be loosened from its con- --F
tingenc~ but with a clear belief that the rootedness of art is both per- _ r~
suasive and demanding. &, - ~ ~ f
Emerging from digiral media there is a kind of reconfiguration ~ {
of severai rraditions: montage. narrative, a concern with the "space" ~Yit 41 !~'
ot electronics. and a rethinking or extension of rhe issues surround- ~ ~ . ~,
ing rhe semioric constitution of rhe image. The rerms of the decon- ~ --ZE -
struction of imaging will be forced ro adapr to rhe imperatives of j~ _~
digitally coded images, as well as to the aesthetic imperarives of ~ - ~_ ~ ,,,'
chose images. the meanings of which are no less significanr than f ~ -
in anv previous svmbolic system. iL ~~ °3~~~* '
Monrage esrablishes rhe image as either dialecrical or discursive, a ~ -~~ -~-~~_`, .
collision of significarions. The dialectical mission is to fuse fragments ~ ~5~ ; ~Jj _
as concenrrared torm; rhe discursive one is to create fiss``res or inter- - [~ ~ ~ ~'
ruprions in rhe esrablished order. Images carry with rhem iconic ref
erences, references that have to do with the assemblage of ideas, that ~ ~ ~, -; ~ ;_ t;
build roward a sense of roralins ~,-~~~,;- ~ _ ~ - ~ . ~. !~ x
This cenrury has wimased the breakdown of that singular iconic ~j~
order in several differenr areas. In science, for example, atomic theory _~= 1~ ~ =_
provided a kind of groundwork for what montage was going to be ~ ~~ -i'
like it asserted that rhe objecr exists nor as a rotaliry bur as an assem- ~ ~3 ~_~ ~_~
blage of components. And while the arts were wholly capable of ~ ~~~_
encountenug the issues of spanal fragmentanon, rhe urgency of the
affilianon between science and art demanded thar the issue of tempo~ '
ralir': be considered. One can understand Cubism in rerms of the spe- Hannah Hoch, Streit (Argument), ca. 1930
cial characrer of montage-what Henri Lefebvre called "differenrial
space.' The issue of temporalirv was also addressed in Futurism. everything that you reject, everything rhat you ross away, every-
I{owever'the effect of the breakup of classical objects led nor only to thing that you can't take seriously." Their dogma conflated trans-
the spatial simultaneiry of Cubism, or to the violent temporal anar- gression and shock.
chy ot Futurism, bur to a reconfiguration of the very concept of The transition from Dadaist tdialectical) montage to Surrealist
order, the lingering positivist order of bourgeois cuirure. (allegorical) montage was a shift from cultural critique to the aes-
Yer rhe breakthrough came from rhe work of the Dadaisrs. in rheticizanon of associarions drawn largely from rhe unconscious.
which rhe quoridian was abaridoned in favor of a direct encounter Between them were developments in photomonrage thar left behind
wirh rhe signifier and cuirural polirics. The relarionship berween distressed simuiraneiries and aestherics, and rook on rhe issue of
~dawil~ns~nr,-.iF~,~~~h~s,~hp •pynral.q~c~~.~.rh~de~:nnsurruc- qower as more rhan a symbolic srru~le, as a political tact. "Jo~i I
rion of the image-order of bourgeois culture. In Dada rhe image was Heartfield," wrore Louis Aragon in 193S, ``wasn'r playing anymore.
detonared. The creanvity rhar was linked with rhe idea of ~ creanon" Political photomontage was more directly implicared in sysrems of
-~7 -
=_' - 5
propaganda and mass psychology The anarchistic polirics of Dada call the "rhird window,- the window of rhe screen, or rhe relevi-
were replaced with focused attad;s on Fascist representation. Shock sual window. The efficacy of modernin as rhe bearer of unified
became horror. and horror agency. Similar shifts were evident in the narratives was shattered yet again. In some ways ir was rhe final
worl;s of Hannah Hoch. in which the aesthericized primirivism of blow, corresponding with the shift to a postwar economy of
Cubism was unequivocally usurped hy issues of sexualit`, adver- ~postindustrialization" and technology. A culture began to

