[-empyre-] Fwd: Re: Introducing Lynne DeSilva-Johnson!

[Margaret J Rhee]

I meant to send this link to Lynne! But sharing again here, Bjork's all 
full of love, and robots.

https://www.youtube.com/watch?v=AjI2J2SQ528

Thanks again, and really look forward to the next forum on fake news, a 
pressing topic of our current times.

On 2017-06-05 08:36, Margaret J Rhee wrote:
> ----------empyre- soft-skinned space----------------------
> I was just about to place a last response, and suddenly realized
> Lynne's generative message below may not have gone out to the
> listserve. Perhaps as a last note, it would be wonderful to engage
> with Lynne's words here.
> 
> "in a way, robot poetics may
> now be in our nature, so that all of us are inadvertantly engaged in it
> at all times, some more consciously than others."
> 
> Perhaps this speaks to the cybernectics of empyre, and our continuing
> dialogue on robot poetics.
> 
> https://www.youtube.com/watch?v=AjI2J2SQ528
> 
> warmly,
> 
> Margaret
> 
> -------- Original Message --------
> Subject: Re: Introducing Lynne DeSilva-Johnson!
> Date: 2017-05-30 15:46
> From: the operating system <thisistheoperatingsystem at gmail.com>
> To: Margaret J Rhee <mrhee at uoregon.edu>
> 
> Glad for this further engagement, and honored to be held in Cyborg ears
> at Wiscon! Somehow knew many folks there this year.
> 
> I want to rejoin your comments here, but also re-engage with some of 
> the
> questions that started off the month, just to bring things full circle
> -- because I think they help me weave the ontological threads I'm going
> for:
> 
> "_What is a poem? Is it a thought, or a dream? / __Our bodies, maybe?_
> 
> _Now, what is a machine?"_
> 
> I start here because I want to speak to the organism-as-machine, the
> algorithm-as-ecology, and technology as an evolving, pre-mechanized
> condition, which perhaps moved away from "nature" in our common 
> lexicon,
> but never entirely in fact -- and that, too, in a way, robot poetics 
> may
> now be in our nature, so that all of us are inadvertantly engaged in it
> at all times, some more consciously than others.
> 
> One of the most impactful lectures I sat in as a student was in a
> 4-fields required intro-anthro class, in Archeology. And in that 
> lecture
> -- on "technology," the professor opened with a slide on early nets --
> literal nets, for fishing -- and how they transformed all that came
> after. The conceptual shift that moved "technology" away from modern
> machines to its root as the marriage of techne and logia.
> 
> I say this because The OS is entirely built on an iterative, 
> ecological,
> machine learning / agile, open source inspired model -- and because I
> see myself quite literally at the helm of an organism, which is really
> just a segment of breathing, evolving cyborg mycelia to which both
> humans and code -- and, as such, the tools of our hyper-networked life
> (like mobile devices) are intimately tied.
> 
> I'm sort of an early adopter nerd, you know -- I had a blog starting in
> 2003, was doing poetry and art on products on cafepress about that
> time.... and I run in these sort of futurist circles -- I'm as likely 
> to
> be reading Rheingold or WIRED as I am poetry -- and so when I think
> about the OS I think about how this organism MUST be built using the
> materials of this time, and how _we_ are co-evolving in physical
> landscape and rewriting our own genetics via the specific techne and
> logia of this time. I believe this deeply.
> 
> So, that means -- I am thinking about SEO and languaging for social
> networks, and metatagging, in my own art and poetics as well as in the
> work I produce for the OS on and offline -- and I'm also looking for
> sensibilities that marry those languages. I think often this manifests
> in popular poetics as inclusions of meme or pop reference -- and I 
> think
> there's a place for that -- but my own scanner, looking at manuscripts
> and work, is always seeking out voices that dialogue with the myriad
> codes we are required to parse and codeswitch seamlessly in order to 
> not
> only function but especially to thrive here.
