[-empyre-] critical motion nowhere and everywhere at some time

want to read further. Did anyone else have this sensation? The discourse, I began so sense, was becoming less than particpatory, but i could be wrong. ?? I am sorry if I misunderstood. What readership, Norah, was invited, in your work? with many regards Johannes Johannes Birringer artis

Re: [-empyre-] critical motion nowhere and everywhere at some time

-Original Message- From: Johannes Birringer Sent: 13 May 2009 19:24 To: empyre@lists.cofa.unsw.edu.au Subject: critical motion nowhere and everywhere at some time hello all: thanks Norah for drawing attention to a question that perhaps might like to see itself addressed in this

Re: [-empyre-] critical motion nowhere and everywhere at some time

political and global world beyond concert dance and arthouse installations and interdisciplinary university research centers) indifference can be a principle of terror, as it is of the Sublime (are we reminded here of Stockhausen's comment on 9/11?) Question (to Norah), why was One Flat Thing

Re: [-empyre-] critical motion nowhere and everywhere at some time

dear Deborah, dear all may I return for a moment to a mail you, Deborah, sent me about “tank man tango”, in response to my question regarding its address……. << It's a memorial- my greatest hopes for it are that it brings life to the past, recollectivises a lone hero figure, and gives people a

Re: [-empyre-] swarms, task envelopes, trajectories and displacements...

i small haiku, written by the Japanese poet Basho: Furu ike ya! Kawazu tobikomu Mizu no oto The old pond A frog jumps in The sound of water -------- with regards Johannes Birringer Dap-Lab/dans sans joux www.danssansjoux.org <>

Re: [-empyre-] learning movement, mixed realities, desiring slippage

hello: fascinating citation from a dancer (something we need to hear more here) about practicing inventive curiosity, and Dana Caspersen, ending in the reference to Takasui, helps with her reminder of conscious activity of body-minds never inert but always responsive as well as generative an

Re: [-empyre-] critical / indifference and in/direct politics

gt;>sensors and so forth>> Since most interactive performance art I now find problematic and dysfunctional (artistically, ethically), i would be hard pressed to answer this positively. It has not been a generous form of public experiment, i fear. regards Johannes Birringer http://www.danssanxjoux.org <>___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] tasks / collaborations / critical motion nowhere and everywhere at some time

it would be interesting to hear more from Stelarc about the task envelopes and how he works with engineers, with artificial intelliegence programming and the various operational systems involving couplings and assemblages. i was always impressed by the strangely lyrical quality of the performa

Re: [-empyre-] habitats / collaborations / critical motion nowhere and everywhere at some time

d domains of activity. if I remember). this makes me worry a lot, after i have been learning the avatar choreography in UKIYO. it is elaborate, to an extent, and pleasing to me but not sure whether it can arouse anyone else's interests. ah well. regards Johannes Birringer <>_

Re: [-empyre-] tasks / collaborations / critical motion nowhereand everywhere at some time

hello Laura thanks for your responses and suggestions.. and i will take a look at Soft Materials. I think i had it in mind the other way round, however. The robots are programmed to move or have AI programming enabling them to learn as they evolve along,. and the robots i watched in Quartet

Re: [-empyre-] theory/practice and becoming-avatar

s to all of you for such ongoing tremendous discussions. Johannes Birringer Dap Lab / dans sans joux http://www.danssansjoux.org ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] Narrative, and speaking traces

ure Production), featured recently in TDR, with a stunning photograph of one of her collaborators on the cover. It is certainly the case, i think, that methods are altered when dis/abilities are involved as a conscious /acknowledged fact. regards Johannes Birringer <>___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] Narrative, speaking traces, control systems, and the myth of interactivity

of democratization if ever there was one. Most interactuve art is merely reactive, you cannot change the parameters and thus your input it rather limited, and functionality quickly bores, so does causal (cause and effect) listening/behaving. Interactive art is necessarily cybernetic and thus all about control systems, not emancipation. But then, emancipation could be emancipation into a better control system. regards Johannes Birringer DAP Lab <>___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] undocumented worker

ue (book) on Tehching Hsieh: OUT OF NOW, edited by Adrian Heathfield earlier this year. I am so glad the work can be traced back now and tracked a little, and feedback forthcoming to Tehching Hsieh. the postcards with Tehching living outdoors for year look great. regards Johannes Bir