rising, gender, and power. emerge that had wimessed the end of the sparial represenration of
No image in Dadaism was held ro be sacrosancr or cornplere; form, and the origin of a spatial representation that is acrivated
everyrhing was to be raken aparr (and didn't have ro be put back by an affiniry with temporalin, narrative, and mediJ.
rogetheri. Surrealism. by conrrast, embraced fragmentarion as fic- What unires Dada, Surrealism, Pop, relevision, and, uirimarely,
rion. not as repudiation. In Surrealism there wasn't so much a rup- the computer image, is their underlying relationship with rhe
rure, as an uncanny, poeric continuiry creared between the symbolic phorographic. Although photography still constirures one ut rhe
and rhe imaginan. a kind of reinvention of allegory in rerms of rhe central conditions for the represenrarion of experience, over the
imagination. Whar complicated Surrealism was psychoanalysis, past fifteen years its legitimacy has been challenged on a number ot
which liberated monrage from irs dependence on cuirure and points. Yer whar seems so urgenr about rhe relarionship herween
allowed ir to confronr issues of ferishism, sexualit,`; rhe uncanny, rhe the hegemony of the visual in Wesrern culture, and the circum-
dream-in shorr, poeric issues. Surrealism stances in which the phorograph seemed ro
rook shape as an attempr ro inregrare rhe validare such spurious norions as "rrurh,"
symbolic as an acr of *eedom emerging One of the central or "fact,~ is rhat rhe process of dismantling
from rhe unconscious. The spatial char- considerations in the the phorograph's efficacy is paralleled hy
acrer of Surrealisr imagery ~s analogical, . an inrensificarion of rhe visual through
linking associarions rhrough acts of dis- emergence of electromc digital technology.
placement and representation. montage is the redefinition of The consequence of this unsettled srare
The next significant shift in rhe recogni- narrative. Sequential or of electronic visualizarion is an equivocal_
non ot tragmenrar~on emerged m the ~mage. Legitimated by the conceprual
assimilarion of consumer culture wirhin rhe arrayed' inforrnation is created models of phorography and by algorirhmic
aestheric pracrices of Pop arr in rhe 19SOs in forms that suggest that perceprion, rhe electronic image vacillares
and 1960s. If Dadaisrs looked criricaliv . . . berween actualiry and hvporheses ~rhe
and polirically ar mass cuirure, Pop artists the smgle urnage Is acrual and rhe virtual?). The alliance be-
looked ironically ar consumer culture. not sufficient to serve as a tween the seen and the experienced is chal-
They suggesred a forrn of comic Dadaism, record of an event Ienged in this environment. In a cuirure in
Usmg the very mechan~sms ot repennon, which accelerared images have come to
much of rhe work addressed reperirion constitue expenence, the immediate becomes
irself, parodic reperition. In Dadaism there was no form of serial compressed and volatile. Images have never before possessed the
movemenr, while in Pop rhere was a rremendous inreresr in seriali- potential to sustain so much information or, perhaps, meaning.
n; principally because of the relarionship between mass produc- Electronic monrage-, phorographic-resolurion animarion; rhe ero-
rion, mass media, and rhe reperirionS of consumer cuirure. sion of phorography by rhe increasing acceptabilin, of video as a
Consumer culture offered a redundanr message neurralized by its signifier of authenticity; the abandonment lor outrighr dismissal) of
surplus presence. images as legal evidence; and, paradoxically, rhe concentration of
So, by mid century, whar looked like montage raised a series of images in a culture where destabiliny is sustained by fleeting com-
issues having tO do with repetition, consumer cuirure, and mass purerized optical forms-all these elements conspire to suggest a
production, tangentially addressing rhe reconfigured cuirural and refunctioned persuasiveness of vision. The rransformation of
aesthetic space of television. Emages appear as indexes of a world knowledge generared by so-called postphorographic images affects
mediared rhrough TV. Media icons supplanted polirical ones~or both knowledge and communicarion ar every level.
rhe disrincrion berween the two coliapsed as the "space, of the "Post-phorography promises a new image where the real and
prinr media was being rransformed by rhe "space" of the relevi- unreal inrermingle," wrEres Kevin Robins in his arricle "The
sion screen. The sire of the assimelation of social conrenr was Virtual Unconscious in Posr-Phorography." Photography's deten-
shifting toward the immaterial and the programmed, roward rhe oraring validity as hct surely isn't a consequence of the mere sub-
illusory power of the medium as the message. The "space" of sritution models provided by compurer simulation; it is the result
knowing and the "space" of perception were merging. One can- of deep problems in representation itself. The timits of photogra-
nor overestimare rhe effecr ot rhe "space" of relevision in rhe phy, paralleling rhe limits of language, indicate that formal and
transformation of experience. It is no exaggerarion ro suggesr self-reflexive models of expression no longer serve rhe symbolic
that televisual culture esrablished what Paul Virilio would later imperatives of this culture.
A new range of problems is developing that invokes not mere- convincing lif exaggerated) Jurassic dinosaurs; ro biomedical
ly rhe formal issues of juxtaposirion and association, bur those images of DNA strands; to confounding morphings of form, vir-
of experEence and simuiraneiry. With technology as a driving tualized identity, and deduced electronic aging. And yer, para-
force, an aesrherics of rechnocuirure is emerging, which will be doxically, these electronic images use an uncotnfortable version
linked with relecl~mmunicarions, narrarive, virtual realit,v, and of rhe logic of phorography tO confirm rhem as images. In orher
hypermedia. A language is evolving thar musr adapr ro imagery words, rhey are perceprual, bur nor regisrered in the oprical sys-
whose connecrion ro rhe marerial world has lapsed, and whose rem of rhe camera. Objects are nor recorded in rhis medium as
.`presence" musr be undersrood discursively. As the conversion much as they are rendered. One rradinon has been inverred in order
from relevisual ro teleinformarional systems becomes feasible, ro construcr another.
rhe cultural role of represenrarion is strained ro accommodate One of the central considerarions in rhe emergence of electron-
an accelerared convergence of rechnology and represenrarion. ic monrage is the redefinition of narrarive. Sequenrial or arrayed.
With rhe incorporarion of sciemific information is creared in forms rhar
visualizarion, digitally manipulated ~__ suggesr rhar rhe single image is nor
photographs. and animarion thar ~ ~ sufficienr to serve as a record of an
approaches phorographic resolu- ~ ~ event bur, rarher, rhar evenrs are
rion, a houndary has been reached ~j - ~_ rhemselves complex configurations
rhar demands an undersranding of __jai_~ of experience. inrenrion, and inrer-
images as nor only ideological bur ~~_' preration. images suggest transition'
rechnological as well. _~_~~ and nor resolurion. Ir remains ro be
Ir is in rhis environmenr-with ~ ~ ~_~~ seen wherher rwo-dimensional mon-
rhe rransformarion of media, rhe ;~ 7 - ~ tage will survive the emergence of
_inirial phases ot inreracrive rele- .~ hypermedia, muirimedia, inreracriv-
communicarion~ and rhe advanced ~ ~ ity, and virrual reality. The cuirural
developmenr of compured reali- ~_~ ~ symbolic space of media is increas-
ries-thar arr reaches a reinvenred - =~~9~_ ingly circumscribed by an uneasy
rclarionship with rhe symbolic. We ~ _ conjuncrion of powerful symbolic
now have a rhird phase of montage: I form and accelerared technology.
elecrronic monrage. In rhis field. ~__ An extraordinarily broad range of
rhere is roral command of every- ~_ra approaches ro monrage has emerged
~hing in rhe image, a level of con- in rhe pasr few years. Accessible rech-
rrol rhar cannor exisr in phorogra- nology has afforded a whole genera-
phy. The consriturion of space is rion of arrisrs rhe opportunin tO work
discretionar`: Ir is - a wholly differ- with rhe composing and manipulation
enr way of consrrucring an image ~ ' ' tools now commonplace in schools
rhan in painring or phorograph`. and phorolabs. Nor surprisingly, rhe
Electronic images no longer legiri- ~ - inirial efforts rurned upon rhe abiliry ro