> 
> I think a lot of the work that I select for The OS catalog engages with
> a post-colonial, anthropocene intersectionality that dives just as
> deeply into ecopoetic concerns -- and all of this with an awareness of
> the hyper-written linguistic simulacra of our engagements here. Mark
> Gurarie's book, _Everybody's Automat_, as you say here, Margaret, is a
> great example of this, as is Judith Goldman's  [18]_agon [18]_ -- yet
> none of these authors are overtly engaged with the titular work of
> "robot poetics" -- which I think is important to consider. When given 
> an
> offer of this language, and versed in its questions, many of our 
> authors
> -- and myself -- would certainly consider ourselves to be working 
> there,
> but it's never been language that was used. Part of this may simply be
> what part of academic life (or entirely non-academic life) folks find
> themselves in. So much of the labelling (or lack thereof) has to do 
> with
> circles and association.
> 
> I've been thinking a lot about Paolo Soleri, whose work I return to
> cyclically, and I'm currently writing a short pamphlet drawing on some
> of his ideas (for Amanda Ngoho Reavey's Panthalassa Pamphlet series,
> speaking of which) - he writes in _The Bridge Between Matter & Spirit 
> is
> Matter Becoming Spirit _about Esthetogenesis [19], a process of
> self-revelation that becomes possible via evolution -- something he
> envisioned as being irrevocably connected to how we as humans construct
> our environment.
> 
> As I tried to find the right space within which to encourage others to
> not only live here but dwell ala Heidegger [20], I thought that first
> working immediately on the environment (as a designer / planner /
> architect) would be the obvious choice, but as I came to understand the
> disciplinary and institutional handcuffs on so much of that profession 
> I
> began to seek space for systemic, techne - logic change at the 
> energetic
> level -- through subtler, culture-change organizations, temporary
> autonomous spaces,  because I came to believe that the linguistic -- >
> metaphysical --- > biochemical influence of ideological apparati has so
> lodged in the body that it had begun to ossify -- so the mind/body
> needed to change in order for the environment to continue working
> alongside us evolutionarily.
> 
> Did I answer any of the questions?
> 
> What is a poem, what is my body, what is a machine -- and are these
> three different, indeed? I often say that the poem is ur-language, the
> language of all language and no language, the space of permission where
> sound was the _figuring out_ rather than the assumed known. And I still
> think, ideally, that is the case. Under that moniker, there are all
> these other systems into which we fit language, for various purposes.
> But it's ALL poetry. And code is poetry, and the body, as an
> experimental phase of evolution written in our specific materials, can
> be seen as a poetry, if these materials are the language of an
> evolutionary writer or energy. And then, what is machine? well, then,
> isn't poetry a machine, and body a machine -- but it's the space where
> consciousness comes in and tries to hack the three -- a very human
> space, a cyborg space (but we've always been cyborg -- interfacing with
> other machines, like the great intelligent machines of rainforest, for
> instance, which I hope we regain literacy in) ... and so? The OS. A
> cyborg poem writ large, an evolutionary experiment with Esthetogenetic
> aspirations.
> 
> SHH! don't tell anyone. :)
> 
> xoxo
> 
> The Operating System
> www.theoperatingsystem.org [21]
> Brooklyn, NY
> 
> “IN ORDER TO CHANGE AN EXISTING PARADIGM YOU DO NOT STRUGGLE TO TRY
> AND CHANGE THE PROBLEMATIC MODEL. YOU CREATE A NEW MODEL AND MAKE THE
> OLD ONE OBSOLETE.”
> 
> - R. Buckminster Fuller
> 
> On Tue, May 30, 2017 at 2:39 PM, Margaret J Rhee <mrhee at uoregon.edu>
> wrote:
> 
>> Hi Lynne,
>> 
>> So Ching-In Chen and I spoke lovingly and warmly about you over the
>> weekend. Cyborg ears ringing! I was traveling in Wisconsin with
>> Ching-In for the Wiscon conference, and celebrate their new
>> publication which also delves in the speculative:
>> http://www.chinginchen.com
>> 
>> I'm thinking right now of how you mention Amanda Ngoho Reavey's
>> wonderful work, their anti-memoir Marilyn, and how it corresponds to
>> the transgressive ways The OS and your teaching projects emerge
>> through a robot poetics in many ways. I loved hearing Amanda's words
>> when her book won the Asian American Studies Association prize this
>> year, and reminded since I first encounter Amanda's work in Milwaukee
>> as well.
