Re: [-empyre-] Re: 2 wr[b]yte : oulipo -- FWDing Giselle Beiguelman

["Christine Goldbeck" <cgoldie@verizon.net>]

Hi Everyone:

I have been following this month's discussion with the highest level of 
interest as I am a hyperfiction author and digital artist. Yet, it's been so 
busy that I have not been able to jump in. Henceforth, I am jumping in with 
some thoughts ...

In addition to the similarities between story in the bardic tradition 
(orality) and digital storytelling, I suggest that digital writing has 
resurrected interest in Dick Higgins' intermedia and the Fluxus movement, 
with which I have become intrigued as of late. I see many similarities 
between the happenings of Fluxus and digital texts as community hubs, or 
spaces for "happenings".

Some of my thinking on the theories with which we are engaged are up at my 
website in the reIMAGIng SPlace portion of this space. The image on the 
homepage will take  you there.

Again, this is a great discussion and I appreciate your thinking.

Sincerely,
Christine
www.christinegoldbeck.com



----- Original Message ----- 
From: "Jim Andrews" <jim@vispo.com>
To: "soft_skinned_space" <empyre@gamera.cofa.unsw.edu.au>
Sent: Saturday, October 15, 2005 9:10 AM
Subject: RE: [-empyre-] Re: 2 wr[b]yte : oulipo -- FWDing Giselle Beiguelman


> interesting: 'old/new' different from 'continuity/rupture'; and 'the
> overlapping of differences that digital media allow'.
>
> on 'the overlapping of differences [and similarities] that digital media
> allow'...
> yes, the staggering hybridity of not only art (forms),
> but of just about everything amenable to the digital.
> the lettriste isou said (1947)
> "Each poet will integrate everything into Everything."
> and that is a poetical proposition--figurative,
> not literal--but relating things
> is erm fundamental to thought
> (a world view would include
> objects and relations between them).
> included exclusions and excluded inclusions,
> the principal of inclusion/exclusion
> beyond p(aub)=p(a)+p(b)-p(a^b)...
> activity that increases several orders of magnitude,
> however continuous, creates its own ruptures,
> its own 'newness' and unrecognizables.
>
> and as bill pointed out,
> the need to relate
> concerning little areas
> to other little areas
> is very great
> or they stay little.
>
> ja
>
> > Giselle Beiguelman wrote:
> >
> > <<so your willingness to hazard to speak of the new is very welcome to my
> > eyes.>>
> >
> > same here!! That´s why I differ DW that relates to concrete in results
> > from DW that relates to concrete in attitude. But, I´m not sure if it
> > is possible to adopt or criticize the discourse of the new without
> > giving some thought to the following:
> >
> > 1. the concecpt of "new" is somehow reminiscent of the avant-garde
> > guerrila of manifestos and does not fit the overlapping of differences
> > that digital media allow.
> > Avant-garde was about substituting one by the other (one argued to be
> > "old", other argued to be "new"); digital media seems to be about
> > intermigling both and others.
> > For that reason, I´d say that "continuity" and "rupture" is not the
> > same of "old" and "new". Walter Benjamin sustains that the flow of
> > history can be described in terms of "intensity" instead of
> > "chronology". The brazilian philosopher Jeanne Marie Gagnebin explains
> > how this allows "to read Benjamin´s philosophy of history and
> > philosophy of language as a reflection centered in Modernity,
> > carachterized by a profound interwieving of the 'ephemeral' and the
> > 'permament'".
> >
> > 2. the idea of "novelty" can be an industry device, an strategy of
> > marketing based n the quick substition of an "obsolete" product by its
> > "more modern" version.
>
>
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