Re: [-empyre-] Returning to Relational Aesthetics, Queerly

in facets of the Altermodern. It defines these as the end of postmodernism; cultural hybridisation; travelling as a new way to produce forms; and the expanding formats of art. >> I like the bit about surfing. I'm still reading Marc's long texts, so am behind. regards Johan

Re: [-empyre-] the exhausted, deeper down

with many regards johannes birringer http://interaktionslabor.de -Original Message- From: empyre-boun...@lists.cofa.unsw.edu.au on behalf of naxsmash Sent: Mon 7/27/2009 7:03 PM To: soft_skinned_space Subject: [-empyre-] please welcome Alex Donis Hi -empyreans-, Just when you thought &

Re: [-empyre-] danger anyone?

Hi Robert what moments of danger or passing intimacies do you have in mind? i tend to think (am not thinking of October actually and hardly see them as having or being a model of dominat art history in the US, surely not beyond) site specific art or other art, relational or digital or non, the d

Re: [-empyre-] bridging & flying machines

this is a very beautiful evocation of bridges (in Gloria' Anazaldua's writing) and the transformation you address, Christina. thanks for recallng Anzaldua, she was an inportant inspiration in the 90s for many for us. thanks also for sending me a link to your video, "soda lake (unbound'), wh

Re: [-empyre-] bridging & flying machines

this is a very beautiful evocation of bridges (in Gloria' Anazaldua's writing) and the transformation you address, Christina. thanks for recallng Anzaldua, she was an inportant inspiration in the 90s for many for us. thanks also for sending me a link to your video, "soda lake (unbound'), which

[-empyre-] border sounds

musique concrete might be gunshots, police sirens, and dogs barking. A blinding light will be pointed at you. with regards Johannes Johannes Birringer director, DAP Lab School of Arts Brunel University West London UB8 3PH UK +44 (0)1895 267 343 (office) http://www.brunel.ac.uk/dap ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] the depth of projection - uses of space, networked spaces, control

amateurism?). Is not the projection of security , as categorical Imperative, failing all the time? and to what extent does it succeed? regards Johannes Birringer ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] More on audio borders, sound walks, prisons, and structures of learning

ghbors had hoisted a large banner complaining that the new structure has taken away their vista to the Donau. They phrased it ironically: "Thank you, Donau Universitiät, for enhancing our sights. Your neighbors". regards Johannes Birringer dap lab / dans sans joux www.danssansjoux.org ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] networked_art

ilable online, and is not coeditable. ah, there is a bit (extraction): what you get online, is a Schnipsel http://www.youtube.com/watch?v=EhS08Kro70I&NR=1 Since it has religious connotations and antedates Chris Crocker ("Leave Britney Alone"), it is worth stuudying perha

Re: [-empyre-] networked_art & performance

nt into discourse, analysis, theorizing and mediahistorywriting, and then pedagogy/reflection and research/study? or how does art circulate amongst such.? regards Johannes Birringer DAP-Lab School of Arts Brunel University West London UB8 3PH UK http://www.brunel.ac.uk/dap >>&g

Re: [-empyre-] time, context, participation?

but then again, i have very little experience with electronic (mutlmedia writing) literary practices. I am not sure about any of the claims made for the consumer as author. Therse claims never worked in the theatre either. regards joha

Re: [-empyre-] time, context, participation?

n turbulence that allowed for comments showed a collection over time of 2000 unrelated comments, all of which had to be removed.>>) regards Johannes Birringer >>> From: empyre-boun...@lists.cofa.unsw.edu.au on behalf of Gregory Ulmer Sent: Thu 10/22/2009 10:58 PM Johanne

Re: [-empyre-] final questions for Patrick and Jason: the visual and indexing networked information

