Re: [-empyre-] Fwd: noiseless art / redemptive 2
On Nov 27, 2006, at 1:01 AM, Johannes Birringer wrote:
Can we look at examples of these practices, and how effective they
are, and how would one measure effect or affect in the age of the
To be honest, everything that comes to my mind, it's either obsolete in
technological terms, or outdated in terms of any biocybernetic
up-to-date survey of contemporary art. The question is that I can't
measure effects, and even less affects, trough a technological bias.
Art and artists I'm interested in, are in may ways completely retired
from the focus of any tecnoscientific discussion. Their work is
interesting because it belongs to a certain ontological questioning of
the world, a long thread that art as been following. Sometimes, their
work is also focusing and/or using technology... Sometimes.
has anyoneone looked at language(s) amongst the practices of writers
who use words and code?
one of the claims made for hypertext is that it's evolving a new genre
in which narrative, culture and technology intersect (as multiple
narratives about contemporary information cultures ). Looking at the
digital as a medium, the question then arises whether it indeed can,
following Miguel's thesis, work by excess (of transparency) or by
I don't want to look as a kind of counter-flow, but I was always a
little bit puzzled with all the noise around hypertext. Isn't it any
text a potential hypertext? Isn't it precisely the central subject of
D&G's 'rizomatic' introduction to Millle Plateux?
The question is not to know if we are in the midst of a revolution,
more or less futuristic, but to find a path were to virtualize our
existence in a more effective way; not in the way industry is trying to
sell us *the virtual*, but, by the contrary, evoking that other
virtual, the deleuzian's virtual, full of potentialities.
That's not to say that Johannes's post is not an interesting approach
to this question, but only that is still moored to a narrow view of art
(at lest I saw it that way): a view which puts the medium, or at least
the technological apparatus, in front of art itself.
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