>> 
>> I love how you write, "dialogue has been CRITICAL in our editorial
>> process," which is not always the case for publishing houses. I think
>> it can also shape and intervene with poetics, and especially the kind
>> that veers into experimentalism and play!
>> 
>> I've been thinking a lot about anthropology/poetry actually, and so
>> I'm glad you brought up your training, and the turn or re-tur to and
>> with art. Well, it's always been intriguing thinking about Ursula Le
>> Guin as the daughter of an anthropologist, Alfred Louis Kroeber. Or
>> with feminists, thinking of Zora Neale Hurston, Gina Athena Ulysses,
>> and Ana Maurine-Lara, who all turned to, or includes the art with
>> their anthropological questions.
>> 
>> Gina writes in her new collection, 'Because When God Is Too Busy:
>> Haiti, me, & The World':
>> 
>> "Why do they think so many black women in anthropology keep turning to
>> the arts?"
>> 
>> *
>> 
>> I also LOVE Margaretha's work, and I feel it aligns with so much of
>> the politics and aesthetics of your work, in the transgression and
>> paradisciplinary approaches. There is so much poetics in THE OS, and
>> in Margaretha's work of The Guerrilla Grafters. And while not
>> explicitly about the robot in content, I feel the cybernetic
>> organization really lend itself to the robot poetics we've been
>> discussing this month, and love to hear more.
>> 
>> One thing seemingly different from robot poetics, but feels connected
>> is place. I've been interested in how --empyre-- is an international
>> listserve, and how it connects with various peoples in different
>> places, and connections of work possible. I think of Mark Gurarie's
>> book with The OS, and how science fictional elements, and your
>> interview with him:
>> 
> http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-everybodys-automats-mark-gurarie/
>> [1]
>> 
>> His work includes science fictional elements that align with robot
>> poetics, and he is also a musician, and you both do such amazing
>> curatorial work in NYC, could you talk a bit about how might place,
>> engage with space (or content), and make possible such a dynamic
>> supernova like The OS? I think about this, especially when Mark and
>> Alex came out to Eugene, Oregon to read poetry last year. Upon
>> returning to Oregon, I can't help think about these tropes around
>> utopia, dystopia, and race. Not to end on a challenging note, but am
>> buoyed by the light of The OS, and the work you do. Happy to hear more
>> if you have time, and any thoughts on poetry, robots, and machines.
>> 
>> warmest,
>> 
>> Margaret
>> 
>> On 2017-05-29 14:51, Lynne DeSilva-Johnson wrote:
>> Hi All! So glad to be here.
>> 
>> Such great questions! I wasn't verbose at ALL in answering them....
>> 
>> ONWARD!
>> 
>> To begin, Lynne, I wonder if you can speak to the importance of
>> dialogue in your editorial process? I was struck by the interview you
>> had with Alex and other authors you work with, why did you decide to
>> include dialogues, and how do you approach the publishing process
>> differently? I, and many others, are all very moved by The OS and this
>> description:
>> 
>> "THIS is not a fixed entity. It is an ongoing experiment in resilient
>> creative practice which necessarily morphs as its conditions and
>> collaborators change."
>> 
>> HA! No surprise that Margaret should cut right to the heart of the
>> thing! I’ll do my best to not go on for pages and pages just
>> answering these intro questions!
>> 
>> A critical thing to know about what I’ve tried to build with The
>> Operating System [6] is that it is always meta-aware of its role as a
>> 
>> cultural mediator, not only at present but in the future. Which
>> perhaps sounds utterly pompous, but it isn’t meant as that: what I
>> mean is that I’m very concerned about the archive, and ontological
>> practice as it concerns creative practice and practitioners.  So a lot
>> of the decisions that I make are informed by a desire to
>> simultaneously disrupt /  inform / intentionally participate in this
>> storytelling.
