[-empyre-] -empyrean- space
aliette at criticalsecret.org
Sat Feb 23 15:11:54 EST 2008
Dear Christina dear all,
I am so sorry having miss this debate
but I was working in all sort of things concerning the part of print works @
criticalsecret.. for another part I received so much spam that I was obliged
to create an account of all my pop accounts on googlemail, so I'm not sure
that this mail will reach the list, cause the address gmail by default..
But may be in my observations out of the lists since some months I have
experimented something interesting the pragmatic research which I try to do
in the domain of entertainment as pop culture return, from contemporary
arts to reality show through live arts and body arts.
The way is not of digital new media but otherwise new media through digittal
TV and web TV even reduced in video, but more of a plagiarist way of the web
by the new strategy of the shows as strategical performances in conceptual
By this way I have created a myspace to build a net of contacts and see the
bulletins and the blogs.
I send this post without changing the terms as it was an announcement to
spectre and to nettime-fr. But dear empyreans take iit by the way which
interests you or reject it. And dear Christina, may be you will decide on
the relevance or not relevance to repost it, before.
Apologizes for having not the time to re-write it.
But it is both available calling to join us for these observations here and
there in the media places of the show business and the web business for
review some tracks, to whom would be interested to tribute by sending
subjective infos to contribute to the environment of our devalued works.
Before you close the thematic I try to see if somebody could be interested
on discussing of that follows.
But same time I hope that the unusual form of my post regarding the
traditional discussion more regarding the good subject that it does not
respect can make a strange effect to recall about the proper thematic.
Christina will decide.
Hello all !
A president of the republic just out from Lautréamont but mode
scientology as collective reality; in the metapolitical time: what can
you think of that? Is it dangerous? must we be afraid?
I prefer Lautréamont as poet.
Any news from criticalsecret
>From facebook to MySpace I walk by a way to see what...
My actual links which I shall explain later but yet they are:
Mes liens actuels à propos desquels j'expliquerai plus tard mais dès à
présent les voici :
In a sort just a web, bulletins, and personnal notes or quotations on
metapolitical events and thematics)
d'une certaine façon c'est juste un réseau assorti de bulletins d'infos
et de notes métapolitiques ou de citations sur les événements ou
thématiques intéressant MySpace)
You are welcome
Vous êtes bienvenus
We are two skype-connected friends from each side of Atlantic Ocean, it
is to tribute a sort of research, whatever being experiment, from an
idea of conceptual space time that I had imagined about actual arts and
poetry as chaotic strategies of immaterial masterworks of authors (may
be at their proper default but not at the default of the public) through
concrete things without value but being proper semiotic signs of the
cognitive reality of these acts: performances and from time to time of
each performances... The defy (challenge) is in brief something in
between devalued arts and devalued artists and their devalued
materialist production, but/and ritual protocol giving powerful
conceptuality of unseen reality in a sort of hyper-poetry, as well of
social urbanity beyond economy as of poetry and plastic arts beyond
body-art. Something after situationism, a meta-situationism of the
statement of the concept, by the spectacle excess, a reverse of the
signs integrating the lesson of the disappearance of the political economy.
The way of Internet to tribute live arts from a hand; from another hand:
the living money as the proper human body in the space time of the
artist, but his devalued bare body can contradictorily be the body of
the living money.. just becoming absolute commodity at the same
dualistic moment of the bare life, in a world of the end of the
equivalence of the value. Where symbolic is returning at the point of
the risk but radically powerful.
So may be you can now imagine why I credit an importance to
entertainment and artists of entertainment as devalued subject of art,
and what they interest me specially the ones having studied then
deserted arts in the aegis of having read dada and situationism.
So as observatory of the artistic and trans-disciplinary evolution of
the New Star Julien Doré and associated companions of his group Dig Up
Elvis (all of them having studied arts) we have created something
dedicated to emergent arts out of value to put grain with an environment
of informations without obvious relationship.
Fake forum as true interactive blog just borned to review resources and
subjective or elective events and see what
from entertainment to emergent arts/ from contemporary arts to emergent
something joining the venal or coarse objects and the things at the
A site of creation in fate selection. What means a mess a fertile mess.
Un faux forum mais un vrai blog interactif pour recenser des ressources
plus des événements subjectifs et électifs
du divertissement à l'émergence
A bilingual site of randomic research ( En and Fr speaking-- 2 parts )
which hopes to grow
Un site de création collectif en hasard sélection qui espère grandir
FR and EN speaking (2 parties)
Come on Friends and contribute by your singular way!
Venez les amis et contribuez à votre façon !
April will see the podcast http://www.criticalsecret.com/n15 going on:
Issue 3 as a video and a radio creation by Pierre Bongiovanni
in an artistic interface by Loz
and abstracts by me.
Issue 4 on what's Palestine with an editorial cover by Haidar Eid
@ Al Aqsa university-- if possible in Gaza
Metagraphies by Bobima
Guest Denis Bourges (Tendance Floue) with a gallery of photos and a film
What is LE OFF @ Brussels?
