[-empyre-] the self and the (machinic) other / a post-systemic condition or a post-art condition?

[Johannes Birringer]

thanks for your reply, Menotti
and your comment on the " self-made fake found
footage" (what self, though?) is interesting and makes we wonder
what the meaning of DIY pretends to be in these contexts of
the irrational and autistic online interactions  (i mean socially autistic in a critical
sense, as elaborated in the writings of F Scott Taylor,  sorry i don't have an online references, only printed out notes
from a lecture). 

now , when you say let's go back to videogames, it seems that
that was the problem, that no commonly agreeable framework
was found there either, here in the discussion, and that 
various overlapping frameworks led to a blurred sense
of performance/play and online subcultures, not to
mention the holding on to an accepted frame of the museum/gallery
and cultural institutions  like that which collect and preserve
the archives and the repertoires on which civilization 
and cultural transmissions/reinventions depend.  That is why I found
the postings here on preservations of games (and game
environments, however hard they might be documentable)
so intriguing, as the discourse on preservation is owed to the arts
and the academic sectors (history, anthropology, library studies, etc)


regards
Johannes



________________________________________
From: empyre-bounces at lists.cofa.unsw.edu.au [empyre-bounces at lists.cofa.unsw.edu.au] On Behalf Of Gabriel Menotti [gabriel.menotti at gmail.com]
Sent: Wednesday, December 22, 2010 4:50 PM
To: soft_skinned_space
Subject: Re: [-empyre-] the self and the (machinic) other / a post-systemic condition or a post-art condition?

> and so i tried to follow there and went to the (dark) corners to watch
> the "chatroulette" video or “performance” No Fun, which Menotti references,
> and admit of not having the vocabulary to quite frame this piece for myself
> (or others i might talk to), it's neither a performance nor a game,

Just for clarification:

I classified the piece as a "performance" because that how it is
classified by the artist's themselves. Personally, I wouldn't call No
Fun so, since the work seems to be activated more through its video
recording than in the actual ephemeral and serendipitous interaction
within chatroulette. In a way, it's a kind of self-made fake found
footage. It depends on the recording, else it is lost in the chaotic
flow of chatroulette (which is worse than being "banned from youtube"
right? at least if you need to produce evidence of something).

One way of thinking through frameworks would be to compare how a piece
such as No Fun fares differently on chatroulette, on youtube, on vimeo
and on a proper art exhibition (instead of comparing it to Velázquez,
as do the review also linked on the video's comments [1]).

Going back to topic, I believe that videogames are the easiest object
to adapt to this sort of critical perspective.

Best!
Menotti

[1] http://www.brooklynrail.org/2010/06/artseen/eva-and-franco-mattes-aka-0100101110101101org-reality-is-overrated
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