[-empyre-] "stereocena"

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

Hi aLe and
empyre[eans|ats|ors|esses|icists|iors|ics|ists|<null>|ios|ans|os|ates],

Could you tell us more, please, aLe, about "stereocena"?

I don't understand the general idea here of "stereocena". I understand that
it involves net.art, movies, and 'scenic arts', and the below, but I don't
get the general idea of it. I note that the collaboration below with Reiner
is clickable and this leads to various permutations of sound poetry and
accompanying arrangements of visual material. The sound poetry is the main
attraction here, isn't it, once you start exploring it. I wasn't sure what
the syllables actually meant, in some cases, beyond sound poetry, but I
wonder how relevant that is to the meaning of the piece?

I like the idea of "a methodology of incentives for the creative and
emotional completion of a technical space." I can see you have chosen your
words carefully here. This I do understand. I grapple with this myself in my
own work. When work is interactive and, moreover, there is some
construction/deconstruction/activity/combinatorium involved, the question
arises 'what am i supposed to/interested in/drawn to do[ing] to/with this
piece?' The answer usually is 'play with it according to the logic of
interactive possibilities it presents, and bring your previous experience of
what makes things clickable or draggable or keyboard active etc'.

Beyond such basics, though, lies the sort of question I suspect you are
addressing in your notion of "stereocena": implicit in the possibilities of
the construction are unspoken forms--usually involving *playing* the thing
and also sequencing and layering productively--and what we do typically
revolves around the question 'what are we
constructing/deconstructing/doing/playing/reading?'. The answer, in the case
of the below piece, is 'poetry or a poem', is it not?

The notion of the 'unfinished' or 'uncompleted' piece--which calls for
interactivity by the player/wreader to make of it what they will--is
challenging to some of our notions of the condition of art. To think of a
piece as presenting a combinatorium of possibilities dependent on the
player/wreader's actions for its particular manifestation--seems new, at
first, doesn't it, to many people. And they just don't know what to do,
therefore.

But, in a sense, that is a good place to be, sometimes, isn't it. I mean
that fresh experience in art is rarely achieved and is much to be desired.
What we make of unknowing is what we make when challenged. So the question
becomes 'how to engage people in such a challenge?' And, typically, the
general sort of answer is 'give them something where they can create
meaningful/significant/powerful experience and realizations'. But of course
books could be written on this subject.

I interpret your notion of "stereocena" in such a context, aLe, and am
curious about its relation to the above and below (as above so below?)

ja

aLe posted earlier:
"- stereocena::
It is treated of the relevant aspects for a real artistic involvement (among
artists, technique and spectators) in the fantastic atmosphere and
phenomenological among art and no art. There is a reference here to my works
in theater, movies and other partnerships. The stereocena is my concept that
gathers a methodology of incentives for the creative and emotional
completion of a technical space. For instance, for the web art, the actor is
a model (mannequin) that needs to contain an expression/emotion/art that can
be reverse-ordinate and reverse-edited, so much in the technical assembly as
for the spectator in the interactiv.
Then you could check "CARAMBOLA" (STAR FRUIT)
http://nonfinito.de/carambola/
a superb work of Reiner Strasser (Alemenha) with the stereocenic actress
Juliana Teodoro (Brazil), on a my proposal literary-sterocenic calls
"aCaRamBoLa", that it was of forming new words (ideas) on the four syllables
contained in the word CARAMBOLA. Also observe, please, the initial textual
sequence with the explanatory of Strasser."