Re: [-empyre-] Re: Subject: inscribing of characters on an interf ace

[marcus bastos <bastos.marcus@gmail.com>]

<<I wonder if this is like the way musicians have proclivities for different
instruments? To one person, the vibration of the violin against the
collarbone is soothing, to another it can even be painful. Or the blowing of
a brass instrument is energising for one, exhausting for another.>>
This is interesting. Another point would be how people react to the
physical qualities of the instruments. Maybe this could be thought of
as the proxemics of devices: instead of studying how people react to
different environments, trying to  understand how people react to
different devices, such as musical instruments, computers, etc. It
would be fascinanting to learn a bit more about how this shapes human
behaviour, does anyone have more information about it?


best
On 10/6/05, Sue Thomas <Sue.Thomas@dmu.ac.uk> wrote:
>  Marcus,
>
> You have an interesting point here. I've spoken with many people about their
> experiences of writing and reading online, and a common theme is the way the
> necessary interaction with the machine - keyboarding, mouse, physical
> position and location - all disrupt their interaction. For some, this
> interference increases their pleasure, but for others they are
> insurmountable intrusions into the relationship with the text/work/activity.
> In other words, for some, the 'undisciplining of the body' is desirable, for
> others it isn't.
>
> Indeed, a common complaint is that interaction with the machine frees people
> from stillness when they have no wish to be freed.
>
> I wonder if this is like the way musicians have proclivities for different
> instruments? To one person, the vibration of the violin against the
> collarbone is soothing, to another it can even be painful. Or the blowing of
> a brass instrument is energising for one, exhausting for another.
>
> For myself, I feel most complete when I am at my keyboard and online. My
> computer is my musical instrument, and I am transported by it. But I do
> appreciate that for many people the opposite is true.
>
> Sue
>
>
>
> -----Original Message-----
> From: marcus bastos
> To: soft_skinned_space
> Sent: 10/6/2005 6:35 AM
> Subject: Re: [-empyre-] Re: Subject: inscribing of characters on an
> interface
>
> Dear Simon,
>
> when you mention "redundancy as a limit body-experience of text", I
> immediately remember of Jacques Rancière´s "The flesh of words:
> politics of writing". At this text, Rancière argues that writing
> limits body experience, since it obliges the writer to be still for a
> reasonable period of time — and, he states, this stillness molds his
> actions. For Rancière, this process of fixing the body in a given
> position is more responsible for molding a certain kind of individual
> than the words and concepts he learns by acquiring language, given
> that his body learns to obey before his mind learns how to think about
> disobedience. Do you think the experience of writing with aid of
> digital interfaces frees the body and, as a consequence, the mind,
> from this stillness? Are digital interfaces capable of, so to say,
> "undisciplining" the body?
>
>
> On 10/5/05, Simon Taylor <swht@clear.net.nz> wrote:
> > Marcus Bastos wrote:
> > "Juxtaposition seems to be
> > crucial here, but I am not sure if those flows of images are as
> > controllable as we imagine."
> > coming in at the end of this particular beginning, I would like to
> highlight
> > the foregoing as a juncture in thought about the what is not left as
> its
> > trace is untraceable in digital ecriture. First, to say, there is a
> > summoning herein of the mystique of erasure - as it stands in Western
> > meaning-creation. Second, to say that the privilege of transmitting
> thought
> > as writing 'mind to mind' digitally might be deliberated in principle
> as
> > contradiction: as we all know the enabling thought behind any thought
> in the
> > history of this mediation of the code-digital lies in infomation
> theory's
> > encoded redundancy of meaning-creating and signification. Far be it
> for me
> > to depart from the idea of meaning-flows but I think there is a
> > performative, enunciative limit-base to meaning-creation, which
> demands risk
> > rather than redundancy as a limit body-experience of text. This is not
> to
> > get logged down in the visuality syndrome of phallogocentrism, rather
> to
> > rise up to greet limit-experience as corporeally composed - and
> discomposed.
> >
> > As a juncture controllability seems to belie a pathology of
> signifiance of
> > surfeit meaning-creation, a decadence, if you will - a breath that is
> > shorter than its reach - in line, in play - a distinguishable
> control-limit
> > to flow dynamic and a sign to regime change - whether willed or not -
> in
> > game.
> >
> > The stuff being moved - to invoke a physics model - relies on an
> absolute
> > framework in which spaces/times are measured according to Newton
> against the
> > absolute. Relativisation of the sphere of writing demands a shift that
> one
> > can assume to be there because of digital mediatisation but may not
> > necessarily be there because of the laws of meaning-production. The
> argument
> > surely returns to an archeology of social production of meaning before
> it
> > repeats in digitised mode.
> >
> > In short, I'm excited at the prospect of liberated digitised flows but
> would
> > suggest that sociological barrieres still subsist to mitigate against
> such
> > flows. Not least the statistical reach of the sociological
> > self-constitution - dealing in mass statistical data reflected in
> > attribution of meaning - signification - and limits thereto suggested
> by
> > traditional avant-gardes.
> >
> > Which is not to say I'm way off the point. If so, I apologise in
> advance.
> >
> > simon taylor
> >
> >
> > _______________________________________________
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> > empyre@lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> >
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