>> 
>> When I think about the hagiography of creative practitioners (and this
>> also applies to “geniuses” -- i.e/, hero-storylines across
>> disciplines, not only in the arts) I do so through the lens of someone
>> who grew up idolizing what I now realize are largely fictitious
>> personas -- and who was hurt by that as much as I was inspired by it,
>> because I didn’t feel it was accessible to me as a person of meagre
>> financial means...who was told by a post-depression immigrant family
>> that creative practice was some combination of irresponsible and
>> selfish as a life-choice. And, while I was rigorous and talented in my
>> artistic studies, and had some good “ideas” I felt I lacked the
>> type of “vision” or “inspiration” that would make such a
>> risky, irresponsible decision a good idea...something I’ve now spent
>> two decades re-wiring my brain around.
>> 
>> The hindsighted mythology with which we talk about creative practice
>> both culturally and (even more problematically) in learning
>> environments is one which puts inspiration/the muse / as well as
>> finished product/output on a pedestal -- and is also one of reductive,
>> dangerous erasure for subject and audience alike.
>> 
>> While I do think that this is getting better as educators become more
>> sensitive to intersectional concerns, and while contextual, historical
>> information as well as personal history might now be di rigeur
>> inclusions for any curator worth their salt, this doesn’t carry over
>> yet to how we as a society talk or think about creative work. We
>> “value” it, but in a way that puts it in a box to be marvelled
>> over. The notion that poetry like bread is for everyone [7] (a
>> 
>> favorite quote from Salvadoran Roque Dalton) is a critical one -- and
>> I do mean for everyone, not only in its appreciation but also its
>> making.
>> 
>> So many in the arts world tread this fine line where on the surface
>> there is vocal social justice warriorhood but just below is the fear
>> that if everyone is encouraged, legitimized as valid, has open access
>> and the tools to make work, publish work, teach, etc., that somehow
>> their own legitimacy or value will be lost. And so I think there’s a
>> certain amount of smoke and mirrors that a lot of people participate
>> in in terms of maintaining a certain allure or mystery around
>> creativity, genius, and practice. So there’s still a lot of
>> gatekeeping that goes on in arts organizations, and publishing, even
>> amongst those who would seem to be ardently against these things (and
>> may “be,” intellectually.)
>> 
>> And, well -- I just think that’s totally bunk. The important thing
>> for me is that there be open conversation about the fear that folks
>> have around that (fear of losing legitimacy) -- and to recognize its
>> root causes. Here, in the United States, I would say that it’s
>> rooted in a bioprecarious state. But I’m geting away from myself.
>> 
>> The point is: especially as I look at our production as existing
>> within a spectrum of ontological storytelling, holding space for how
>> the work we present is received and contextualized, I feel that I play
>> the role of curator, and akin to presentation in visual art spaces and
>> cultural institutions, so too within pages I feel I would be remiss to
>> not somewhat frame the cultural output we have chosen to enter the
>> archive with some anchoring information about time, place, social
>> tenor, and personal practice on the part of the author.
>> 
>> From day 1, dialogue has been CRITICAL in our editorial process, as is
>> self-awareness -- both as organization and as artist. In every book we
>> produce, we encourage the inclusion / production of substantive
>> back-matter… as much as the author is willing to engage in. At the
>> very least, this takes the form of the Q&A you see here with Alex, but
>> it can be quite extensive -- especially in cases like Amanda Ngoho
>> Reavey’s poetic anti-memoir, Marilyn [8], or JP Howard’s
>> SAY/MIRROR [9], a collection of poems focused on her relationship with
>> her mother, Ruth King, a prominent early African-American fashion
>> model.
>> 
>> So we encourage it in and around the books themselves,  we encourage
>> our collaborators and contributors to engage in it, and we extend that
>> engagement and visibility onto our online platform. In fact, the
>> online platform has long been a site of this encouragement, with
>> series like “FIELD NOTES [10]” and “RE:CONVERSATIONS [11]”
>> seeking to open up process from a wide range of practitioners and
>> facilitate archiving of ephemeral presentations.