Andv Warhol Lal~ender Dlsaster 1963
marc rhe photograph~c. In tact, rhey ' ~ layer mformarion in elecrronic space.
usurp and reconsrirure rhe analog Whar is immediarely evidenr is rhar
as algorithmic: visual order is formulated by a mathematical monrage is reemerging as a significant expression of the extraordi-
order. And once rhe image is digiral. ir has little tO do with pho- narv complexity of technocuirure, and rhar ir is capable of con-
rographic sysrems excepr by implicarion. It is in this sense rhar fronring a range of issues longconsidered exhausred.
rhese images can be called postphorographic, as rhey no longer
relv on rhe characrer ot rhe phorograph to verifv something in 1. Lorra~ne Dasron and Perer Galison. ~ The Image of Ob~ectiviry,~
rhe world. Representations 40 ~Fa~l 1 992~, p. 81.
2. The constitured. perhaps inrenaonal. s~gnifier in 1920s advernsing, propa-
ln rhis lapsed reterence svstem computed Images are not con-
yanda. and news was ro play a deces~ve role ~n an emergmg ~mage cuirure,
cerned with vcrificarion, classificarion. or any ot the sysrem~c epis- one to be represenred by Theodor Adorno and Max Horkheimer as rhe
remologies of rhe camera. And yer digital information lmcluding Cuirure Indusrr`: Bur ir was rhe presence of rhe sigr, rarher rhan an analvsis
images) srands within a hypersysrem of surveillance rechnologies Of ir rhar seemed ro provoke Dadaisr srraregies.
rhar emerged directly from rhe militar\; and are quicl;ly being 3. Ir should be nored rhar m~ discussion in rhis essav focuses on rwo-
downloaded ro civilian commercial uses. Digital images surround dimensional momagc; cinematic montage imroduces anorha enrire range.
us-trom sarellire images capable of resolving objects of less than issues relared ro narrarive srrucnure.
a merer wide to rhe compurer images in cinema rhar construct 4.5eeScienceasG`lture.no. 14tv.3,parr 1).1992,pp.99-115.

Reference material

George Legrady "Slippery Traces", 1995

                                "Slippery Traces", demonstration of linking structure.

Conceptual Aerobics:
Conceptual Aerobics: 'Exquisite Corpse"

Examples of Exquisite Corpses Projects:   Example 1     Example 2   Example 3   Example 4 (text)
This exercise will address issues such as the mechanisms of recombinant culture, authorship, collaborative creations, appropriation, plagiarism, hypertextuality and alternative narrative structures. You will need to bring to class several pictures (taken by someone else) of the four major parts of the human body (male or female): head, upper torso, lower torso and legs. You will also bring to class fragments of found text on the Internet and will read your fragments of found text as you place the photographs onto the group Exquisite Corpse. I will have a camera set up to record the making of an Exquisite Corpse. This video tape will be edited, compressed and posted on the class web site

Reference material

Stan Brakhage, “Hand Painted Films” (film on video)
Jim Shedden, excerpts from “Brakhage” documentary

Ernie Gehr, "Serene Velocity" (Film on Video)

David Blair, "Waxweb"
Distributed Networks

Tendencies in Experimental Film and Video
--The filmmakers or videomakers were part of a larger community of artists, writers, dancers, painters, poets, musicians
--Auteurs: artists who extend the ideas of their work into film/video
--Counter the illusionistic or conventionalized aspects of film/video
--To “unsocialize” the eye-help us see outside the grid
--Self-reflexive: the turning of an artwork’s focus back on itself so as to reveal and comment upon it’s own construction or formal attributes
--To be subversive or provocative
--To explore subjectivities-the audience to the film, the maker to his or her creation
--Interaction-to make work which gives the audience an interactive experience, breaking down the boundaries between art work and audience
--Use of humor and poetry
The distinction between film and video.
When I teach the Introduction to Video production class I invariable get students of who refer to video in various ways as if it were film.
--For instance they will refer to making a film when they are making a video and they will refer to shooting video as filming.
--The production of video borrows many conventions of film production but there are technical and conceptual charactoristics that clearly mark them as two distinct processes of making a moving image.
--I make the distinction between film and video like this: film is the soul detector while video has come to be the lie detector.
--Film has become the ideal medium for representing and fictionalizing “characters” through highly crafted and scripted representations of the heart and soul of a real or imagined person.
--Video, on the other hand, is the on-the-spot lie detector. It is now used as admisable evidence in court.
--To make a film you need the support of the industry. The experience of the film is delayed, must be processed.
--Experiencing the Video can be played back immediately after it has been shot.

