[-empyre-] [true/false] states
>As an example, anyone who has spent any time in the United States
can easily see how reality is >warped in the news media
(particularly TV news).
>If these organizations were subject to total and automatic
interconnection, they would not be able to so >easily bend the truth
to fit an entertainment format. Incorrect or incomplete information
is hard to get >away with in a scenario like that.
i agree w/ben that [community based/decentralized] models
[encourage/enable] ongoing [alterations/revisions] to false [+/or]
misleading nfo, however, this dynamic can also be easily reversed
increasing the [confusion/uncertainty/deceptiveness] of the nfo.
we should resist the impulse to make greater truth claims due to our
decentralized + community-oriented [approach/structure]. doing so
risks our enthusiasm being mistaken for technosocial positivism.
>liken provides a hostile climate for [mis/dis]information, while
simultaneously providing a fertile >climate for informed
[debate/discourse/expression], and that is truly radical.
liken is not necessarily a corrective to [false/inaccurate/baseless]
truth claims but certainly a decentralized + community-oriented
[approach/structure] addressing these problematics. liken
specifically + criticalartware generally [allows/encourages] parallel
[her/hi]stories, the kind of which Sherry Miller Hocking describes in
"... I think that not just with image processing but with all of
video, there are a lot of people who've been working and did work
that were really important people in the early days, who are not in
the books, or are in one of the books, or have a whole lot of
catalogues put out, but they still didn't make the text books. And
what I find in the university situation and now in even K through 12
situation is that people don't know the history, and its only in some
senses that it seems foolish to me to worry about a history that is
really only about 35 years old, if you just talk about media. I mean
obviously if we talk about the art historical antecedents it's a
bigger idea, but if you just stick to media and video, its not that
long. But there there's been a real failure on the part of the
working community to put forward those parallel histories. Part of it
is just what happens when, within the art world, people get singled
out and chosen. They become stars in the field and that then becomes
the history. Which is one of the histories, no doubt about it, but
there are also other things that happen that I believe are as
important. It's all important and part of a true and accurate
- Sherry Miller Hocking discussing the Video History Project
in Sherry's comments she equates truth + accuracy w/an availability
of [multiple/parallel] hystories rather than the establishment of
unshakable absolutes or pedantic documents. this model of truth +
accuracy in hystorical projects resonates w/me personally +
criticalartware collectively b/c it embraces variance, oscillation,
inconsistency, disruption, openness + multiplicities as positive
factors in a hystorical process.
recently, we collaboratively wrote sum text from which the following
chunk is [taken/adapted] that applies to this thread:
criticalartware [recognizes/relies] on the "critical and fictive"
[relationship/dynamic] between "history" + historical descriptions.
criticalartware emphasizes the narratives
[told/conceived/constructed] by our
[interviewees/participants/contributors] as a main structuring
element in our [activities/efforts]. in our very early stages of
development of the [application/platform], we committed to following
the flows of contribution from any + all [interviewees/participants]
+ allowing for these flows to shape criticalartware in concert with
our own [articulations/expressions/desires].
---> criticalartware coreDeveloper
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