[-empyre-] re-un-mixing

Johannes Birringer Johannes.Birringer at brunel.ac.uk
Sun Nov 1 09:09:52 EST 2009


hello all, happy halloween

I am in a dark room, trying to catch up with the whole discussion and last week......  I am on page 98 of my pasted/copied document of this month's debate. (167 pages)
i just read Anna's questions about "visualizations" again, and Helen's good responses on "sonification"   ( vis à vis Gregory's posting on "practices of imaging") -
and now i arrive at Jason Freeman's further elaboration on sonifacation, from 5 days ago, and outside I hear the small explosions of fire crackers. sensing
the dressed up folks milling in the streets, the ghouls, zombies and skeletons,  vampires, Muerte,  and all.  I heard that "Colin" , a new movie, is shot from the zombie perspective.  aha. 

i wish to thank Christina for her response, just now, to my notes on sound and video and re/de compositions of material that is on line or networkable, shareable for re-editing.  I do indeed
hope that we could have more time to talk about such "re-un-mixing" - as you so beautifully call it, Christina, and also look at cultural shifts of this   (Tropicalism is a good place to
look, for example the couples/couplings there or the relations between musicians and Oiticica and the visual artists and architects).
 we have not talked much about black expressive traditions, have we?  or the continuations of oral cultures,  the differences between the notion of electracy and chinese or japanese conceptions of, say, calligraphy, 18th century prints, and anime/manga, and current re-Hokusai-ing (ukiyo-e). 

and i would like to have been able, were it not almost midnight and more explosives outside, to tell you about the experience of attending (as a participant, moving around with the
performers in the commons, the communal space created) a dance installation by Opiyo Okach and his company (based in Kenya).

Their work is called "Shift ........ Centre"  and was presented at the London Dance Umbrella, a beatiful and unforgettanle experience or being with performer and other audience members in a call and response situation, without a word spoken. 

 I would have liked to thread the oral and kinaesthetic and durational (temporal) experience of sharing that performance into the discussion
on what some of you called networked writing and what some of you refered to as participation-product (the produser?).  

thanks to all for this lively autumnal month (autumn only in the old europe and the west) ( i also appreciated the response to the panel on labor value / immaterial labor )...........  Christine's, and others', comments on time delay and needing time to reflect is something I agree with much.  I was not able to read the networked_book writings, except in a fly over.  so i did not feel any comment was warranted.

I think blogs are the instantaneous flies, and they will not be sustainable, most likely, as anything worth reflecting on.  what value a blog? or how does blog become transsubstantiated? translated?
some or much writing, without a doubt, as some art works and some dances and much music, travels and crosses all kinds of borders and thresholds over time, connecting people in a commonality or empathy for the sharing, which in religious or post religious  times has also sometimes been communion,  a meal, a session with the spirits of ancestors.  that form or sharing differs from re-unmixing, does it?

yes,  it also is necessary to ask whether the centres  (and the patrilinear
theories/theorists accounted for in much discussion here) can be shifted. 
 

regards


Johannes Birringer
DAP Lab




-----Original Message-----
From: Christina McPhee [mailto:christina at christinamcphee.net]
Sent: Sat 10/31/2009 1:33 AM
To: soft_skinned_space; Johannes Birringer
Subject: Re: [-empyre-] final questions for Patrick and Jason: the	visual	and indexing networked information
 
Hi Johannes ,

> thanks for this. Christina,........
>
> [and i need to respond more, also, on your wonderful offer to  
> schnitzel your video material......which i have not gotten to,  
> although i did show your SODALAKE to the whole Scandinavian crowd at  
> a panel in Oslo, and it behaved wonderfully....in spasm and in  
> strange manners altogether unexpected)
>
I had suggested to Johannes that he and his dancers could choreograph  
a live mashup of this film, special thanks to Pauline Oliveros for  
"Ghostdance: Ultima Vez' (Deep Listening ASCAP))

http://vodpod.com/watch/2396669-soda-lake-unbound-by-christina-mcphee?pod=x0y1

which is also just now screening at the XOy1 conference on gender and  
cyberculture at Barcelona (thanks to Dr  Remedios Zafra)



I just thought that in a sense the project Sodalake Unbound is about  
re-un-mixing my own knotty nexus of naxsmash and releasing its  
energies into a live dance lab -- i  imagined that there could be  
sensor-enhanced
movements by the dancers to re-draw the frame rates.  like some kind  
of human mpeg decompression..... I thought of this after Johannes  
wrote an interesting choreographer's reaction to this film, see his  
comments  and the footage here

http://vimeo.com/5766529
>
> this evocation of your sound project was very intriguing
> and i wonder whether such soundworks can & could be discussed equally
> here in regard to the networked books/writing questions, and the  
> issues that
> came up about infrastructure, density, collaboration/participation  
> and delay.

