[-empyre-] why if?

Murat Nemet-Nejat muratnn at gmail.com
Wed Mar 28 03:17:07 AEDT 2018


I am essentially a writer, a poet,, an essayist on art (photography and
film), poetry and translation, and a translator from Turkish poetry. Though
indirectly, my writing is very much involved on the effects of technology,
particularly digital technology, on human consciousness. For instance my
poem of 2012 *The Spiritual Life of Replicants *(referring to the
replicants in the film *Blade Runner*) revolves around the question what
finally separates, *if anything*, the human from the android, particularly
if the android develops a consciousness of mortality, as it does in the
film. Or in my next 2016 poem *Animals of Dawn, *I focus on *Hamlet*, on
Hamlet's "delay" to execute his father's revenge expeditiously. The poem
suggests that Hamlet exists in a different time space from other
characters, the move from one zone to the other being extremely difficult.
The ghost's ambiguous injunction to Hamlet to kill his uncle exists in one
time zone. The poem ends with the question: "If Shakespeare had
photoshopped the ghost's image, would it have appeared clearer?," which is
the last line of the sixty-five page poem. Both *The Spiritual Life*
and *Animals
of Dawn* are published by Talisman House.

My poetics is very much involved with the ideas of silence and space
(particularly empty space). In my poetry often words are broken down,
language deconstructed, meaning becoming ambiguous and blurred --in other
words, moving toward a state of noise-- to arrive than empty space where
language loses its its linearity and shoots (in the reader's mind) in
multiple directions.

Julian, I hope this is helpful.


On Mon, Mar 26, 2018 at 2:38 PM, Julien Ottavi <julien at apo33.org> wrote:

> ----------empyre- soft-skinned space----------------------
> Hi Murat
> that sounds interesting, do you have any examples or links to some of your
> explorations? I am really interested!
> you could listen some noise music produced by ants, stratosphere's
> electromagnetic storms, electromagnetic "inaudible" sounds from cities and
> machines...etc http://fibrrrecords.net/doku.php?id=open_recordings
> thanks
> Julien
> Le 26/03/2018 à 19:26, Murat Nemet-Nejat a écrit :
> ----------empyre- soft-skinned space----------------------
> Very interesting post, Julien. My interest in noise is an attempt to
> liberate it from the subjectivity that humans impose on it, defining it
> only as it relates to them. I want to explore "noise's autonomy." Your
> questions in your post also seem to point to the same direction.
> Ciao,
> Murat
> On Mon, Mar 26, 2018 at 1:00 PM, Julien Ottavi <julien at apo33.org> wrote:
>> ----------empyre- soft-skinned space----------------------
>> "Noise: Disorientation, Contamination, and (Non)Communication"
>> Hello everyone,
>> I was just thinking of this subject and I was wondering why do we present
>> noise as a negative concept?
>> Why if noise helped us to direct ourself in our surroundings
>> (Disorientation)?
>> why if noise was a not a virus (contamination) but a way to cure people
>> and nature? or if it was a way to communicate with the universe and the
>> nature?
>> Why if noise was a way to communicate and the signal (being the
>> information) was not the only way of communicated (as in the communication
>> theory)?
>> Also what is noise? In which domain, theory or practices?
>> Are we talking about theory of communication, artistic practices?
>> Are we talking about noise music? or nature's noises such as wind or
>> thunder?
>> If we are talking about music, what kind of noises? white noise, brown
>> noise, pink noise? or saturated sounds? "Concrete" music sounds such as
>> everyday life sounds: squeaky doors, fans, trains, cars, planes, cooking
>> sounds...etc?
>> We don't have to answer all of those questions during this week but at
>> least maybe we could clarify some of them or express what's our interest in
>> this field.
>> For instance, in my case, I am a composer, musician, sound artist...etc.
>> I am using noise-sound in my music but I also make noise music. Noise music
>> does have a positive impact in my life not only in term of production or as
>> a performer but also in the listening of it, specially in concert situation
>> with loudspeakers and sub-woofers to really feeling it.
>> I am also finishing my P.h.D and one chapter is dedicated to this
>> question of the practices of noise music from the perspectives of those who
>> makes it and not only from the academic or the listener point of view.
>> So I am wondering where people stand with those concepts? Beyond your
>> background what's is your interest in the subject and from which
>> perspective are you talking about?
>> best
>> Julien
>> --
>> Composer, Artist, curator and PhD student on new music and network
>> http://www.noiser.org
>> http://www.apo33.org
>> http://www.fibrrrecords.net
>> http://www.apodio.org
>> http://bruitbrut.lautre.net
>> _______________________________________________
>> empyre forum
>> empyre at lists.artdesign.unsw.edu.au
>> http://empyre.library.cornell.edu
> _______________________________________________
> empyre forumempyre at lists.artdesign.unsw.edu.auhttp://empyre.library.cornell.edu
> --
> Composer, Artist, curator and PhD student on new music and network
> http://www.noiser.orghttp://www.apo33.orghttp://www.fibrrrecords.nethttp://www.apodio.orghttp://bruitbrut.lautre.net
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
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