[-empyre-] body chair language

[Johannes Birringer]

dear all, dear Daniel

"body chair language"?  

well your introduction of the language problem
(for the Portuguese) is of course fascinating and perhaps links to my final
post and the question about decolonizaton I raised (the notion of an "embodiment"
clearly a Euro-American academic term forced upon the discourse), or about
Hellen's borrowing from the Brazilian concept of anthropopagy (Oswald de Andrade).

Porosity, in relation to an "absolute necessity of the interface" (blackbox), however, 
makes me uncomfortable, and I do not think I am incarnated or incorporated by
a system, or dispositif. 

Hearing you speak of the black box I cannot help thinking of the one they have now found
in the Ukraine after the civilian plane was shot down. What does the "device" record?

Regarding interactive or 3D virtual environments in the performing or media arts, that were
mentioned in our debates, your point then refers to how (or whether) "technologies are embodying the human behavior"?

My point about slapstick was that they don't. In fact, one might even argue (and I am not thinking of british soccer commentators
accusing the Brasilian world cup team's defense against Germany (1:7) as slapstick) that the visitor to an interactive
camera-vision dispositif is defenseless, and at the same time tries, if so inclined,  to enact gestures to sort out, feel out or trace the
reaction behavior or the "artificial intelligence" of the system that wants her to move around and do things. In the case
of Very Nervous System and later systems (Eycon, designed by Frieder Weiss, the precursor of MotionComposer, or similar
systems installed for user interaction and performance selfies). 
More about dispostifs could now be said, regarding the social etiquette that comes into play, etc.  Perhaps we can return to it

But reading you, I could also not help remembering my disappointment last week in Madrid when I visited the exhibition 
(Colección 3) "De la revuelta a la posmodernidad (1962-1982)" at the Reina Sofia, noting the sheer inability, I thought, of
the curators to draw a close connection between political revolutions / societal changes (after Cuba, Algeria, Chile, and the
68 protest movements in the West) and art practices (they showed paintings, sculptures, and work of minimalism, arte povera,
light art (Dan Flavin !), a tiny weird section on feminist art,  Judson Dance Theatre (Trio A), 60s electronic dada music in Spain, and a particularly odd, weak 
Tropicalismo installation (a penetrável) by Hélio Oiticia where we could watch 3 birds on a swing and walk on sand.  Maybe i misunderstood a 
supreme form of irony, the postmodern as feeble slapstick? software swing? 

Well, the black box there was a disaster, I felt. 
Encarnó, nada.


regards

Johannes Birringer