Re: [-empyre-] precursors

[giselle beiguelman <desvirtual@gmail.com>]

bill,
perfect
you are wonderful.
following your statements, i would introduce to you waldemar cordeiro.
[http://netart.incubadora.fapesp.br/portal/midias/catalogo.pdf/download
(unfortunately the critical texts are not translated into english.
btw, his images are so powerful. pay attention to 'the girl who is not
B.B.')]

and remember orson welles lessons. i think "citizen kane" and his
radiophonic version for "the war of the worlds" are landmarks for the
study of (new) media codes. don't you think so?

2005/10/14, Bill Seaman <bseaman@risd.edu>:
> Hi Giselle and Jim,
> Giselle, Hi, I agree there are really new
> elements to the digital as you suggest that code
> enables...
>
> **
> Another precursor for me is Duchamp's Large Glass
> and his related Green Box notes that function
> like an algorithm that sets his Glass in motion.
> In particular Hamilton's typographic version of
> the Green Box is exquisite...
>
> b
>
>
> >jim,
> >amazing. we [always] agree.
> >i love one quotation from borges.
> >he says we are always creating our precursors
> >
> >2005/10/12, Jim Andrews <jim@vispo.com>:
> >  >
> >  > > From: giselle beiguelman
> >  >
> >  > > I think that we should keep in mind that what is interesting in
> >  > > History is that it is continuity *and* rupture.
> >  > > I agree with Friedrich when he states that we can not stress new
> >  > > futurist approaches and with the classification Marcus introduces in
> >  > > his post. In spite of that, I think it is important to recognize the
> >  > > novelty of the practices we are facing today.
> >  > > We are dealing with a code that is not only a transmission code but it
> >  > > is also executable. Because of this, it can affect material things
> >  > > (for instance: to set a machine into motion). Vernacular languages can
> >  > > persuade us but not execute actions.
> >  > > The example Friedrich used in another post -- Jaromil piece in p0es1s
> >  > > -- is a good example of this new situation which points, I believe, to
> >  > > new reading and writing practices. It seems to me that they don't have
> >  > > precedents in our cultural traditions.
> >  > >
> >  > > gb
> >  >
> >  > well said, giselle.
> >  >
> >  > i am not sure why the literary tends to be more conservative and slower to
> >  > innovate than visual arts. i recall reading
> >ws burroughs saying that the cut
> >  > up technique was  basically from visual arts from fifty years ago.
> >  > currently, in digital writing, publishers
> >have been slower than galleries to
> >  > have much involvement on the net or in writing that is pressing forward
> >  > concerning digital writing. and we hear strong injunctions such as
> >  > friedrich's not to dare speak of anything being new.
> >  >
> >  > one can usually dig up precedents, however
> >incomplete they are. i am fond of
> >  > william carlos williams quote from the fifties (or so) that 'a poem is a
> >  > machine made out of words' and apollinaire's words from his 1917 talk
> >  > L'Esprit Nouveau et les Poetès:
> >  >
> >  > "Typographical artifices worked out with great audacity have the advantage
> >  > of bringing to life a visual lyricism which was almost unknown before our
> >  > age. These artifices can still go much further and achieve the synthesis of
> >  > the arts, of music, painting, and literature ... One should not be
> >  > astonished if, with only the means they have
> >now at their disposal, they set
> >  > themselves to preparing this new art (vaster
> >than the plain art of words) in
> >  > which, like conductors of an orchestra of unbelievable scope they will have
> >  > at their disposal the entire world, its noises and its appearances, the
> >  > thought and language of man, song, dance, all the arts and all the
> >  > artifices, still more mirages than Morgane could summon up on the hill of
> >  > Gibel, with which to compose the visible and
> >unfolded book of the future....
> >  > Even if it is true that there is nothing new under the sun, the new spirit
> >  > does not refrain from discovering new profundities in all this that is not
> >  > new under the sun. Good sense is its guide, and this guide leads it into
> >  > corners, if not new, at least unknown. But is there nothing new under the
> >  > sun? It remains to be seen."
> >  >
> >  > we read in apollinaire both an acknowledgement of the difficulties of
> >  > speaking of the new and also, nonetheless, a willingness to do so. that
> >  > strikes me as important. because the alternative is a kind of 'ipsi dixit'
> >  > atmosphere of 'proof by authority' in which
> >it is viewed as futile to try to
> >  > say or do anything new.
> >  >
> >  > so your willingness to hazard to speak of the new is very welcome to my
> >  > eyes.
> >  >
> >  > ja
> >  > http://vispo.com
> >  >
> >  >
> >  > _______________________________________________
> >  > empyre forum
> >  > empyre@lists.cofa.unsw.edu.au
> >  > http://www.subtle.net/empyre
> >  >
> --
> Professor Bill Seaman, Ph.D.
> Department  Head
> Digital+ Media Department (Graduate Division)
> Rhode Island School of Design
> Two College St.
> Providence, R.I. 02903-4956
> 401 277 4956
> fax 401 277 4966
> bseaman@risd.edu
>
> http://billseaman.com
> http://www.art.235media.de/index.php?show=2


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http://netart.incubadora.fapesp.br/
"