[-empyre-] "(E)MOTION FREQUENCY deceleration"

sergio basbaum sbasbaum at gmail.com
Wed Oct 26 13:06:04 EST 2011

Hi Johannes, all,

This was another reply I missed, so I'll try to answer it now,

> very engaging posting, Sérgio, and I am just replying here with a couple of questions:
> -- spectatorship, why do we have a discussion right now about active versus passive spectators, and why is this a political issue, in the sense in which Rancière seems to think? (See: "The Politics of Aesthetics," trans., 2004; and "The Emancipated Spectator," trans. 2009).  Has the spectator not always been emancipated, and why is interactive art so condescending, or , in other cases, so coercive and so eager to test "compliance"?

I don't know. I'm not that sure the spectator has always been
emancipated: when you port somebody in a traditional spectatorship
regime, you define a certain hierarchical relationship between
spectator and spactacle. This implies a previous definition of the
artwork as the place of truth, and I think contemporary art strategies
have aproprietely challenged such positions.

However, I also believe traditional spectatorship, if defined
diferently, as an active and engaged interpretive task, is, like you
say, as autonomous as any other kind of engagement. More than that,
maybe it depends on an even more active  engagement, because the
system "artist-work-spectator"
do not make engagement as easy and entertaining as most technological
works we find nowadays. I guess, the reverse question is even more
provoking: don't mostmany technological works define a more rigid
condition to the spectator, as he/she is more or less obliged to act
in the proper way the system demands as to work -- defining body
behaviour, terms of interaction, rule of participation?

I guess "coercive" is indeed a good word! Even more because
technology, when used without much poetic care, affirms itself beyond
any formal use we make of it. This is how I feel it...

In the context of the currently common-sense about technological
poetics this is quite un-orthodox.

good vibes from Brazil


> and following Gordana's horrific post,  to what extent is control and compliance management a goal of the interactional technologies used by corporate or incorporated practice?
> -why would perception need to be resensibilized?
> I would like to ask Atau whether in his performance practice the issues (mentioned by Sérgio) of density and lightness come up, and how you experience the bodily performance of your sound and sound instruments?
> finally,  as i now read the catalogue on Pipilotti Rist's exhibition ( and probably we could take about many such media or sonic installations),  it mentions here that Rist considers her installations as attempts to "influence the movement of people in relation to the work";  I quote:  "recognizing that gallery visitors usually behave in certain set ways, she deliberately disrupts these "viewing rituals" by projecting images that can only be properly seen by walking over themm lying down, or kneeling."
> listening rituals?   why not mention of listening to the work?  and interestingly, the thing i tried to describe (where i stuck me head up a hole to see "I'm Not the Girl Who Misses Much", is actually an installation piece she describes a abox shaped like the beam of a projector, called "A Peak into The West - A Look into the East (or E-W)".
> "E-W".   hmmm
> regards
> Johannes
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-- Prof. Dr. Sérgio Roclaw Basbaum
-- Vice-coord. Tecnologia e Mídias Digitais
-- Pós-Graduação Tec.da Inteligência e Design Digital - TIDD (PUC-SP)

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