From Metaphors on Vision
As we talk use the oculus oculus

--First paragraph he is imagining basically an unsocialized eye, one that is open to the world, the world before the “beginning was the word”.
--To see is to retain—to behold. Vision is given to the infant’s eye, then, losss of innosence, socialized vision, classification.
--make reference to the 60s
--proposing a different pursusit of knowledge through vision and not words or classificaiton
--visions had through visions, day dreams, night dreams,
--as we just observed in Dada and Surrealist films, this getting beyond the socialized eye through the irrational, through play, through humor
--critiqueing the social mechanism which deadons the eye.
Camera eye
--the illusions put forth on the movie screen of the movie theater, devout followers breaking popcorn together Los Angelec orders
--The original visual language of poetry regained by the Surrealists
--Abondone ideology, abondone aesthtics—the moving picture image without religious fooundatiosn (the word), negate technique to regain unborn film
--go for the un nameable
--our eye and camera eye (liar) lyre, chaos’ infinite possibilities,
--camera lens ground to produce 19th centure Western compositional perspective,
--tripod, standard camera gear to create motion, balanced composition, stable Hollywood realism, light meters, filters to create post card views
--spit on the lenze, wreck its focal intention, impression is achieved, hand-hold the camera to join the camera with body moving in time and space, unbalance the light, shoot after dark—the dangerous time when labs will guarantee nothting, become a trickster
--Magician like Melies
--religious experience of creation, regarding making films like having children
--creating, imagining, is divne, is magic
--magic dies when the thing is “known” rather than believed
Western rationalism kills this magic. We must know and therefore be able to control the natural world at all cost.
--children defend the reality of what adults proclaim scribbles
--burning away the negative, color unbalanced for vision
--the contemporary narrow world of cinema is exhausted
--“absolute realism” is a human invention, 20th century Western illusion
--shadow play that looks like something but it really is just pure color and light moving
--buying into the popcorn illusions is like being hypnotized
--Camera compared to nature
--Melies is credited with the first splice
--this evolved into Eisenstienean Montage
--the standardized camera and lab processess gradually pushed out play and magic
--makes reference to IBMs creating images totally from scratch but through a highly standardized machine, a machine that in the future will produce cliches of vision (think of all the photoshop filters, motion blurrs etc in today’s applications) Realism realism realism
--high rez realism is an illusion
--yet human intervention (interface) with the machine creates a balance between subjective and objective experience.
--Hollywood is still chasing after the illusion of the horse
--we are receptive for the potential magic still in the medium if we can get beyond the call for “absolute realism”
--challenges the length of film: 19 seconds to five hours

A Matter of Time: Analog versus Digital, the perennial question of shifting technology and its implications for an experimental filmmaker’s odyssey
Babette Mangolte

                                        Do the tools he uses affect the filmmaker’s subjectivity? Obviously they do, and the films made now reflect these new tools.

The filmmaker thinks in fragments that add up to and create time. The fragments are the shots and the addition of all the shots is the editing. But during the shooting, time collapses into duration and is visualized through images of spaces. So the margins between time, space, and duration are blurred.

Everything in film seems to be about time, including the camera apparatus defined by its frame per second speed. And we know that among the first

I know of two films that have succeeded in creating a time experience for the viewer by collapsing time as space and time as movement. The two films are Wavelength and 2001, both films from the late '60s.

Why is it difficult for a digital image to communicate duration? Like most filmmakers, I am intimately convinced that new technologies are a source of opportunity, and I feel betrayed by this limitation of digital. I very much want the passage to digital to be all gain and no loss. But I notice a loss when I compare a film projected as a film, in particular films that deal with time and duration, and the same film projected from a DVD instead of a film print.

In the compression algorithm of a digital image, only what changes in the shot is renewed. That which is the same in the shot stays the same in the digital image, in contrast to the constantly changing emulsion grain from one frame to the next in the film image. The inscription of the decaying body in Wavelength is therefore not possible in digital, even in HD DIGI . Time is not transformation anymore, the essence of film in which there is a change 24 times a second. Now time is geography, and is inscribed in layers on a set screen with bit size slots.
I don’t quite know why I am so attracted to the clarity and lack of mystery of a sharp image.

Freeing the mind is one of the objectives of the films I have mentioned and that I so dearly love because they attempt to liberate the audience from routine and prejudice.

I see digital editing as checkers and film editing as chess.

No weight, no trims, no outtakes, nothing to file or to keep track of. Just naming your clips when you build your sequence is the big thing. The endless lists of browser clips are retrieved because of your filing system and your naming them in a coherent manner. Now the words used for those file names are like shots in a Bresson movie.


the collapse of the black box and the passage to the ambient light viewing of VHS and now DVD in the living room. Films are now "rides" telling us about sensations rather than making us experience them directly as in 2001.

The tools push you in unexpected directions. They force you to rationalize the editorial process.

Film is about emotion and not logic, so in many ways you feel you have to go against the grain of the digital tool you are using. It is not a pleasant situation. You would rather let yourself go.

The separation of sound and image, and the treatment of the two in counterpoint fashion, thereby creating the possibility of discontinuity, is a key difference between digital and analog shooting practices. It is not a minute difference. Once your mind is solely focused on sounds, you are much more free to find associative moments and interactions with the image than if you are recording both image and sound together. selflessness.

Conceptual Aerobics: TBA

Readings Due for next week:
--John Cage, "Introduction", Themes and Variations, 1982, Station Hill
--Ernst Berendt, "Relativity Isn't a Problem for the Ear", "Listening is Improvising", The Third Ear, 1988
--Billy Kluver, "The Great Northeastern Power Failure", Multimedia: From Wagner To Virtual Reality Edited by Randall Packer and Ken Jordan, 2001

--Tony Scherman, “Warhol: The Herald of Sampling”, The New York Times, December, 1998
V_______________________________ V

V________________________________________________________________      _______________

Part III
VNonlinear Strategies in the Rhizome of the "Sonosphere": Music and Sound Art

May 4
_________________________________________________________________________________________Week 6
Nonlinear Strategies in the analogue Rhizomatic"Sonosphere": Music and Sound Art
The work of John Cage
--Stochastic processes, Use of Chance


--John Cage, "Introduction", Themes and Variations, 1982, Station Hill


Blurring the distinction between art and life.

Nonintention (the acceptance of silence) leading to natuRe; renunciation of control; let sounds be sounds.
                                       Coexistence of dissimilars; multiplicity; plurality of centers; "Split the stick, and there is Jesus.
Pruposeful purposelessness.
A work should include its environment, is always experimental (unkown)
No ideas of order
No Beginning, middle, or end (process, not object).

A haiku in Japanese has no fixed meaning.

Traditionally renga (haiku)is written by a group of poets finding themselves of an evening together and having nothing better to do. Successive lines are written by different poets. Each poet tries to make his line as distant in possible meanings from the preceding line as he can take it. This is no doubt an attempt to open the minds of the poets and listeners or readers to other relationships than those ordinarily perceived.


Music is not music until it is heard.

