Re: [-empyre-] precursors

[ian clothier <hybridia1@yahoo.com>]

Newness is describable as novelty, and novelty
apparently is what drives generations forward. In this
sense not just some trumped up framework for
Euro-centric practice but something afflicting (sic)
us all. Novelty drives culture toward the unknown.

anonymouse

--- giselle beiguelman <desvirtual@gmail.com> wrote:

> 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
> 
> 
> --
> www.desvirtual.com
> http://netart.incubadora.fapesp.br/
> "
> _______________________________________________
> empyre forum
> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
> 



	
		
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