[-empyre-] Starting the Fourth Week: Chris Funkhauser, Sally Silvers and Bruce Andrews
muratnn at gmail.com
Thu Nov 24 07:45:17 AEDT 2016
Hi, Chris, let me tryl to tackle one or two things you are saying:
"Personally I see imperfect ion & failure as 2 different things: failure
implying having (set) a specific objective to achieve ( in advance ) & not
being able to reach it, imperfection means things didn't go as
planned/expected, perhaps as result of human error. "
But how often starting a work of art do we no where we are going (at least
the kind of work I assume interests you and me)? We evolve, basically try
to discover the work. In that way, intention is not a useful concept for
me. To me failure has to do with gaps in a work, loose or unexplained parts
though the work is presented as complete. In that way, failure is related
more to a lack of total answer.
What is interesting in what you do is that, while you "accept" the absolute
perfection of the code, a lot of the artists that interest you and you get
deeply involved with, including your own projects, are open ended,
improvisational, "evanescent" so to speak, such as Cecil Tayloror the
wonderful piece of music "Wedge" you linked us to in your post.
In what relation do you see the perfection of the digital code (its
"unforgiving" divine reality :) ) and your improvisational aesthetics? I
know in in your book you say that the poetry created digitally is
essentially ephemeral, and the artist must acknowledge it.
"I was thinking about glitch after my post yesterday, but even in something
that is glitch (in any form), the code functions properly. usually these
works are aberrations imposed by composer, hardware, or software. but it is
the surface that contains something unexpected/distorted. the code is *able
*to do what it is instructed/informed to do. glitch is a great cyborgian
form, whether intentionally created, or not.."
To me, Chris, the above passage reminds me of Medieval (Christian)
discourse on God and the existence of evil-- ☺
God's design is often inscrutable, but always there. Humanity can only
experience the surface --and sees evil (unexpected/distorted): "What is the
difference between God and virtual God?" "Virtual God is real." It's the
Could you elaborate on the following sentence: "glitch is a great cyborgian
form, whether intentionally created, or not.."
On Wed, Nov 23, 2016 at 3:15 PM, Murat Nemet-Nejat <muratnn at gmail.com>
> Hi Sally,
> Amazing the spelling errors I made. I just apologize. Yes, Marat! I even
> had problems with my name in Turkey. Being in the original a Iranian name,
> the "Nemet" part of my family name is very unusual in Turkey also. Because
> of that, it was consistently miss[elled as "Mehmet" which is a very common
> Turkish name. As Chris said, the spelling of names are very fluid and
> fungible. My father, my brother and myself each spell our family name
> differently. This is partly due to the sound shift in names that occurs
> from Iranian to Turkish. "D"s become "t"s. Having born in Iran, my father
> kept the "d" sound, etc., etc. I can go on forever on that subject.
> Thank you very much for your response to my comments on your dancing. I
> wrote them with some trepidation. I am not an expert on dancing. I wrote
> about what struck me in your dancing. Critics are sometimes caught in their
> habits, within the reference points from which they come. I am glad that my
> words made a difference for you.
> Starting with my essay *The Peripheral Space of Photography*, the
> majority the work I do starts with a response to something else, a film *The
> Spiritual Life of Replicants*), a play (*Animals of Dawn*), photographs,
> someone else's writings ("Eleven Septembers Later: *Film Lumiere*,
> Readings on Benjamin Hollander's *Vigilance*), etc. In that way, they are
> collaborations. In fact, translations from Turkish poetry and the poetics
> of *Eda* I developed from them, constitute an extended collaboration
> with/ meditation on the Turkish language.
> I think you will find Chris's work multi-faceted, always developing, in
> fascinating ways full of contradictions.
> Looking forward to further exchanges with you and others.
> On Wed, Nov 23, 2016 at 10:11 AM, Funkhouser, Christopher T. <
> christopher.t.funkhouser at njit.edu> wrote:
>> ----------empyre- soft-skinned space----------------------
>> We were in the back room at St. Marks, where most of the readings/talks
>> are held, which I may have flubbed the name on. It has been a really long
>> time since I've been there!
>> Personally I see imperfect ion & failure as 2 different things: failure
>> implying having (set) a specific objective to achieve ( in advance ) & not
>> being able to reach it, imperfection means things didn't go as
>> planned/expected, perhaps as result of human error.
>> I was truly enthused about working with the NJIT/Rutgers-Newark Theatre
>> Dept. on a production of the code opera Sonny Rae Tempest composed once I
>> heard Director Louis Wells' motto, "we're not afraid to fail". to me this
>> meant they were willing to take risks, & if it didn't work out, so be it.
>> new, exciting things might get born this way. the code opera is Pretty
>> usual & ridiculous, VERY Dada, & the first musical scores we rendered were
>> awful (white noise). I was imagining we might empty the house in 3-5
>> minutes, so it was good & liberating to work w/someone who took this
>> I was thinking about glitch after my post yesterday, but even in
>> something that is glitch (in any form), the code functions properly.
>> usually these works are aberrations imposed by composer, hardware, or
>> software. but it is the surface that contains something
>> unexpected/distorted. the code is *able *to do what it is
>> instructed/informed to do. glitch is a great cyborgian form, whether
>> intentionally created, or not...
>> It may be that my architect friend was saying that things minor
>> adjustment could be required or made in the construction phase. He's not
>> the lazy sort, I'll have to ask for an elaboration some time.
>> On Tue, Nov 22, 2016 at 3:35 PM, Murat Nemet-Nejat <muratnn at gmail.com>
>>> ----------empyre- soft-skinned space----------------------
>>> Chris, I apologize for the typo. I was writing the introduction six
>>> o'clock in the morning since I had to be at Kennedy Airport very early. And
>>> I did use "tent" metaphorically, but are you sure it was inside Parish
>>> Hall? I remember it being somewhere in the boondocks. Like quite a few
>>> others, I seem to have disappeared from the PoPro list a few years ago
>>> also. Finally, I attributed my case to bad breath.
>>> Yes, perhaps the final struggle is "between algorithm/perfection) &
>>> human/imperfection." We should pursue it further on. But in *Blade
>>> Runner*, even the super human androids are imperfect. They must die.
>>> That is the pathos of that film, and also perhaps our ultimate salvation.
>>> If you have followed the discussions the previous weeks this month, I was
>>> talking about the possibility of a poetics of "failure" or "inefficiency"
>>> which may be close to what you mean by ?imperfection." We were also
>>> discussing about "glitches" in the algorithmic structures. You say that can
>>> not be. Do you mean they are impossible or not permitted?
>>> What that architect was telling you sounded more like "laziness," an
>>> over trust of machines. That's why so many buildings are, as Jean Renoir
>>> says, boring.
>>> Good beginning. Welcome to Empyre, Chris.
>> Dr. Christopher T. Funkhouser
>> Program Director, Communication and Media
>> Department of Humanities
>> New Jersey Institute of Technology
>> University Heights
>> Newark, NJ 07102
>> funkhous at njit.edu
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
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