Estavillo = estar = that's it, sweet, that's good

opposites equal oneness

why if god is good is there evil in the world

no matter how you try to break it

down it becomes infinite.



ng = a country in China
"pg 62 starting with Enlightened= etc

when we are learning we become aware of what little we know.


kong = harbor (hong kong means fragrent harbor)

pg sicty three
art is criminal action

artists putting things in the wrong

trespassing = cream and sugar of fragrent harbor



toyooka =
mika = fragrance


impossibility of errorless work.

you learn from your mistakes


lin = chinese = two trees standing next to each other

pg 61
music is not music until it is heard.


kawahara = river valley
music is not music untill it is heard
the quote should read: music is not music until you listen
it's always there

pg 63
Artist's self-alteration
thought that art is altering the self
also means: art has a self altering property to it--when a viewer experiences it
it is altered.
Duchamp: the viewer completes.


kyung = east mountain

pg 61

all audible phenomenon equals material for music.
Whole society (including, e.g., the mad: they speak the truth).


--Ernst Berendt, "Relativity Isn't a Problem for the Ear", "Listening is Improvising", The Third Ear, 1988
The more  our potential for perception is  directed inwards, the less incorrect information we receive. The ear therefore provides a relatively low level of misinformation -....
Direction is in its very nature indivisible and unlimited.  --Elsie von Cyon
..............the eye sees only in three dimensions and thus......."as anyone experiences who tries to
think in terms of relativity  theory - that multi-dimensionality is absurd and 'illogical'.

"Listening is Improvising"
improvisors and composers and sometimes a blurry line betwixed the two

...in and improvisational group " you must listen to the other musicians more than to yourself

"is the meaningful coincidence of two or more events that cannot be explained in causal terms
single organism
Information gained through the eye predominates  for the musician who plays composed works.
Composed music is music transposed into space.
Left Brain function of reading music
Right brain function of listening to music and also serves  Syncrhonicity

Only musicians from a predominantly eye-regulated culture can rely so estensively on what they see when playing or writing concert music.
Improvising - We - community   
composing - I - isolation


--Billy Kluver, "The Great Northeastern Power Failure", Multimedia: From Wagner To Virtual Reality Edited by Randall Packer and Ken Jordan, 2001
Kluver was inspired by  Aristotle's notion of Techne--in which there was no differentation between the practice of art and science--Kluver proposed the active and equal  participation of the artist and engineer in the creation of the artwork.
Rauschenberg's famous credo "to close the gap between art and life,"

Rauschenberg's piece "Oracle" in which Kluver collaborated on sculpture that tuned 5 radios.
"And  an important point is that the artist could not be quite sure about the outcome.
During a musical piece by John Cage, we are forced to accept the equality of all the sounds we hear as part of the composition.
John Cage has suggested: Let the engineer take care of order and art (in the traditional sense) and let the artists take care of disorder and life.
--Tony Scherman, “Warhol: The Herald of Sampling”, The New York Times, December, 1998 z

appropriation = recombination = collage = rhizomatic art
postmodernism, an aessthetic strrategy for an era in which the concepts of originality and authorship are rigorously questioned
Digital data can be infinitely manipulated
Chemical Brothers, painstaking alchemists
                Creative rummaging with a sampler


Reference material
    Antonio Russolo, Futurist Music, The Art of Noise (cassette tape)
John Cage, "4 Minutes 33 Seconds" (Video)

Golan Levin "Dial Tones, A Telephony"
Visual Sound art, Paul DeMarinas “The Edison Effect” (video)
Tony Allard and the Reverend Dwight Frizzell, "world_mix_nagoya"

Craig Baldwin, "Sonic Outlaws" the work of Negativeland

Conceptual Aerobics: "Deep Listening"

Readings Due for next week:
--William Burroughs “The Future of the Novel” from Multimedia; From Wagner To Virtual Reality Randall Packer and Ken Jordan
--Peter Lunenfeld “Hypertext: The Alphanumeric Phoenix”, Snap To Grid, 2000, pgs 44 – 54.
--Critical Art Ensemble. "Utopian Plagiarism, Hypertextuality, and Electronic Cultural Production." The Electronic Disturbance. Autonomedia, 1994. 83-101

Note: Before coming to class next week, research the history of copyright. Can you explain why the title of today’s reading contains the word "utopian"? What is recombination and how do you experience this in your life? Why do we give such high status to work which is "original"? What are the functions of reproductions in any culture?


Part IV
Nonlinear Strategies in Recombinant Culture: Literature_Hypertext_Text-based Computer Interfaces


   >                                                                            V            

      >                                                      V

          >                           V


                 The Mobius Text
      Week 7
   May 11 
   Hypertextuality and the New Narrative in recombinant culture: Modern and Postmodern >

        Reference material
             James Joyce's "Finnegans Wake"
              The Cut up technique of William Burroughs
                 Charles Olson, Free Verse Poetry, Projective Verse
                   Alexi Morrissey and Toni La Bone,
                         The Mobius Text
                  Clark Coolidge, Sound As Thought,          Poems 1982 – 1984, pgs

          Suggested Reading:
           Charles Olson "Projective Verse", Selected Writings, 1951, Edited by Robert Creeley

           Reference material
                  Postmodernism, a brief review
            Hypertextual transformation of the static word. Spacializing the text and incorporating nonlinear editing and       story telling strategies.

    Recombinant Culture, the work of Negativeland

    Sonic Outlaws
The ability to copy, scan, photograph, video tape, digitize allows for sharing of culture
      all of this activity is producing a kind of "folk culture"

                 Various examples of non linear art, recombinant culture, Net-based art, interactive art
                     "Hypertextual Consciousness", Mark Amerika
                           Eastgate and Storyspace
                  Interactive Cinema Group at MIT
              Waxweb, David Blair

           Eastgate Hyper Fiction


William Burroughs “The Future of the Novel” from Multimedia; From Wagner To Virtual Reality Randall Packer and Ken Jordan

"When you cut into the present the future leaks out."

find a way through writing to explore nonlinear perceptions of space and time.

time travel through writing, mapmaker, explorer of pschic territory.........we will not only travel in space but also time.