Next month I shall stay for a week in Brussels
opening March 3-9 miday to midnight
as invited exhibitor and speaker in the name criticalsecret publisher
@ Le off The international fair of Inde publishers and free distribution
with two works :
>>>>>>>> Un manifeste hacker (A hacker manifesto)
on the road again
the fractal work as conceptual epic of modernity by McKenzie Wark
>>>>>>>> Larmes à l'envers,
a poetic work of Jean-Michel Bruyère
Artist and Playwright selected to represent the experimental field @
2008 Avignon Festival
published by Sklunk @ criticalsecret
Le mois prochain je passerai une semaine à Bruxelles comme exposante et
en nom de criticalsecret éditeur, @ Le off, Foire internationale des
éditeurs indépendants et de la distribution libre
ouverte du 3 au 0 mars de midi à minuit
avec deux ouvrages :
>>>>>>>>>> Un manifeste hacker (A hacker manifesto)
-- oeuvre fractale de nouveau sur la route
une épopée conceptuelle de la modernité par McKenzie Wark
>>>>>>>>>> Larmes à l'envers,
une oeuvre poétique de Jean-Michel Bruyère
Artiste dramaturge international sélectionné pour honorer le champ
expérimental au Festival d'Avignon 2008
publié par Sklunk @ criticalsecret
Prenez votre envol ou le train:)
Take a flight or take the train!
Pierre Bongiovanni & Quentin Drouet
Sorry for my frenglish et mes fautes françaises
2008/2/20, Christina McPhee <christina at christinamcphee.net>:
> dear -empyre-
> I 've been under the weather and under a lot of work this month, but
> finally have a chance to come up for air and look around. Our topic,
> Stations, Sites and Volatile Landscapes, is still active til the end
> of February. Melinda will begin a new topic March 1.
> In any event, I've been thinking about -empyrean- space and process--
> how it is or could be a space and a work of art, and how its
> processual editing prcoess works via all concerned (moderators and
> writerlyreaders and readerlywriters) .Here are some off the top
> thoughts and images -- perhaps you guys can help me out. Comments,
> riffs, declamations welcome.
> I've been interested in the remix like everybody else in new media.
> but it seems important to try to do something beyond just
> recontextualizing information. There is no dearth of opportunities for
> communicating online so it's really about what makes people want to
> contribute, to write, even formally, or more conversationally, in an
> open self generative work that still stays somehow grounded. It seems
> so important to get past the tyranny of presets in digital media, the
> multiple choice aspect of everything web 2.0-- and so the leanest most
> minimal structure, or rules of the game, seem delightful and even
> fanciful-- if there is not a 'formatting' issue or a cgi interface for
> selection among predetermined choices, will people want to play? So
> the whole idea of empyre has til now been to keep things really
> nonvisual, focussed on the word, on a sort of expanded even trippy
> aesthetic of letter-writing. Its so old school it's almost Jane
> Austen. Much virtual ink is bled over the problem of how to establish
> transborder dialogues, how to create a public 'heterotopia' and this
> is a desire with more than political and aesthetic overtones, indeed
> reaches into the realm of magical thinking: as if, we wish to believe,
> we can overcome the loneliness, isolation, and profound distraction
> secondary to the media glut, by the strange harmonics of a
> conversation through as archaic and nonvisual a medium as the lowly
> email. I subscribe wholeheartedly to these fantasies. Or they may be
> the symptoms of an incipient delirium-- a fever of desire for some
> harmonics across a spectrum of human speech far wider than the normal
> audible range of the internet. Wider in the sense not of bandwith but
> of the human spirit--I hope for a kind of expansive mood of play to
> take hold amongst this self selected, mostly silent group of a
> thousand readers/writers. For me as artist and editor this hope
> carries out through seduction and juxtaposition. I try to entice
> special guests to give of their time and to meet and respond to other
> guests whom they probably do not know personally, or have never met,
> and who are not necessarily likely to share a common argot. I remind
> them to post often and with generosity, and without expectation of
> response from the elusive -empyrean- readership, whose silence is the
> norm. The silence is a kind of nurturing presence: you get the
> feeling, when you write on -empyre- that many are paying close
> attention, or that perhaps your thoughts are winging into their
> drifts-- as they access email on high speed bullet trains via
> blackberries and pods. Or there is another kind of space on -empyre-,
> at times, a not-slient, ricochet space like a handball court where
> furious volleys rebound and strike. =empyre- is not a space of
> understanding, it does not explain itself. It does not require
> cooperation nor endorse neutrality. Posts, like hard balls at high
> speeds, smash at each other. Often on my watch this condition of
> almost violent play erupts unexpectedly. There will have been long
> silences on the list, practically nothing happening, and then someone
> takes up the game, and then more than one, and then, in the space of a
> few hours, a plethora of hits-- but not 'hits' like the random visits
> of bots and spiders and occasional humans to websites--rather hits in
> the sense of blows, coups, counting coups.
> I 've been thinking a lot about Ant Farm lately. The late sixties/
> seventies subversive architecture group was, in their own view, a self-
> described "art politics". Asked to comment on "Media Burn" , an
> installation in which Ant Farm members drove through a wall of flaming
> televisions using only a video camera mounted on the back of the car
> hood for guidance through the flames, one Ant Farm member, "Uncle
> Buddy" responded with reference to a kind of detournement of cars and
> televisions into a (literally) explosive transposition: "the idea of
> looping back into television the destruction of television." *Like
> Ant Farm whose interest to break up television in order to release, as
> it were, video for provocative deployment, using the old industrial
> image of wrecked and flaming cars, =empyre- declines the apparent
> totalizing affectivity of the internet just by exercising (or
> exorcising?), post upon post, the literary style of the brief (the
> formal letter), if anything a communication that reaches its
> apotheosis in eighteenth and early nineteenth Romantic writers at
> least, sort of like stacking a string of wrecked cars. As one of the
> producer of this latter-day 'media burn' I just try to light a couple
> of fires on peoples' laptops and see who drives through and what
> happens when they do., The 'image' or 'afterimage' is the witness of
> the hypertext itself.
> *The quotes and context are from Felicity Scott's new book,
> Architecture or Technoutopia, Chapter 8, "Shouting Apocalypse," p.
> 138. MIT Press 2007
> Christina McPhee
> empyre forum
> empyre at lists.cofa.unsw.edu.au
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