[-empyre-]real time archiving

Timothy Murray tcm1 at cornell.edu
Wed Nov 28 07:30:22 EST 2007


Thanks so much for your wide ranging introductory 
post.  I am particularly fascinated by your 
emphasis on "archival disembodiment"

"Somehow, I feel that if I am
recording an event, I suffer a  kind of 
disembodiment; I stop being a participant,
to become an observer; an observer whose gaze is 
transformed when getting conscious
of the historical importance of any given 
everyday-life event. In this capturing
moment, the artist´s body and its person, is converted into an intelligent lens
through which reality translated directly into a 
digital archive, and automatically
transformed  into a memorable event in real time."

What this sounds like to me is your archival 
envelopement in something of a virtual 
prosthesis, which some might call 'thought.' 
While to some degree you're referencing various 
conditions of alienation (what Brecht called the 
alienation effect of "reporting") I also wonder 
whether the conversion of an artist's body into 
something of a lens through which reality is 
transformed into a memorable event doesn't always 
provide the envelope for thought, criticality, 
and reflection.

I often think of the digital archival moment, in 
which the subject is fused with his/her data in 
the technosphere, as staging as much a wired 
intersubjectivity as a fusion of thought and 
affect.  When we give ourselves to the "archival 
event," I think we give ourselves to the 
vicissitudes both of thought and affect through 
which we become a link within a broader digital 
machinery, "to grant interpretation," as you say, 
"the time it needs to make an event meaninful." 
A truly fascinating notion.  Thanks.

Timothy Murray
Professor of Comparative Literature and English
Director of Graduate Studies in Film and Video Studies
Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
285 Goldwin Smith Hall
Cornell University
Ithaca, New York 14853

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