8:29 am


Peter Lunenfeld “Hypertext: The Alphanumeric Phoenix”, Snap To Grid, 2000, pgs 44 – 54.
No longer stationary on the page, the word once digitized is afloat in a universe of polyvalent detabases. Reading becomes less a matter of following than a process of extracting. The user enters the database like a miner after precious metals.

Critical Art Ensemble. "Utopian Plagiarism, Hypertextuality, and Electronic Cultural Production." The Electronic Disturbance. Autonomedia, 1994. 83-101
--Plaiarism in the cultural world is a no no.
--because of the myth of originality (recall the modernist approach
--at fault, those who want to make language a private property
--Prior to the enlightment, (16th Century Italian Renaissance) plagiarism was useful and aided in distributing ideas. English poet translates another poet and calls it his own.
Plagairists: Caucer, Shakespeare, Spenser, Coleridge, De Quincey
Recombinant Culture
New conditions have emerged once again that make plagiarism an acceptable even crucial strategy for textual production.
--Recombinant culture recombinant bodies, recombinant gender, recombinatnt texts, recombinatnt culture.
--electronic technological means to do so: speed, knowledge explosion
In the past, case was made that plagiarism resists the proivatization of culture that serves the needs and desires of the power elite.
--Today, given the post modern culture, plagiarism is acceptable, even inveitalbel
--A call to open the cultural data base, to let everyone use the technolgy of textual production to its max potential
--Readymades, collage, found art or found text, intertexts, combines, detournomont and appropriaton—all these terms represent exploration in plagiarism.
--These plagiarist strategies assume that no particular meaning is locked in a work of art. The work of art is in fluenced by the real world and is not issolated.
--all forms of representation are arbitrary and there is no one single stable meaning
--All artworks posses multiple interpretations
--Duchamp’s readymades, ordinary objects recontextualized. Recombined in new context. Urinal, signed and placed in a museum
--plagiarists open up meaning and inject skepticism into the cultural context.
--the original art work in western culture is not to be touched.
But post modern artists.
--the meaning of the art work becomes locked down by tradition and rational historical limits placed on what kind of experience the viewer should have of it. NO room for subjective experiences. Buerocratic culture is against it.
--plagiarists, like post modernists, sees all objects and language systems as equal, does not put them in hyrarchical framework, horizontalizes it.
--plagiarist is against the rational limits of the exact sciences which supposedly hold the one true objective interpritation.
--plagiarists are against the tyranny of paradigms, dogmas, dead discourses all kinds. etc
--plagiarists provide structures which open up multiple channels of interpreting the meaning of the work of art.
Cut-ups, pastiche, cliché,
Photoshop, Illustrator etc
No Beginning Middle and End
Non linear strategies
--Cultural production methods have speeded up tremendously.
Electronic media has eliminated the lobor-intesive processes of painting, drawing, writing, etc.
--in the old art forms the lag time between prodcution and distribution very slow.
--before electronic media, the dominant approach to cultral production was one that regards the text as individual works.
--with the industrial revolution and electronic mass media the certainty of a tradition book-bound text was rapidly replaced.
--knowledge becomes information.
--cultural velocity and informaiton continue to increase
--techno culture has met the demand for information with data bases and electronic networks that rapidly move any type of information.--plagiarists have responded to the inventive possibilities of techno culture.
--recombinant methods are desirable and very much a part of electronic culture.
--by utilizing the potentials of recombinant methods plagiarist move beyond nihilism. It does not simply inject skepticism to help destroy totalitarian systems that stop invention. It participates in invention and is thereby also productive.
--plagiarists are synthesizers (Lonardo da Vinci, for example, combines biology, mathematics, art, engineering.
--ACCESS! Is a very guarded commodity and only the elite have access to the data.
--plagiarists are, by their nature, hackers, culture jammers.
--information is most useful when it interacts with other informaiton rather than when it is defined and presented in a vacum.

         Conceptual Aerobics: Exquisite Corpse and Burroughs cutup technique

May 11
Estavillo = estar = that's it, sweet, that's good
His intent in writing was to explore nonlinear perceptions of space and time.
related to the gy stealing radio waves
not stealing but rather just exploring the free airwaves at the time
the radio re-c_vr was turned on

yao = it used to mean, in china, aristacratic name that ment
(perhaps, it means female dude)
fold \in method,
flashback it seems really disjuct rather than clarrrrrrrification 277
lin = chinese = two trees standing next to each

kawahara = river valley
What does any writer do but choose, edit and rearrange material at his disposal?--

ng = a country in China
flashing forward and backwords when jumping from page to page.
time traveling.
kong = harbor (hong kong means fragrent harbor)
different art forms combined to make a completely different piece.
mika = fragrance
the collage method in painting are used in writing
illuminating new meanings of the text by physical/visual intervention
(Mark Paulene)


kyung = east mountain
The method could also
(sampling - himhop herhop = hiphop - borrowing music from history and mixing in himhop or herhop style)
The method could also lead to a collaboration between writers on an unprecedented scale to produce works that were the composite effort of any number of writers living and dead.


Nareewong = _______________
popular music samples create de ja vo effect or
sampling = time travel

Estavillo = estar = that's it, sweet, that's good
the tree is figuring out a way to the state as the land of cowboys and wide
open spaceships
yao = it used to mean, in china, aristacratic name that ment
(perhaps, it means female dude)
the most inclusive description of the art is that
termite-slothful-fuzzy acting by my roomate
with no signs that the artists has any omlets
lin = chinese = two trees standing next to each
the bush administration is weakending the rules
for something you believe in

kawahara = river valley
undeerstand the go ril ah next door,
mutuallly exclusive genres, mock documentaries or plotting the unthinkable , mrs doubt flyer
ripped abs

ng = a country in China

the international woman and drink will be provided

for more ucsd contact
kong = harbor (hong kong means fragrent harbor)
you announced to a zillion people that you are on the road clogging my pores (poors)
mika = fragrance
friday 4-9 chillin' with the bros, established 1869

kyung = east mountain

multiple openings no experience necessary

Nareewong = _______________


                 Required reading for next week:
                  Teshome H. Gabriel, "Thoughts on Nomadic Aesthetics and Black Independent Cinema: Traces of a                       Journey." Out There: Marginalization and Contemporary Cultures. MIT Press, 1990. 395-410.


