[-empyre-] story-time and the archive
notebook at justfornow.net
Sun Nov 25 00:26:07 EST 2007
hi tim , norie and all,
Re; I'm wondering whether the event/artwork itself doesn't/shouldn't
alter our conceptions of desire so that preservation and event are
more interwoven in an ongoing, unpredictable way.
yes agree, it's on a spectrum between these desires and what desire
is driving the impulse for preservation - preservation, establishment
of a fixed value as a goal per se or using preservation strategies as
the means/ basis to achieving durational transmissibility.
re; This could mean emphasizing the emulation of the events/artworks,
networks, processes, procedures, and interactions more, say, than the
reproduction or replication of particular source code, exhibition
environments, or recording/playing instruments.
yes, think this gets close to a different desire of (re) generation
that also admits 'loss' . or 'letting go'' as simon put it, and
adjusting one's relation to this 'loss' as a space of reproduction:
so that: <in the emulation of the events/artworks, networks,
processes, procedures, and interactions more, say, than the
reproduction or replication of particula source codes...>
this provides for a ' new' interactive space of reproduction', where
the viewer/ interactor 's interaction is vital; to the works
re-assembly, a space of encounter which is infinitely renewable in
that the viewer is situated in the role of assembling and reviving
what remains/ is preserved/ rather than only being confronted by
the determinations of what has been assembled as an ' authorised"
I once had to run a project that recovered and rebuilt a system that
had been 'retired' three years earlier. This is never a simple
process but if it was not considered during the build and design
process I think it would have been impossible.
think this last sentence is very usefu in thinking about this, in
terms of what the ' original' constituted and how " its present form"
simultaneously indicates ' what its possible futures/ forms of
reproduction might be.
i 've recently written a long essay looking at particular '
reproducing strategies' in relation to performance art which produce
specific forms of continuity ,in - new continuums- produced through
the agency of new/ different/ related authors e.g. filmmakers/
photographers/ writers/ archivists. it's far too long to add chunks
from it here, but to try and summartise one of its main thoughts:
the essay ( The Trouble with Performance Art), revolves around how
the material / strategies/ experiences of a performance can be
reproduced by those who encounter 'what remains" to enable, not a
replication of the originatory work, but a constructing of the work
which reproduces it anew within the terms of what the work
constitutes when it is encountered at any one time. (a travelling
forward , rather than a looking back).
i.e. as the new authors step into the gap/ absence of the first
author-they re-construct the work anew and also add it to a chain of
experience which can travel into the future- so, yes, the paradigm
is storytelling/ fabulation; the wayward and additive energy of
vitality rather than authority.
best for now,
>> Hi, Norie and Monica,
>>Your interwoven threads are extremely interesting and directly
>>engage my own sense of archival practice. I think that Monica is
>>right on the mark when she says "the desire for an event/artwork to
>>have duration is primarily concerned with unconstraining the
>>artwork from its chronological assignment (to become untimely) so
>>that it has the potential to continue to be to communicable within
>>a continuum whose parameters of form and value are not
>>predictable." But I'm not sure that I would strictly contrast that,
>>anymore, with the "desire of preservation" ("to be timeless:
>>unchangeable status quo/monumentalisation / stabilised form and
>>value"). Particularly within the context of planned obselescence
>>and and short shelf lives of recent new media art, I'm wondering
>>whether the event/artwork itself doesn't/shouldn't alter our
>>conceptions of desire so that preservation and event are more
>>interwoven in an ongoing, unpredictable way.
>If so, then your combined emphases on storytelling (what Deleuze
>calls "fabulation") becomes all the more important as a crucial
>structural element of the archival process itself (since is also
>something that Mickey pointed us toward via Derrida's Archive
>Fever). This could mean emphasizing the emulation of the
>events/artworks, networks, processes, procedures, and interactions
>more, say, than the reproduction or replication of particular source
>code, exhibition environments, or recording/playing instruments.
>Such an emphasis would be on the open-endedness of fabulation, a
>process that grows and changes in time, rather than
>"incontrovertible status of value" that drives the work of most
>museum collections and archives.
>Thanks for such stimulating thoughts.
>Professor of Comparative Literature and English
>Director of Graduate Studies in Film and Video
>Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
>285 Goldwin Smith Hall
>Ithaca, New York 14853
>e-mail: tcm1 at cornell.edu
>empyre at lists.cofa.unsw.edu.au
00 44 (0)1273 381480
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