[-empyre-] [true/false] states

[jonCates <joncates@criticalartware.net>]

bensyverson wrote:
>  >As an example, anyone who has spent any time in the United States 
> can easily see how reality is >warped in the news media 
> (particularly TV news).

...

>  >If these organizations were subject to total and automatic 
> interconnection, they would not be able to so >easily bend the truth 
> to fit an entertainment format. Incorrect or incomplete information 
> is hard to get >away with in a scenario like that.

i agree w/ben that [community based/decentralized] models 
[encourage/enable] ongoing [alterations/revisions] to false [+/or] 
misleading nfo, however, this dynamic can also be easily reversed 
increasing the [confusion/uncertainty/deceptiveness] of the nfo.

we should resist the impulse to make greater truth claims due to our 
decentralized + community-oriented [approach/structure]. doing so 
risks our enthusiasm being mistaken for technosocial positivism.

bensyverson wrote:
>  >liken provides a hostile climate for [mis/dis]information, while 
> simultaneously providing a fertile >climate for informed 
> [debate/discourse/expression], and that is truly radical.

liken is not necessarily a corrective to [false/inaccurate/baseless] 
truth claims but certainly a decentralized + community-oriented 
[approach/structure] addressing these problematics. liken 
specifically + criticalartware generally [allows/encourages] parallel 
[her/hi]stories, the kind of which Sherry Miller Hocking describes in 
our interview...

"... I think that not just with image processing but with all of 
video, there are a lot of people who've been working and did work 
that were really important people in the early days, who are not in 
the books, or are in one of the books, or have a  whole lot of 
catalogues put out, but they still didn't make the text books. And 
what I find in the university situation and now in even K through 12 
situation is that people don't know the history, and its only in some 
senses that it seems foolish to me to worry about a history that is 
really only about 35 years old, if you just talk about media. I mean 
obviously if we talk about the art historical antecedents it's a 
bigger idea, but if you just stick to media and video, its not that 
long. But there there's been a real failure on the part of the 
working community to put forward those parallel histories. Part of it 
is just what happens when, within the art world, people get singled 
out and chosen. They become stars in the field and that then becomes 
the history. Which is one of the histories, no doubt about it, but 
there are also other things that happen that I believe are as 
important. It's all important and part of a true and accurate 
picture."

-  Sherry Miller Hocking discussing the Video History Project

in Sherry's comments she equates truth + accuracy w/an availability 
of [multiple/parallel] hystories rather than the establishment of 
unshakable absolutes or pedantic documents. this model of truth + 
accuracy in hystorical projects resonates w/me personally + 
criticalartware collectively b/c it embraces variance, oscillation, 
inconsistency, disruption, openness + multiplicities as positive 
factors in a hystorical process.

recently, we collaboratively wrote sum text from which the following 
chunk is [taken/adapted] that applies to this thread:

criticalartware [recognizes/relies] on the "critical and fictive" 
[relationship/dynamic] between "history" + historical descriptions. 
criticalartware emphasizes the narratives 
[told/conceived/constructed] by our 
[interviewees/participants/contributors] as a main structuring 
element in our [activities/efforts]. in our very early stages of 
development of the [application/platform], we committed to following 
the flows of contribution from any + all [interviewees/participants] 
+ allowing for these flows to shape criticalartware in concert with 
our own [articulations/expressions/desires].

--
//jonCates
 ---> criticalartware coreDeveloper
http://www.criticalartware.net