                    Part V
                 Culture Jamming:"Chaos Never Died"_random access to "heredom"_(TAZ______________)
  >_______________________________________ No Beginning Middle and End
  Week 8
                May 18
(it is always may day if ya dance the dance --toni la bone)
No_mad_ic Aesthetic in Black Cinema (the moon as a symbol of transience
Notions of "nomadic aesthetics" and how they are a sign of resistance to mainstream Hollywood film while viewing work from Australian Aboriginal filmmaker, Tracey Moffet. We will also look at the interactive multimedia work by Keith      Piper, entitled "Relocating the Remains". In this CD-ROM Piper questions the dominant culture's official history by engaging a "nomadic aesthetic" and proposing a personal, alternative, changeable, nonlinear history.

Disc_ussion: What are the characteristics of "nomadic" or "traveling" aesthetics? List its attributes. Merata Mirta    has a quote on the bottom of page 401 which suggests that film is "memory pictures." How can you understand the work we will be viewing today in those terms?

oral cultures vs. literate cultures: a look at what'z up under the hat

nomads: extremely perjorative cast to the definition, wandering about aimlessly, vagrant, wandering about without a purpose. "

Not taking into consideration why some peoples wander about--that they are politically or economically forced to do so: that this is part of their culture or spiritual relation to the world. and that wannnnadering can be productive in others ways.


ofzl or, oral texts ar not static

la bone's leaping from brain to brain in the triun brain
there is no aesthetic

nomads reject the formation of state because it curtails freedom.
their art reflects this deeefyance of static cultural practices.

Estavillo = estar = that's it, sweet, that's good
roy jones ko'd by nobody in round 2
yao = it used to mean, in china, aristacratic name that ment
(perhaps, it means female dude)
i have no idea at 3 in the AM

lin = chinese = two trees standing next to each
no toy inside the box of cereal (maybe put)one(back in)

kawahara = river valley
e=xond on lakers
3 games won in the last moments of eternity in the stadium
poker too, pocket jacks queen on the river
lost to my roomate who never wins
official speech
JOhn and George in the same smiling space


ng = a country in China
driving parking in my spot could not see the crib
kong = harbor (hong kong means fragrent harbor)
garden noam stolen from it's place of use, prop open the puerto
mika = fragrance
claim, color of tree purplish and color the same on the the building.

kyung = east mountain
i swim among the bees flying round the bees
hive on the roof

Nareewong = _______________
spare time dj campus e vent late as hell
amp in car ignician gives up the ghost
what happened was we walked it over by hand

then, ............comes back to the offending machine and it laughs outloud by starting


Estavillo = estar = that's it, sweet, that's good
mortality and immortality
thugs fight or die style
that's cool and all, but if we were take on that lifestyle we

we would be locked up in the nervous hospital

yao = it used to mean, in china, aristacratic name that ment
(perhaps, it means female dude)
liberated cinema, a cinema on the move, focus on flexability and growth

lin = chinese = two trees standing next to each
chris marker
I wonder how people remember who don't film or tape
how memory is formed by those who don't

Oral vs literate cultures

kawahara = river valley
you cannot travel on the path before you become the path
enlightend beings are always on the path
make your own path

ng = a country in China
one cannot film without one's shadow
montageof his or her language

kong = harbor (hong kong means fragrent harbor)
memory collected brought together in collage fashion
the nomads' collaborative cultural production
mika = fragrance
we film forshadowing device of memory
to nomads art tells stories from experience
form and and content need to swim together in the same river of becoming

kyung = east mountain
we thus know less about more and nomads know more about less

Nareewong = _______________
nomad reject the state because it restricts freedom


Reference material

Spike Lee, "She's Gotta Have It" (film on video)
          Keith Piper, UK, "Relocating the Remains", (CD-ROM)
Tracy Moffatt, Australia, "Bedevil" (video)

Conceptual Aerobics: TBA

Required reading for next week:

--Guy Debord, “Theory of the Derive”, Situationalist International #2 , December 1958
--Hakim Bey, “T.A.Z. The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism” An experiment in “un-mediated reality”, Autonomedia
________________________________v_____________< >_______________v_____________________m________
oijpijierotijrehgergjpurfpquhfqifpqnec3q4t819ud `
Week 9
May 25
Temporary Autonomous Zone and the Theory of Drift
In this session we will examine Hakim concept of the TAZ, the temporary autonomous zone where one consciously chooses to have an extended, unmediated experience of the present tense where one can experience one's "desires as reality".

Reference material
Culture Jamming
Burning Man  (Digital Stills)
--Guy Debord, “Theory of the Derive”, Situationalist International #2 , December 1958

Among the various situationist methods is the derive - literally"drifting, a technique of tansient passage through varied ambiances.

Conceptual Aerobics
After a discussion on the TAZ, we will go on a TAZ and experience first hand the directionless adventure in unmediated reality. VVVV