>> 
>> That facilitation also guides our editorial process on the catalog
>> level -- manifesting in a desire to seek out, encourage, and document
>> hybrid work that often falls between the cracks of easily publishable
>> or marketable work (but that represents some of the most brilliant,
>> avant garde practice of our time), seeking out and making possible the
>> translation and publication of silenced and/ or out of print voices
>> via our Glossarium [12] series, and facilitating full performance
>> volumes to like There Might Be Others [13] or A Gun Show [14].
>> 
>> And as far as not being a fixed entity is concerned: woof! I, we, are
>> SO imperfect (and yet so biologically / chemically / magnetically
>> fascinating / intelligent). It’s not doing us any good to put up
>> fronts the way we do. We exhaust ourselves, we set up false
>> expectations, we encourage others to feel less capable. I’d prefer
>> to start at humble, from the outset make it crystal clear we intend to
>> evolve and know we must, and encourage others to feel akin in our
>> shared struggle, to come aboard and work together.
>> 
>> Somehow, I missed the lesson on how free market competition is going
>> to help us, probably somewhere around the time it clearly began
>> fucking the environment and everyone on it over. So I’m legit here
>> to share everything I learn along the way. Better you learn from my
>> mistakes than make them again, save your money and your time, and so
>> on. We’ll all be better resourced -- in physical ways and in trust,
>> so sorely needed.
>> 
>> I love how alive The OS feels, and how you begin with THIS. It reminds
>> me that The OS is alive. And this has resonance to a recent
>> conversation I had with really amazing artist Margaretha Haughwout and
>> my class on art/activism last week. I first "met" Margaretha on empyre
>> as participants in Kyle McKinley's social practice forum too, and
>> Margaretha's work has also been a constant inspiration, and she
>> described collaboration with humans and (non) humans as well in her
>> work: http://www.guerrillagrafters.org [2] [15]
>> 
>> I'm feeling some resonance here, and I am moved to think about the
>> (non) human, but also human and living elements of The OS, and both of
>> your collaborative practice. Could you share more about The OS, and
>> the intersections of organic, technological, and poetic in your work
>> as an artist and editor?
>> 
>> Oh man do I have ALL THE FEELS for what Margaretha does with
>> _guerrilla grafters_! And, absolutely, is there resonance here. You
>> are absolutely right to intuit that there is intention around human /
>> nonhuman / living systems work with the OS, and I don’t often speak
>> to it that directly, but I’m happy to.
>> 
>> I sometimes mention in interviews that my roundabout academic path
>> took me through anthropology and fine art (manifesting in social
>> practice art / installations, this in about 1999-2002), then to a
>> masters in urban design (manifesting in intermediary books /
>> installations as well), then back to a PhD in cultural anthropology
>> with a focus on space and place (which I sort of went rogue on after
>> finishing 5 years of coursework) -- the reason I mention this though
>> is because I’m doing all of these things via The OS. And because
>> it’s all art and activism -- a personal practice manifest as an
>> organization. Social practice art as public social experiment. And,
>> absolutely, always, as performance. And: this performance / art /
>> activist experiment is very specifically _now -- _ in so far that the
>> way it engages with public culture as both virtual and print media is
>> tailored to this time, and will continue to evolve as those platforms
>> do.
>> 
>> The way the books are designed and operate, the work I choose is
>> always in conversation with the fact that we're making, producing, and
>> documenting work NOW. Which means also that even though I seek to
>> carry on the tradition of print, I also seek to learn from systems of
>> organization, from nonlinear formatting and information architecture,
>> in creating print documents for _this_ time which correspond to and
>> or
>> informed by the new ways we see and learn and read and experience,
>> acknowledging and even welcoming those challenges, and understanding
>> that many people are coming out of school not reading or reading
>> differently, or doing so while texting or taking in other media.
>> Working across media is necessary. Evolving the page is necessary,
>> exciting. And -- we are in the first time in history where far more of
>> our documentation is _born digital_ -- something that greatly impacts
>> 
>> my concern and thinking around the archive and the impact of creating
>> manifold documents to potentially carry story into the future.
