[-empyre-] Starting the Fourth Week: Chris Funkhauser, Sally Silvers and Bruce Andrews

Murat Nemet-Nejat muratnn at gmail.com
Thu Nov 24 08:00:31 AEDT 2016


"Murat, I am thinking of those terms (finitude, imperfection, ordinary) in
the same light as Agamben's *irreparable*. "Irreparable means that these
things are consigned without remedy to their being-thus, that they are
precisely and only their *thus . . . a*nd that in their being-thus they are
absolutely exposed, absolutely abandoned." "

Michael, yes. Quite close to what I mean by "gaps," "loose ends,"
"open-endedness" (in terms of final answers) discussing the term with Chris.

Ciao,
Murat

On Wed, Nov 23, 2016 at 11:39 AM, Michael Boughn <mboughn at rogers.com> wrote:

> ----------empyre- soft-skinned space----------------------
> Murat, I am thinking of those terms (finitude, imperfection, ordinary) in
> the same light as Agamben's *irreparable*. "Irreparable means that these
> things are consigned without remedy to their being-thus, that they are
> precisely and only their *thus . . . a*nd that in their being-thus they
> are absolutely exposed, absolutely abandoned."
>
> On Tue, Nov 22, 2016 at 7:28 PM, Murat Nemet-Nejat <muratnn at gmail.com>
> wrote:
>
>> ----------empyre- soft-skinned space----------------------
>> But, Michael, are ordinary and imperfect the same thing?
>>
>> Murat
>>
>> On Tue, Nov 22, 2016 at 5:47 PM, Michael Boughn <mboughn at gmail.com>
>> wrote:
>>
>>> ----------empyre- soft-skinned space----------------------
>>> Finitude (Agamben) and imperfection are the defining qualities of the
>>> ordinary, which, Emerson tells us, we have yet to acknowledge as our
>>> condition. Hence we keep screwing up.
>>>
>>> Sent from my iPad
>>>
>>> On Nov 22, 2016, at 3:35 PM, Murat Nemet-Nejat <muratnn at gmail.com>
>>> wrote:
>>>
>>> ----------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.
>>>
>>> Ciao,
>>> Murat
>>>
>>> On Tue, Nov 22, 2016 at 9:46 AM, Funkhouser, Christopher T. <
>>> christopher.t.funkhouser at njit.edu> wrote:
>>>
>>>> ----------empyre- soft-skinned space----------------------
>>>>
>>>>
>>>> Murat: nice intro, thanks. I'm humored by your recollection of the St.
>>>> Marks event. We were, however, definitely at a table in the Parish
>>>> Hall--though we may as well have been in a tent! Until about 1998 I was
>>>> often invited to perform at the Poetry Project, but since then, not once!
>>>> This nearly coincides with when I started teaching in Newark, oddly enough.
>>>> Being an academic at a middle-class state school has its perks but probably
>>>> also its downsides (at least in terms of getting gigs at the PoProj).
>>>>
>>>> We have known each other a long while, had many exchanges & social
>>>> adventures. I've recorded & produced your work on CD, CD-ROM, etc., etc. &
>>>> yet after all that there's a typo in my name in the subject line
>>>> here--which is fine, considering I have no belief in perfection. (& I have
>>>> never cared about the spelling of my last name, which is already a
>>>> bastardization of the original--in fact your spelling is true to the
>>>> original but is not what appears my birth certificate!). From my pov there
>>>> are only a few things in life that require perfection, one of which is
>>>> computer code. Thankfully the corporations in charge make it so that most
>>>> people never have to deal with code, how nice. I had dinner with an
>>>> architect the other night, who was explaining even his plans didn't have to
>>>> be perfect (which I thought was strange). Building designs can be
>>>> imperfect, code can't! So maybe the certainly possible (imo) "exchange" you
>>>> ask Bruce about is a dialog between algorithm/perfection) &
>>>> human/imperfection. I like that, something like that, think like that.
>>>> Towards cyborgian synthesis, yah.
>>>>
>>>> I believe that we are supposed to start off by posting a statement (&
>>>> bio?), so OK, here:
>>>>
>>>> Call what I do research. On a couple of occasions I’ve stepped up &
>>>> presented books that helped me & hopefully others understand the world of
>>>> digital writing from a historical perspective. *Prehistoric Digital
>>>> Poetry *(https://monoskop.org/log/?p=179), a dozen years in the
>>>> making, was done with the intent that it would outlast me. It will. Most of
>>>> the time, though, I’m a momentary doer/maker rather than a sayer...