TAZ: The Temporary Autonomous Zone
One of the inspirations for the TAZ was a slogan that came out of the student-workers rebellion in Paris in 1968. Their slogan, “Treat your desires as reality.” This is the essence of the TAZ.
French universities close down in May after widespread street fighting that began with violent student demonstrations at the University of nanteree and spread quickly to the Sorbonne and other schools.
Strikes in various industries produced a crisis , Pres de Gaulle ask for restoration of Peace.
TAZ, above all, desires to avoid mediation, to experience its existence as immediate--autonomous behavior in public and private spaces.
TAZ “We must realize (make real) the moments and spaces in which freedom is not only possible but ACTUAL.
TAZ is utopian in that it is an intensification of everyday life which is related the Surrealist notion of the marvelous of the ordinary.
TAZ is not interested in creating yet another failed revolution because revolutions will always end in betrayal and the founding of a stronger and even more oppressive state.
TAZ proposes no permanent solution (progress is a vicious circle), to not become stationary and become a matter.
--Chaos theory posits that there is no system of total control because of the random factor, the radical element infecting the system (cyberpunk).
TAZ is about Insurrection, not revolution because revolution wants to replace one oppressive power elite with another. Insurrection is a continuous uprising which is always on the move.
--“ As soon as the TAZ is named (represented, mediated), it must vanish, it will vanish, leaving behind it an empty husk, only to spring up again somewhere else, once again invisible because indefinable in terms of the spectacle.”
The tech anti tech argument (Utopias)is a misnomer. The binary dualism we talked about. is a false dichotomy—all green or all metal.
--The state is only interested in simulation and mediation; it is not interested in diverse human experiences. This is population control by consensus society.
--Where in our culture can you, do you experience freedom?
--The separation of work and play into two distinct zones.
--The demands for the sensual, the unmediated make the TAZ primarily a support system for defending the TAZ giving it teeth, gives the nomads routes, info, songs, trade routes the flow lines of the tribal economy.
TAZ on the Net
--Centralized power: the old form of power entailed amassing huge amounts of power through material wealth, the Castle, the fortress, the stronghold, the military bases, the pentagon. Resistance to the Power source involved attacking the edifice of control, the castle, the empire.
--Now, however, the Net has de-centralized the power structure and the very same open-ended, non-hierarchical positive aspects have as usual, been taken up by the police, the state, the country. Now the power elite is invisible, unlike their historical counterparts whom you could see in the physical world.
--The internet, originally designed for cold war strategies, a military purpose which has a format specific to that purpose, its logic and programming lexicon is rooted in its intended purpose of keeping information decentralized in the face a nuclear threat from the former soviet Union.
Now, this military invention of decentralized communication is ideally suited
for making art in Cyberspace. Hakims Bey’s concept of the TAZ and Guy Debord’s pro active deconstructive project of the Detournamount,
Both confront private property issues head on with trespassing with
poetic intent.
--The decay of political systems will lead to decentralized proliferation of experiments in living.
TAZ will use the computer because it exists, not for its simulation powers but for its revelatory powers.
--The Web is different from the net, the net cannot handle chaos without damage, whereas the web thrives on it.
--The net, a vast amorphous system of information and communication transfer.
--The net has not a hierarchical design but a horizontal, non-hierarchical aspect.
--The Web is a kind of counter net, a shadow of the net. an alternative, open structure of information exchange
--The TAZ on the net, it is temporary, it has an actual time, but a virtual location which is instantaneous. it exists in information space.
--The TAZ is not permanent, but ephemeral, transient
--A new definition of what a web is: word of mouth, marginal zines network, phone trees, and the like to form an information network. The key is not the brand or level of tech involved, but the openness and horizontality of the structure.
But, the Net IS moving towards virtual, the computer.
--The map cartography of control. The city map is designed specifically to maximize commerce and industry. Maximum fluidity must be established between the factories and the malls.
--In 1899 the last piece of land was mapped and claimed.
--The “map” is a political abstract grid, a gigantic con enforced by the carrot/stick conditioning of the “Expert” State, until for most of us the map becomes the territory…and yet, because the map is an abstraction it cannot cover Earth with 1:1 accuracy.
Description of the TAZ
--the element of non-mediated time.
--TAZ as a holiday
--no destination, purposeless walking through the city.
--Sacred time is of peak experience, a kind of timeless sensuality
--Profane time is clock time, work time, calendar time.
--Dionysian frenzy, the party, the saturnalia, a feast of the senses, the WEEKEND.
Apollonian, the weekday, profane time, work time, following the strictures
of society conservation
Preparation for going on a TAZ
--“Treat your desires as reality.”
--Set out walking with absolutely no destination in mind, go where you desire to go.
--Do not bring any mediating devices, the TAZ is ultimately about having unmediated experiences.
--Poetic Terrorism. While on the TAZ do poetic terrorism, not terrorism in its typical destructive sense, but terrorism in the service of the poetic, the enlightening gesture sprung upon consensus society.
Past TAZ experiences
--Warrant out for my arrest, wanted in Olatha Kansas for trespassing on
property of wealthy, elite folk of southern Johnson County, just off of K-10
Highway and down the road a piece from Bonner Springs.
--Kansas City Art Institute Thanksgiving holiday’s eve. The feast.

Estavillo = estar = that's it, sweet, that's good
as soon as it appears it must vanish -
a player is in the zone --nothing can touch it, no defense can stop
the idea of the zone
no rules while they are in the zone
yao = it used to mean, in china, aristacratic name that ment
(perhaps, it means female dude)
the best art is art that forgets its name.
The best taz is the taz that forgets it's as TAZ
the rave used to be an adventure.
lin = chinese = two trees standing next to each
taz violates history in favor of geography
page 50_Nietzsche opposes history not to the eternal but to the subhistorical or superhistorical: the Untimely, which is another name for haecceity, becoming, the innocence of becoming (in other words, forgetting Chaos as opposed to memory, geography as opposed to history, the map as opposed to the tracing, the rhizome as opposed to arborescence).

kawahara = river valley
i have a question.
same quote people who make history books are in a state of perpetual becoming--if you take history not as fact but as a learning experience, we learn them because we are the future.


ng = a country in China
Links TAZ to the internet, there is freedom in the internet to experience desire as real.
The net is the TAZ, it is temporary,

kong = harbor (hong kong means fragrent harbor)

the party is always open because it is not ordered.
back to the random access articule
the order is determined at the time.
Important that participants have a sense of interactivity but they don't have control.
mika = fragrance

kyung = east mountain
the TAZ desires to avoid mediation.
this is a way of saying that the TAZ wants to live in this world.
b e c o m i n g

Nareewong = _______________

go on a

Part VI
Final Presentations


Week 10
June 1
Final Debates


Week 11
June 8

Final Debates