RE: [-empyre-] LANGUAGE, STEREOCENA, SPACES, INTERNET

["Jim Andrews" <jim@vispo.com>]

> Anybody know what is::: uoieabc-z?

a piece named lowevz alphabot+?

> Here in -empyre -, we are using an identical alphabet, but the
> order of
> fit of these graphic symbols limits us the language.
> ((Do you see how my English is bad? - You can laugh!!! I am a clown))

ha! your english is definitely yours, aLe. distinctive and suggestive.
poetic in a way that reconstructs english into suggestive indeterminacy.

> The language organizes the thought in a way narrative, lineal...
> But our ideas flow in put upon jumps...

and flows upon in put

> And I am thinking about Portuguese, you in English, the other in
> French...
> I think the art about the relationship among the people, not in the
> communication among people.

and in spaces like these--in net.work also--this is a matter of language
through the dimensions of language. A mixture of different languages and
also a particular range of voices in portuguese/english, for instance, or
english/portuguese. english/portuguese (written/native) i see opens into the
philosophical in your writing and also indeterminacy of semantics. yet the
indeterminacy is bounded above by the possible semantics of the concerns. a
bounded combinatorium of possibilities.

"
> I think the art about the relationship among the people, not in the
> communication among people.
"

an interesting distinction.

it's both, though, isn't it? the communication among people reveals part of
the relationship among people. both shape the art and what the art is about.

> With my art I want to motivate your imagination. You won't think
> in that Alexandre wants to say, you should think their own sensations,
> then we will have that international artistic relationship.

Well said! And we do!

> Then you until can think and to feel in Japanese, with their
> ideograms.

many toes upon the lightbulb.

> When I notice that my box's of cigarettes paper is more luxurious
> that the layer of my best books, I feel in the garbage.
> It is the POP culture that it is exhausted in sensations of postmodern,
> postindustrial...

Is pop dead or breathing but haltingly, resusitated momently, bardo 54, long
bardo 54? me[g|di]aphone: 'Calling all cars in bardo 54. Come out with your
hands up. You are dead and will shortly be chopped up and reborn.' did you
ever see that tv show? maybe it's that way with pop?

> I see many artists making art as scouts (always alert!!!;) So
> many want to
> show a good action and to communicate politicized ideas. It is hopelessly
> that exhausts to himself in a dance in circles of mirrors that doesn't
> reflect anything else.

That's interesting.

It's true, isn't it, that 'good works' are the damndest things, aren't they?
And yes, 'good scouts' are sometimes quite conventional. art is easily
subordinated to politics even by some artists (and more or less never the
other way around by politicos). political "relationship among the people"
is, as you say, not so much "in the communication among people" as in the
"relationship among the people", not necessarily a face-to-face thing but
also this way or on sites or via film or performance or other experiences of
art or other cultural exchange of language/image/ide[a|o|i|olo|ax]gram.

So too in the art, as you say, in which the experience of the art is not so
much in communication among people as in the relationships among people.
Still, it's pretty 1 to 1, at some point, the experience and the work, at
least there is communication between people and work, at some point, or the
show's over, eventually :)  Yet it isn't necessarily a communication between
people and people as people and piece, as you say? The dead and the
disembodied take strangel (strange|strangle) flight in art and other memory
spheres.

> There is something of rotten in the den-market, yes, inside of
> this earth,
> it grows as a mushroom a postcommercial movement. But in the
> beginning is not
> verb (nor the grammatical), nor the geographical limits (nor
> political).
> It is an art hidden, rare, for few people, and only created for you that
> understands this with your " personal archeology " (ideagrams).

You point at the source to be known through "personal archeology". Yes,
that's true, isn't it, the sources we come up with on/of our own, often
shared, but from different angles in view and also different views.

> If somebody, like you (that reads in English), has some effort to
> understand
> some language inside of my work, maybe it is good to know that
> this is not
> also easy in Portuguese (you that is Brazilian understand the
> poem in DZG?).

When I do not understand words or other language, I look first for language
I do understand (wordly or otherwise).

Although I did not gronk the written language in
http://www.eale.hpg.com.br/2002/dzg much, the visuals and the yin-yang
ideagram combine with sex and big bang sound (which is somewhat interactive,
right, via clicking on the top and bottom rectangles?) builds from abstract
to concrete in an engaging and high-energy way.

> I am rejecting any instituted language.

Ha! Keep up the good work!

> You that reads in English did you already see some thing of Babel
> (ideagrams)?
> http://www.babel.ca/

But of course. http://www.cddc.vt.edu/host/404/strangel.htm is beautifully
strangel. The music is gorgeous and the collaboration of binnorie/babel
could be binary fable.  And the 'view all' menu of  http://www.babel.ca
leads to an impressive body of work. babel of cacanadadada (a fellow
countryman).

Have you seen http://netart.org.uy by Uruguay's Brian Mackern? This is
another site rich in delight of strangel language. I am particularly drawn
to the sound toys; it is a vasty site by someone who has made their site a
central part of their art for several years.

> You could also check a metaphor English of " ideiograma "
> of punk / powder-punk / commercial / post-commercial
> " Anarchy In The UK " by 386DX (Alexei Shulgin)
> http://www.epitonic.com/artists/386dx.html
> http://www.easylife.org/386dx/

The epitonic.com link is interesting to me. They distribute a relatively
unusual range of new music legally and without much cost for the newbie.
Great that it includes Alexei Shulgin's 386dx!

Thanks for the great post, aLe! Your thoughts on language and art are bold
and exciting!

ja