>>>>
>>>>
>>>> Beyond life as poet & multimedia artist I play various musical
>>>> instruments, mainly bass (& some voice), in an unnamed completely
>>>> improvisational trio, which is such a potent form of expression. This is
>>>> part of what I had to say with them last friday, in our first post-election
>>>> jam:
>>>>
>>>>
>>>> https://soundcloud.com/fnkhsr/edge
>>>>
>>>>
>>>> My work in audio production, documentarian & artistic, started in the
>>>> late 80s & continues—I’m a contributing editor at PennSound, & earlier this
>>>> year I performed a sound collage at the Whitney Museum’s Open Plan: Cecil
>>>> Taylor exhibit (Fred Moten & I also hosted a listening session at the
>>>> event).
>>>>
>>>> Since early this summer I’ve been working intensively with Chuck Stein,
>>>> who I’ve known since 1992. We recorded more than 18 hours of his poetry (a
>>>> retrospective anthology), phase one of a project on its way to PennSound
>>>> (part two will be Chuck reading all of Olson’s *MAXIMUS*, apparently
>>>> from back to front). In 2015 I did a similar project with Peter Lamborn
>>>> Wilson, recording 600 of his poems for PennSound (
>>>> http://writing.upenn.edu/pennsound/x/Wilson.php).
>>>>
>>>> About a year ago I was lucky to get a grant from my employer, NJIT, to
>>>> fund research in interactive digital audio (under the title “Expressive and
>>>> Documentary Interactive Audio in the Humanities”). I’ve been playing and
>>>> performing with MIDI (Musical Instrument Digital Interface) since
>>>> 2010, & recently I invented a way for my voice to trigger orchestral
>>>> instrumentation, which was a significant breakthrough. Haven’t brought this
>>>> material out of the woodshed yet, though recently a piece was supposed to
>>>> be played as part of a program at the Dorsky Museum in New Paltz that
>>>> didn’t end up happening as planned. Perhaps I should use the occasion of
>>>> this discussion to go public with it.
>>>>
>>>>  Another relevant work to this part of my life is *Funk’s SoundBox
>>>> 2012*, archiving most of the recordings I made over the course of a
>>>> year in one web-app, which was nominated for a 2013 Digital Humanities
>>>> Award & is housed at https://web.njit.edu/~funkhous/chercher/home.html.
>>>>
>>>>
>>>> I guess lastly, for now, I wanted to mention I do a monthly literary
>>>> arts radio program on WGXC, community station in Hudson NY (sponsored by a
>>>> fantastic organization named Wave Farm). On most occasions local poets come
>>>> in, read, & we talk. Gratifying work. Since last October I’ve done programs
>>>> centered on Allen Ginsberg, Sam Truitt, Anne Gorrick, Andy Clausen, Pamela
>>>> Twining, Bernadette Mayer, Philip Good, Lori Anderson Moseman, Chuck Stein,
>>>> Robert Kelly, Joan Rettalack, Cecil Taylor, George Quasha, Rebecca Wolff,
>>>> Tim Davis, Amiri Baraka, & Lee Gough. Archives of those programs are
>>>> available via https://wavefarm.org/wgxc/schedule/ya0aha
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> *Chris Funkhouser: author of Prehistoric Digital Poetry: An Archeology
>>>> of Forms, 1959-1995 (Alabama, 2007), New Directions in Digital Poetry
>>>> (Continuum, 2012), Whereis Mineral: Selected Adventures in MOO (Gauss PDF),
>>>> the chapbooks pressAgain (Free Dogma), Subsoil Lutes (Beard of Bees), and
>>>> Electro Þerdix (Least Weasel). With Sonny Rae Tempest he co-authored and
>>>> twice staged a "code opera", Shy nag, whose source was the hexadecimal code
>>>> of a single .jpg image (see
>>>> https://web.njit.edu/~funkhous/2015/Shy-nag/shy-nag-info.html
>>>> <https://web.njit.edu/~funkhous/2015/Shy-nag/shy-nag-info.html> for details
>>>> and documentation). He was a Visiting Fulbright Scholar at Multimedia
>>>> University (Malaysia) in 2006. In 2009, the Associated Press commissioned
>>>> him to prepare digital poems for the occasion of Barack Obama’s
>>>> inauguration.  Funkhouser is Professor and Director of the Communication
>>>> and Media program at New Jersey Institute of Technology, a Contributing
>>>> Editor at PennSound, and hosts POET RAY’D YO on WGXC in Hudson, NY.*
>>>>
>>>>
>>>>
>>>> _______________________________________________
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>>>> http://empyre.library.cornell.edu
>>>>
>>>
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>>
>>
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