[-empyre-] [true/false] states

bensyverson wrote:
>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.

bensyverson wrote:
>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 our interview...

"... 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 picture."

-  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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