[-empyre-] why if?

Sun Apr 1 09:11:55 AEST 2018

Hi Caitlin,

"A small point, following Murat and Julien’s exchange of a few days
ago, I wonder also about how noise might produce disorientation as a
positive effect.

This goes to the Situationist practice of dérive through the urban
landscape as a means of processing the sensory (visual, aural,
tactile) input of the city in such as a way as to disorient, as a
means to open up new ways of navigating through the world—..."

Are you familiar with Frank O'Hara's magnificent poem "Sleeping On the
Wing" where, walking on the Manhattan street, the speaker's mind wanders
from one thing to another, spun by multiple objects, the honking of the
car, the pigeon, the doors's slam, including the wind. The poem does very
close to, exactly what you are talking about. Here's just a bit of it:
"... 'Sleep!/ O for a long sound sleep and so forget it!'/ that one flies,
soaring above the shoreless city,/ veering upward from the pavement as a
pigeon/ does when a car honks or a door slams, the door/ of dreams, life
perpetuated in parti-colored loves/ and beautiful lies all in different
languages.

Fear drops away too, like the cement, and and you/ are over the Atlantic.
Where is Spain? where is/ who?..."

II.
"It seems like you are after something similar, Murat, when you
describe your poetry as reaching for the point in which language is
broken down so that meaning is rendered ambiguous—not erased, but
rather (as you wrote) to “shoot in multiple directions.”

The last part of this quotation is true for my poetry in the last fifteen
years or so: "shoot in multiple direction." Not a poetry of statements, but
of movement.  Language, meaning become pure motion, what I call in
*Eda *anthology, "a
poetry of motion." A lot of translations in *Eda: An Anthology of
Contemporary Turkish Poetry *and the poems *The Spiritual Life of
Replicants* and *Animals of Dawn* in their totalities embody this poetry.

Ciao,
Murat

On Thu, Mar 29, 2018 at 1:51 PM, Caitlin Woolsey <caitlin.woolsey at gmail.com>
wrote:

> ----------empyre- soft-skinned space----------------------
> A small point, following Murat and Julien’s exchange of a few days
> ago, I wonder also about how noise might produce disorientation as a
> positive effect.
>
> This goes to the Situationist practice of dérive through the urban
> landscape as a means of processing the sensory (visual, aural,
> tactile) input of the city in such as a way as to disorient, as a
> means to open up new ways of navigating through the world—both
> literally as well as creatively and symbolically
> (https://goo.gl/images/sM7TmE). Or even détournement, appropriating
> image/text material and turning it back on itself--not to eliminate
> meaning, or to eliminate noise--but rather to produce a kind of visual
> or semantic feedback, which in turn would be more free, more complex,
> more heterogeneous (at least in theory).
>
> It seems like you are after something similar, Murat, when you
> describe your poetry as reaching for the point in which language is
> broken down so that meaning is rendered ambiguous—not erased, but
> rather (as you wrote) to “shoot in multiple directions.”
>
>
> caitlin
>
>
> Caitlin R. Woolsey
> Yale University
> PhD candidate in History of Art
> www.caitlinwoolsey.com
>
>
>
>
> On Tue, Mar 27, 2018 at 12:17 PM, Murat Nemet-Nejat <muratnn at gmail.com>
> wrote:
> > ----------empyre- soft-skinned space----------------------
> > Julian,
> >
> > I am essentially a writer, a poet,, an essayist on art (photography and
> film), poetry and translation, and a translator from Turkish poetry. Though
> indirectly, my writing is very much involved on the effects of technology,
> particularly digital technology, on human consciousness. For instance my
> poem of 2012 The Spiritual Life of Replicants (referring to the replicants
> in the film Blade Runner) revolves around the question what finally
> separates, if anything, the human from the android, particularly if the
> android develops a consciousness of mortality, as it does in the film. Or
> in my next 2016 poem Animals of Dawn, I focus on Hamlet, on Hamlet's
> "delay" to execute his father's revenge expeditiously. The poem suggests
> that Hamlet exists in a different time space from other characters, the
> move from one zone to the other being extremely difficult. The ghost's
> ambiguous injunction to Hamlet to kill his uncle exists in one time zone.
> The poem ends with the question: "If Shakespeare had photoshopped the
> ghost's image, would it have appeared clearer?," which is the last line of
> the sixty-five page poem. Both The Spiritual Life and Animals of Dawn are
> published by Talisman House.
> >
> > My poetics is very much involved with the ideas of silence and space
> (particularly empty space). In my poetry often words are broken down,
> language deconstructed, meaning becoming ambiguous and blurred --in other
> words, moving toward a state of noise-- to arrive than empty space where
> language loses its its linearity and shoots (in the reader's mind) in
> multiple directions.
> >
> > Julian, I hope this is helpful.
> >
> > Ciao,
> > Murat
> >
> > On Mon, Mar 26, 2018 at 2:38 PM, Julien Ottavi <julien at apo33.org> wrote:
> >>
> >> ----------empyre- soft-skinned space----------------------
> >>
> >> Hi Murat
> >>
> >> that sounds interesting, do you have any examples or links to some of
> your explorations? I am really interested!
> >>
> >> you could listen some noise music produced by ants, stratosphere's
> electromagnetic storms, electromagnetic "inaudible" sounds from cities and
> machines...etc http://fibrrrecords.net/doku.php?id=open_recordings
> >>
> >> thanks
> >>
> >> Julien
> >>
> >>
> >> Le 26/03/2018 à 19:26, Murat Nemet-Nejat a écrit :
> >>
> >> ----------empyre- soft-skinned space----------------------
> >>
> >>
> >>
> >> Very interesting post, Julien. My interest in noise is an attempt to
> liberate it from the subjectivity that humans impose on it, defining it
> only as it relates to them. I want to explore "noise's autonomy." Your
> questions in your post also seem to point to the same direction.
> >>
> >> Ciao,
> >> Murat
> >>
> >> On Mon, Mar 26, 2018 at 1:00 PM, Julien Ottavi <julien at apo33.org>
> wrote:
> >>>
> >>> ----------empyre- soft-skinned space----------------------
> >>> "Noise: Disorientation, Contamination, and (Non)Communication"
> >>>
> >>> Hello everyone,
> >>>
> >>> I was just thinking of this subject and I was wondering why do we
> present noise as a negative concept?
> >>>
> >>> Why if noise helped us to direct ourself in our surroundings
> (Disorientation)?
> >>> why if noise was a not a virus (contamination) but a way to cure
> people and nature? or if it was a way to communicate with the universe and
> the nature?
> >>> Why if noise was a way to communicate and the signal (being the
> information) was not the only way of communicated (as in the communication
> theory)?
> >>>
> >>> Also what is noise? In which domain, theory or practices?
> >>> Are we talking about theory of communication, artistic practices?
> >>> Are we talking about noise music? or nature's noises such as wind or
> thunder?
> >>> If we are talking about music, what kind of noises? white noise, brown
> noise, pink noise? or saturated sounds? "Concrete" music sounds such as
> everyday life sounds: squeaky doors, fans, trains, cars, planes, cooking
> sounds...etc?
> >>>
> >>> We don't have to answer all of those questions during this week but at
> least maybe we could clarify some of them or express what's our interest in
> this field.
> >>>
> >>> For instance, in my case, I am a composer, musician, sound
> artist...etc. I am using noise-sound in my music but I also make noise
> music. Noise music does have a positive impact in my life not only in term
> of production or as a performer but also in the listening of it, specially
> in concert situation with loudspeakers and sub-woofers to really feeling it.
> >>> I am also finishing my P.h.D and one chapter is dedicated to this
> question of the practices of noise music from the perspectives of those who
> makes it and not only from the academic or the listener point of view.
> >>>
> >>> So I am wondering where people stand with those concepts? Beyond your
> background what's is your interest in the subject and from which
> perspective are you talking about?
> >>>
> >>> best
> >>>
> >>> Julien
> >>>
> >>>
> >>> --
> >>> JULIEN OTTAVI
> >>> Composer, Artist, curator and PhD student on new music and network
> >>>
> >>> http://www.noiser.org
> >>> http://www.apo33.org
> >>> http://www.fibrrrecords.net
> >>> http://www.apodio.org
> >>> http://bruitbrut.lautre.net
> >>>
> >>> _______________________________________________
> >>> empyre forum
> >>> empyre at lists.artdesign.unsw.edu.au
> >>> http://empyre.library.cornell.edu
> >>
> >>
> >>
> >>
> >> _______________________________________________
> >> empyre forum
> >> empyre at lists.artdesign.unsw.edu.au
> >> http://empyre.library.cornell.edu
> >>
> >>
> >> --
> >> JULIEN OTTAVI
> >> Composer, Artist, curator and PhD student on new music and network
> >>
> >> http://www.noiser.org
> >> http://www.apo33.org
> >> http://www.fibrrrecords.net
> >> http://www.apodio.org
> >> http://bruitbrut.lautre.net
> >>
> >>
> >> _______________________________________________
> >> empyre forum
> >> empyre at lists.artdesign.unsw.edu.au
> >> http://empyre.library.cornell.edu
> >
> >
> >
> > _______________________________________________
> > empyre forum
> > empyre at lists.artdesign.unsw.edu.au
> > http://empyre.library.cornell.edu
> _______________________________________________
> empyre forum
> empyre at lists.artdesign.unsw.edu.au
> http://empyre.library.cornell.edu
>
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