Re: [-empyre-] RE: Alan Sondheim

[Alan Sondheim <sondheim@panix.com>]

On Sat, 8 Feb 2003, Felix Sattler wrote:

> I guess it makes sense to apply that thesis not only to power circuits
> but also to social structures between people involved. Though I guess
> the analogy here is pretty obvious I still think that when dealing with
> collaborative art especially curators and organisers (including myself
> who learned a lot from the lab) should focus more on this aspect then on
> the technical details; i.e. we spend quite a time organising voltage
> converters for all the global equipment and then placed our global
> artists in a remote hotel at the outskirts of Weimar not really thinking
> of the consequences to the social level.
>
> Felix
>

- One might also deconstruct 'source' and its implications of origin (in
the sense of a vector or ray) - I think (using Irigaray's thinking) that
we could use a model from fluid mechanics, in which flows are continuous,
unlimited, holarchically and fuzzily connected. In other words, we're part
and parcel of continuities; while there is certainly source code, the
source has a history of developments, borrowings, patchings, versions,
developments, languages, histories of languages, interpreters, compilers,
operating system substrates, etc. etc. etc. - these can be considered
temporary nodes, intensifications, impediments, momentary campings - the
whole a nomadic enterprise of development, continuity, temporality -

at least in that fashion, issues of priority, intellectual property, etc.,
are contextualized only as flows of documents - and phenomenologically,
one might be more in tune with a world that doesn't insist on the birth
and death of objects, so much as flux, processes, etc. -

- Alan