<div dir="ltr">Hi Caitlin,<div><br></div><div>"<span style="font-size:12.800000190734863px">A small point, following Murat and Julien’s exchange of a few days</span></div><span style="font-size:12.800000190734863px">ago, I wonder also about how noise might produce disorientation as a</span><br style="font-size:12.800000190734863px"><span style="font-size:12.800000190734863px">positive effect.</span><br style="font-size:12.800000190734863px"><br style="font-size:12.800000190734863px"><span style="font-size:12.800000190734863px">This goes to the Situationist practice of dérive through the urban</span><br style="font-size:12.800000190734863px"><span style="font-size:12.800000190734863px">landscape as a means of processing the sensory (visual, aural,</span><br style="font-size:12.800000190734863px"><span style="font-size:12.800000190734863px">tactile) input of the city in such as a way as to disorient, as a</span><br style="font-size:12.800000190734863px"><span style="font-size:12.800000190734863px">means to open up new ways of navigating through the world—..."</span><div><span style="font-size:12.800000190734863px"><br></span></div><div><span style="font-size:12.800000190734863px">Are you familiar with Frank O'Hara's magnificent poem "Sleeping On the Wing" where, walking on the Manhattan street, the speaker's mind wanders from one thing to another, spun by multiple objects, the honking of the car, the pigeon, the doors's slam, including the wind. The poem does very close to, exactly what you are talking about. Here's just a bit of it:</span></div><div><span style="font-size:12.800000190734863px">"... 'Sleep!/ O for a long sound sleep and so forget it!'/ that one flies, soaring above the shoreless city,/ veering upward from the pavement as a pigeon/ does when a car honks or a door slams, the door/ of dreams, life perpetuated in parti-colored loves/ and beautiful lies all in different languages.</span></div><div><span style="font-size:12.800000190734863px"><br></span></div><div><span style="font-size:12.800000190734863px">Fear drops away too, like the cement, and and you/ are over the Atlantic. Where is Spain? where is/ who?..."</span></div><div><span style="font-size:12.800000190734863px"><br></span></div><div><span style="font-size:12.800000190734863px">II.</span></div><div><span style="font-size:12.800000190734863px">"</span><span style="font-size:12.800000190734863px">It seems like you are after something similar, Murat, when you</span></div><span style="font-size:12.800000190734863px">describe your poetry as reaching for the point in which language is</span><br style="font-size:12.800000190734863px"><span style="font-size:12.800000190734863px">broken down so that meaning is rendered ambiguous—not erased, but</span><br style="font-size:12.800000190734863px"><span style="font-size:12.800000190734863px">rather (as you wrote) to “shoot in multiple directions.”</span><div><span style="font-size:12.800000190734863px"><br></span></div><div><span style="font-size:12.800000190734863px">The last part of this quotation is true for my poetry in the last fifteen years or so: "shoot in multiple direction." Not a poetry of statements, but of movement. Language, meaning become pure motion, what I call in <i>Eda </i>anthology, "a poetry of motion." A lot of translations in <i>Eda: An Anthology of Contemporary Turkish Poetry </i>and the poems <i>The Spiritual Life of Replicants</i> and <i>Animals of Dawn</i> in their totalities embody this poetry. </span></div><div><span style="font-size:12.800000190734863px"><br></span></div><div><span style="font-size:12.800000190734863px">Ciao,</span></div><div><span style="font-size:12.800000190734863px">Murat<br></span><div><span style="font-size:12.800000190734863px"><br></span></div><div><span style="font-size:12.800000190734863px"> </span></div></div></div><div class="gmail_extra"><br><div class="gmail_quote">On Thu, Mar 29, 2018 at 1:51 PM, Caitlin Woolsey <span dir="ltr"><<a href="mailto:caitlin.woolsey@gmail.com" target="_blank">caitlin.woolsey@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
A small point, following Murat and Julien’s exchange of a few days<br>
ago, I wonder also about how noise might produce disorientation as a<br>
positive effect.<br>
<br>
This goes to the Situationist practice of dérive through the urban<br>
landscape as a means of processing the sensory (visual, aural,<br>
tactile) input of the city in such as a way as to disorient, as a<br>
means to open up new ways of navigating through the world—both<br>
literally as well as creatively and symbolically<br>
(<a href="https://goo.gl/images/sM7TmE" rel="noreferrer" target="_blank">https://goo.gl/images/sM7TmE</a>)<wbr>. Or even détournement, appropriating<br>
image/text material and turning it back on itself--not to eliminate<br>
meaning, or to eliminate noise--but rather to produce a kind of visual<br>
or semantic feedback, which in turn would be more free, more complex,<br>
more heterogeneous (at least in theory).<br>
<br>
It seems like you are after something similar, Murat, when you<br>
describe your poetry as reaching for the point in which language is<br>
broken down so that meaning is rendered ambiguous—not erased, but<br>