>> 
>> The OS is absolutely grounded in methodology from my anthropological
>> training -- research methods in participant observation, the value of
>> field notes, and rigorous documentation and facilitation are all
>> things years of engagement in these texts gave me highly valuable
>> takeaways from.
>> 
>> However, I  found social science as a professional discipline deeply
>> troubling, especially given the current state of the academy, and
>> I’m glad I’m not held to its strictures. I had chosen the field
>> because much of what I read mirrored the kinds of questions I thought
>> everyone desperately needed to engage in, and as such  I found the
>> reflexive work of Pierre Bourdieu viscerally necessary, the work of
>> Mick Taussig deeply inspiring, the work of Bateson and other systems
>> thinkers heuristically life changing, and it’s where I found Chris
>> Marker, and so many other people asking vital, difficult questions
>> about the world and the self and how to talk about / represent it
>> responsibly. Also: there are also so many courageous anthropologists
>> helping to facilitate indigenous people’s movements all over the
>> world -- how to use these tools for social and cultural good has
>> taught me so much.
>> 
>> I may not be physically grafting ecologies, and I may no longer be
>> presenting 70,000 person satellite city plans to the planning office
>> in Hanoi (hello, life circa 2005) but I will never stop caring about
>> our lived places, thinking and writing about how what we build and
>> create manifests in our bodies and how the relationship of space and
>> place shifts us individually, as a culture, and as a planet in
>> infinitely meaningful ways -- both good and bad. And I will never stop
>> planning and theorizing systems change, and how that can play out in
>> physical environments.  But I found the field exhausting and too often
>> wildly misogynist -- and not necessarily where I would make the most
>> change. I’ve taught in architecture schools in myriad settings,
>> which I find extremely gratifying, and hope to continue to affect
>> architecture education on a curricular level -- something that would
>> have greater impact than I could have ever had independently as a
>> designer.
>> 
>> With The Operating System, I’ve continued my life-experiement of
>> auto-evolution, which I’ve been sideways writing a book on for about
>> a decade. I believe deeply that we can rewire ourselves, that we can
>> hack into our programming -- including the diminishing, crippling
>> impact of epigenetic and lifetime trauma on the body (which I’m
>> currently battling) -- and that we will do this strategically through
>> system design. On a daily basis, the hacks that will enable the larger
>> scale rewriting and rewiring include intentional, attentional work
>> with language / communication, physical actions and reactions,
>> meditation / mindfulness / brain training, gender and body
>> modification, and a continued awareness of / engagement in ecosystem
>> concerns.
>> 
>> My ability to do what I do with The OS should frankly not be possible,
>> defies logic, and I know it reads as impossible to a lot of people --
>> or, they perceive me as hiding resources (no such luck) or having some
>> sort of super-human power (I don’t, in fact I’m deeply chronically
>> ill) -- and I know that a lot of what I’m proposing requires leaps
>> of faith and a sort of evolutionary availability that is hard to
>> access right now. So: modelling.
>> 
>> I’d like to move what we’re doing with The OS into more direct
>> action but I also have learned along the way, (back to the hagiography
>> of art / archive) that freedom for creative practice is one of the
>> most revolutionary tools at our disposal as humans. And I see as my
>> role a facilitation of creative freedom and possibility, a radical
>> opening, that intersects with social justice, ecology, and our
>> continued race toward cyborg-intelligence. I am the system and the
>> system is me, you know? Sort of like in the night kitchen [16], but
>> with lithium ion milk.
>> 
>> Lynne DeSilva-Johnson
>> Managing Editor
>> The Operating System
>> www.theoperatingsystem.org [3] [17]
>> Brooklyn, NY
>> 
>> “IN ORDER TO CHANGE AN EXISTING PARADIGM YOU DO NOT STRUGGLE TO TRY
>> AND CHANGE THE PROBLEMATIC MODEL. YOU CREATE A NEW MODEL AND MAKE THE
>> OLD ONE OBSOLETE.”
>> 
>> - R. Buckminster Fuller
>> 
>> On Mon, May 29, 2017 at 1:51 PM, Margaret J Rhee <mrhee at uoregon.edu>
>> wrote:
>> 
>> Many thanks again to Keith, Sun Yung, Jenny, and Saba for the rich
>> threads generated by the conversation this week!