I think so . I have been working for awhile on 'latency' . as Pamela Z  
says ("a delay is better')
>
>
> how would be discuss it in regard to video/media works and shared  
> editing or re/mashing?

well I think that's a great topic for -empyre- for a new month in 2010.
>
>
> to some extent, you are raising a challenge to the methodologies of  
> composition ( i just attended a seminar on Cage/Tudor and their  
> relationship)
> and use of softwares and generative syntax, and perhaps there are  
> other examples available where this worked for partners and for  
> interpreters/users or
> audiences/"readers"/'listeners" ?

yes, surely ... I think this kind of generative syntax-ing does come  
from Cage and Merce Cunningham and from the 'scoring research' of Anna  
Halprin and her husband Lawrence in the sixties-- and probably there's  
similar Tropicalismo activity in Brazil during the same period, I dont  
know about it though and would love to hear from anyone who does, like  
Lucio Agra or Sergio Basbaum perhaps.    Judith Rodenbeck has edited a  
fascinating group of articles about Anna and others in the summer 2009  
Art Journal,
see especially Janice Ross, "Atomizing Cause and Effect: Ann Halprin's  
1960s Summer Dance Workshops"  http://www.collegeart.org/artjournal/summer2009



>
>
> I encountered an interesting project at this year's Subtle  
> Technologies meeting in Toronto (http://www.subtletechnologies.com/)
> perhaps you all know this, but i mention it here:
>
> Julien Ottavi spoke about the " BOT: virtual networked  
> lab" (Collaborative online platforms and networked audio practices)  
> and "APO33" -
> describing the ideas and mechanics behind BOT, a virtual networked  
> lab that allows us all  to explore collaborative online platforms  
> and created networked audio practices.

wow that sounds promising. is the BOT a kind of CGI interface/software  
tool?
>
>
> I add Ottavi's  own description below, but what I found most  
> fascinating was that he now connects various studios of various  
> people in diverse places with one another (via ongoing streaming /  
> network), taking real actual existing or happening sounds from the  
> places and combining them into a form of (Cagean)"silence"  or  
> music, transforming the sounds or providing the patches with which  
> each "provider" of their room sound also becomes a listener of this  
> kind of inter-networked-geographic sonic fugue..... of many many  
> many rooms.........
>
>>>
> BOT makes up a virtual community, in the continuation of the  
> 'POULPE' project, with a view to assemble a collection of entities  
> in one location in order to diffuse their production to many more  
> places. They stand for a new approach to digital phenomena :  
> networks, multi-motionless geolocation, interconnection of on-line  
> produced or processed data, automation in the treatment of reality  
> and, especially in the case of BOT, sites for experiments, always  
> accessible from anywhere.
>
> "A machine always depends on external elements in order to keep  
> existing. Not only does it act as complement to the man who builds,  
> activates or destroys it, but it asserts its difference from other  
> machines - real or virtual, non-human, a proto-subjective  
> diagramme." - Guattari
>
>
> There is a machinic side to BOT, a call for inter-dependence, for  
> relations and discussions between heterogeneous elements, that has  
> as much to do with the way reality is split and reproduces itself  
> (as in a utopian language of an electronic diktat), as with the way  
> we confront the otherness, through our body, our actions, our  
> activity and our environment (urban or natural). BOT must be seen as  
> long term constructions of a living and spreading machine network;  
> BOT spread from city to city, from countryside to mountains, they  
> invade our living spaces, cupboards, offices, balconies. Everybody  
> can eventually participate in a BOT, create one and connect it to  
> the community at large, and thus fertilize it, feed it, accompany  
> its development, teach it, make it more autonomous, more or less  
> 'social', possibly even 'humanize' it? A Bot is an excrescence of  
> reality.>>

but i guess I 'm not sure i want to become a mom of BOT.

I am much more interested in humans choreographing , 'de- 
appropriating' (Bruce Tomb, artist of another DAP (DeAppropriation)  
project ) than in developing nursing regimen)(ts) for bots.   Too much  
cooking and cleaning.

public spaces to be de-programmed, formal syntaxes of an art project  
to be de-appropriated, this interests me.     http://www.journalofaestheticsandprotest.org/6/lovetowe/aimeeleduc.html 
   Thank you Aimee le Duc!

or sometimes reprogammed movement using exogeneous source syntaxes ,  
like Geri Wittig's 'Great Wall of California."


An example of this I found today, thanks to getting a link from Jaime  
Iregui,  is this soundspace archive from central Bogota.  Beautiful:  http://museofueradelugar.org/?p=367







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