rather (as you wrote) to “shoot in multiple directions.”<br>
<br>
<br>
caitlin<br>
<br>
<br>
Caitlin R. Woolsey<br>
Yale University<br>
PhD candidate in History of Art<br>
<a href="http://www.caitlinwoolsey.com" rel="noreferrer" target="_blank">www.caitlinwoolsey.com</a><br>
<br>
<br>
<br>
<br>
On Tue, Mar 27, 2018 at 12:17 PM, Murat Nemet-Nejat <<a href="mailto:muratnn@gmail.com">muratnn@gmail.com</a>> wrote:<br>
> ----------empyre- soft-skinned space----------------------<br>
<div class="HOEnZb"><div class="h5">> Julian,<br>
><br>
> 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.<br>
><br>
> 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.<br>
><br>
> Julian, I hope this is helpful.<br>
><br>
> Ciao,<br>
> Murat<br>
><br>
> On Mon, Mar 26, 2018 at 2:38 PM, Julien Ottavi <<a href="mailto:julien@apo33.org">julien@apo33.org</a>> wrote:<br>
>><br>
>> ----------empyre- soft-skinned space----------------------<br>
>><br>
>> Hi Murat<br>
>><br>
>> that sounds interesting, do you have any examples or links to some of your explorations? I am really interested!<br>
>><br>
>> you could listen some noise music produced by ants, stratosphere's electromagnetic storms, electromagnetic "inaudible" sounds from cities and machines...etc <a href="http://fibrrrecords.net/doku.php?id=open_recordings" rel="noreferrer" target="_blank">http://fibrrrecords.net/doku.<wbr>php?id=open_recordings</a><br>
>><br>
>> thanks<br>
>><br>
>> Julien<br>
>><br>
>><br>
>> Le 26/03/2018 à 19:26, Murat Nemet-Nejat a écrit :<br>
>><br>
>> ----------empyre- soft-skinned space----------------------<br>
>><br>
>><br>
>><br>
>> 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.<br>
>><br>
>> Ciao,<br>
>> Murat<br>
>><br>
>> On Mon, Mar 26, 2018 at 1:00 PM, Julien Ottavi <<a href="mailto:julien@apo33.org">julien@apo33.org</a>> wrote:<br>
>>><br>
>>> ----------empyre- soft-skinned space----------------------<br>
>>> "Noise: Disorientation, Contamination, and (Non)Communication"<br>
>>><br>
>>> Hello everyone,<br>
>>><br>
>>> I was just thinking of this subject and I was wondering why do we present noise as a negative concept?<br>
>>><br>
>>> Why if noise helped us to direct ourself in our surroundings (Disorientation)?<br>
>>> 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?<br>
>>> 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)?<br>
>>><br>
>>> Also what is noise? In which domain, theory or practices?<br>
>>> Are we talking about theory of communication, artistic practices?<br>
>>> Are we talking about noise music? or nature's noises such as wind or thunder?<br>
>>> 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?<br>
>>><br>
>>> 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.<br>
>>><br>
>>> 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.<br>
>>> 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.<br>
>>><br>
>>> 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?<br>
>>><br>
>>> best<br>
>>><br>
>>> Julien<br>
>>><br>
>>><br>
>>> --<br>
>>> JULIEN OTTAVI<br>
>>> Composer, Artist, curator and PhD student on new music and network<br>
>>><br>
>>> <a href="http://www.noiser.org" rel="noreferrer" target="_blank">http://www.noiser.org</a><br>
>>> <a href="http://www.apo33.org" rel="noreferrer" target="_blank">http://www.apo33.org</a><br>
>>> <a href="http://www.fibrrrecords.net" rel="noreferrer" target="_blank">http://www.fibrrrecords.net</a><br>
>>> <a href="http://www.apodio.org" rel="noreferrer" target="_blank">http://www.apodio.org</a><br>
>>> <a href="http://bruitbrut.lautre.net" rel="noreferrer" target="_blank">http://bruitbrut.lautre.net</a><br>
>>><br>
>>> ______________________________<wbr>_________________<br>
>>> empyre forum<br>
>>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
>>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.<wbr>edu</a><br>
>><br>
>><br>
>><br>
>><br>
>> ______________________________<wbr>_________________<br>
>> empyre forum<br>
>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.<wbr>edu</a><br>
>><br>
>><br>
>> --<br>
>> JULIEN OTTAVI<br>
>> Composer, Artist, curator and PhD student on new music and network<br>
>><br>
>> <a href="http://www.noiser.org" rel="noreferrer" target="_blank">http://www.noiser.org</a><br>
>> <a href="http://www.apo33.org" rel="noreferrer" target="_blank">http://www.apo33.org</a><br>
>> <a href="http://www.fibrrrecords.net" rel="noreferrer" target="_blank">http://www.fibrrrecords.net</a><br>
>> <a href="http://www.apodio.org" rel="noreferrer" target="_blank">http://www.apodio.org</a><br>
>> <a href="http://bruitbrut.lautre.net" rel="noreferrer" target="_blank">http://bruitbrut.lautre.net</a><br>
>><br>
>><br>
>> ______________________________<wbr>_________________<br>
>> empyre forum<br>
>> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
>> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.<wbr>edu</a><br>
><br>
><br>
><br>
> ______________________________<wbr>_________________<br>
> empyre forum<br>
> <a href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.<wbr>edu.au</a><br>
> <a href="http://empyre.library.cornell.edu" rel="noreferrer" target="_blank">http://empyre.library.cornell.<wbr>edu</a><br>
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