>> 
>> To add to the Machine Dreams, I'm very happy to e-introduce Lynne
>> DeSilva-Johnson, who is a dynamic and inspiring artist, activist,
>> professor, and publisher. Lynne is also the founder and editor of
>> The Operating System, which will be releasing my full length poetry
>> collection of robot love poems this Fall. We are thrilled she can
>> join us for the last few days of the dialogue, and look forward to
>> hearing more about The OS, and her alchemist work as an artist and
>> editor.
>> 
>> I actually first met Lynne through a digital into to The OS by dear
>> mutual friend poet and activist Ching-In Chen, and Machine Dreams
>> contributor Alex Crowley, who is also my editor at Publisher's
>> Weekly, and has a wondrous poetry chapbook published by The
>> Operating System titled Improper Maps.
>> 
>> Alex's drone poems are in the Machine Dreams Zine (pg 20)
>> https://issuu.com/repcollective/docs/machine_dreams_issuu [4] [1]
>> 
>> You can read more about Alex's collection with The OS in a fantastic
>> dialogue with Lynne here:
>> 
>> 
> http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-improper-maps-alex-crowley/
>> [5]
>> [2]
>> 
>> Lynne is also the co-editor of this recent anthology of resistance
>> poetry: http://www.spuytenduyvil.net/resist-much-obey-little.html [6]
>> [3]
>> 
>> and you can read a Wave Composition interview with Lynne here:
>> 
>> 
> http://www.wavecomposition.com/article/issue-11/an-interview-with-lynne-desilva-johnson/
>> [7]
>> [4]
>> 
>> ----
>> 
>> To begin, Lynne, I wonder if you can speak to the importance of
>> dialogue in your editorial process? I was struck by the interview
>> you had with Alex and other authors you work with, why did you
>> decide to include dialogues, and how do you approach the publishing
>> process differently? I, and many others, are all very moved by The
>> OS and this description:
>> 
>> "THIS is not a fixed entity. It is an ongoing experiment in
>> resilient creative practice which necessarily morphs as its
>> conditions and collaborators change."
>> 
>> I love how alive The OS feels, and how you begin with THIS. It
>> reminds me that The OS is alive. And this has resonance to a recent
>> conversation I had with really amazing artist Margaretha Haughwout
>> and my class on art/activism last week. I first "met" Margaretha on
>> empyre as participants in Kyle McKinley's social practice forum too,
>> and Margaretha's work has also been a constant inspiration, and she
>> described collaboration with humans and (non) humans as well in her
>> work: http://www.guerrillagrafters.org [2] [5]
>> 
>> I'm feeling some resonance here, and I am moved to think about the
>> (non) human, but also human and living elements of The OS, and both
>> of your collaborative practice. Could you share more about The OS,
>> and the intersections of organic, technological, and poetic in your
>> work as an artist and editor?
>> 
>> Lynne's bio is below:
>> 
>> Lynne DeSilva-Johnson is a queer interdisciplinary creator, curator,
>> educator, and facilitator working in performance, exhibition, and
>> publication in conversation with new media. Now a visiting assistant
>> professor at Pratt, Lynne was previously an adjunct at CUNY, and
>> teaching artist for over a decade. She is the founder and Managing
>> Editor of The Operating System, as well as Libraries Editor at Boog
>> City. Lynne is the author of GROUND, blood atlas, and Overview
>> Effect, co-author of A GUN SHOW with Adam Sliwinsk/Sō Percussion,
>> and co-editor of the anthologies RESIST MUCH, OBEY LITTLE: Inaugural
>> Poems for the Resistance, and In Corpore Sano: Creative Practice and
>> the Challenged Body. Recent or forthcoming publication credits
>> include Drunken Boat/Anomaly, The Brooklyn Poets Anthology, Gorgon
>> Poetics, Supplement, Live Mag!, and a Panthalassa Pamphlet from Tea
>> & Tattered Pages Press. She performs often, resists always, and
>> lives in Brooklyn NY.
>> 
>> --
>> Margaret Rhee, Ph.D.
>> 
>> Visiting Assistant Professor
>> Women's and Gender Studies
>> University of Oregon
>> 
>> Links:
>> ------
>> [1] https://issuu.com/repcollective/docs/machine_dreams_issuu [4]
>> [2]
>> 
> http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-improper-maps-alex-crowley/
>> [5]
>> [3] http://www.spuytenduyvil.net/resist-much-obey-little.html [6]
>> [4]
>> 
> http://www.wavecomposition.com/article/issue-11/an-interview-with-lynne-desilva-johnson/
>> [7]
>> [5] http://www.guerrillagrafters.org [2]
>> [6] http://theoperatingsystem.org
>> [7] http://cappuccinosoul.blogspot.com/2009/04/como-tu-like-you.html
>> [8]
>> [8] https://squareup.com/store/the-operating-system/item/marilyn [9]
>> [9] http://www.spdbooks.org/Products/9780986050527/saymirror.aspx [10]
>> [10]
>> 
> http://www.theoperatingsystem.org/category/community_content/fieldnotes/
>> [11]
>> [11]
>> 
> http://www.theoperatingsystem.org/category/community_content/re_conversations/
>> [12]
>> [12] http://www.theoperatingsystem.org/unsilenced-texts/ [13]
>> [13]
>> 
> https://squareup.com/store/the-operating-system/item/there-might-be-others-rebecca-lazier-and-dan-truman?square_lead=item_embed
>> [14]
>> [14]
>> 
> https://squareup.com/store/the-operating-system/item/a-gun-show-so-percussion
>> [15]
>> [15] http://www.guerrillagrafters.org/ [16]
>> [16] https://en.wikipedia.org/wiki/In_the_Night_Kitchen [17]
>> [17] http://www.theoperatingsystem.org [3]
> 
> --
> Margaret Rhee, Ph.D.
> 
> Visiting Assistant Professor
> Women's and Gender Studies
> University of Oregon
> 
> 
> 
> Links:
> ------
> [1]
> http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-everybodys-automats-mark-gurarie/
> [2] http://www.guerrillagrafters.org
> [3] http://www.theoperatingsystem.org
> [4] https://issuu.com/repcollective/docs/machine_dreams_issuu
> [5]
> http://www.theoperatingsystem.org/reconversations-of-sound-mind-process-and-practice-with-improper-maps-alex-crowley/
> [6] http://www.spuytenduyvil.net/resist-much-obey-little.html
> [7]
> http://www.wavecomposition.com/article/issue-11/an-interview-with-lynne-desilva-johnson/
> [8] http://cappuccinosoul.blogspot.com/2009/04/como-tu-like-you.html
> [9] https://squareup.com/store/the-operating-system/item/marilyn
> [10] http://www.spdbooks.org/Products/9780986050527/saymirror.aspx
> [11] 
> http://www.theoperatingsystem.org/category/community_content/fieldnotes/
> [12]
> http://www.theoperatingsystem.org/category/community_content/re_conversations/
> [13] http://www.theoperatingsystem.org/unsilenced-texts/
> [14]
> https://squareup.com/store/the-operating-system/item/there-might-be-others-rebecca-lazier-and-dan-truman?square_lead=item_embed
> [15]
> https://squareup.com/store/the-operating-system/item/a-gun-show-so-percussion
> [16] http://www.guerrillagrafters.org/
> [17] https://en.wikipedia.org/wiki/In_the_Night_Kitchen
> [18] 
> https://squareup.com/market/the-operating-system/agon-judith-goldman
> [19] https://arcosanti.org/glossary
> [20] http://designtheory.fiu.edu/readings/heidegger_bdt.pdf
> [21] http://www.theoperatingsystem.org/
> 
> --
> Margaret Rhee, Ph.D.
> 
> Visiting Assistant Professor
> Women's and Gender Studies
> University of Oregon
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu

-- 
Margaret Rhee, Ph.D.

Visiting Assistant Professor
Women's and Gender Studies
University of Oregon