BOT, create one and connect it to the community at large, and thus fertilize it, feed it, accompany its development, teach it, make it more autonomous, more or less ’social’, possibly even ‘humanize’ it? A Bot is an excrescence of reality.>> (cited from) http://www.subtletechnologies.co

Re: [-empyre-] re-un-mixing

religious or post religious times has also sometimes been communion, a meal, a session with the spirits of ancestors. that form or sharing differs from re-unmixing, does it? yes, it also is necessary to ask whether the centres (and the patrilinear theories/theorists accounted for in m

Re: [-empyre-] Thanks to Christina McPhee

ties, Christina !! regards Johannes Birringer www.aliennationcompany.com -Original Message- From: empyre-boun...@lists.cofa.unsw.edu.au on behalf of Renate Ferro Sent: Mon 2/1/2010 5:34 AM To: soft_skinned_space Subject: [-empyre-] Thanks to Christina McPhee The online community of -empyre

Re: [-empyre-] movement and animation

4-64.] I wonder what kind of movement reception we can infer from cosplay activities in urban space or from other dramatiurgies, and how such dramaturgies flow back to motion graphics, or whether industial practices are being adopted (variously) for other kinds of "movement" by creati

Re: [-empyre-] movement and animation

al natures, energies), or whether this is a general psychological effect of animation intrinsic to its medium. (but have many of you not argued there is nothing medium specific about animation anymore? has "animation" thus chaged into a different medium or plays on a different pyscho

Re: [-empyre-] seeing yourself a prototype - the limits of open source

y processed, >> shrink-wrapped, labeled, bought and sold>> May I alsio ask, in this context, what Gabriel Shalom meant by "autodocumentarian subjects" ? greetings Johannes Johannes Birringer director, DAP lab School of Arts Brunel University West London UB8 3PH UK

Re: [-empyre-] seeing yourself as a mountain - the limits of open source

it's hard to define prototype generally for all categories; art is a particularly cumbersome variant of "object"/"behavior", or valuable, and if you now think of bio- art, there probably is no "concrete need" for tissue culture self -experimentation; so it w

Re: [-empyre-] Process as paradigm

u have noted? do curatorial practices (or pedagogics) evaluate how behaviors of interaction or reception of the processual affect exhibitions and performances? regards Johannes Birringer dap-lab london >>Yann Le Guennec writes >> I think that the term 'generative' is no

Re: [-empyre-] Process as Paradigm - / cracked media

will not have seen? but perhaps some of you who did experience its processual-ness , or showed work in it, can speak a bit more about what objects or performances, prototypes or processes or nonobjects and interactional strategies you set in motion there? thanks ! regards Johannes Birringe

Re: [-empyre-] Process as paradigm / systems theory

ocesses (viz: life sciences, programming organisms, or artefacts, or art works), and the trial and error, in regard to processual art, Ursula? And are not there already traditions of code? regards Johannes Birringer dap / dans sans joux www.danssansjoux.org >>I have receiv

Re: [-empyre-] access to spaces to work in

ouncing:: LIVE.MEDIA+PERFORMANCE.LAB :: http://www.empac.rpi.edu/events/2010/summer/workshop/ LIVE.MEDIA+PERFORMANCE.LAB August 16 - 22, 2010 We are pleased to announce the first summer lab for interactive media in performance to be held August 16-22, 2010. Directed by Johannes Birri

Re: [-empyre-] Creativity as a social ontology

sense, after babel or not? is the creative here always associated with the artistic, and then what "artistic" terms are meant? Simon quoting Kevin > >> So how do we attend to creativity's ontology as a condition of being social, >> without ending up with just another fo

Re: [-empyre-] Creativity as a social ontology

ontological principle. what is a social choreography, and who benefits from it, and who is experiencing it as physically, emotionally and spiritually enriching in a communal sense (and now we are back to ritual)? Is there a "relational consciousness" and what would it be

Re: [-empyre-] communities / machines

Not pure chaos, which tends in the end to be rather uninteresting, but chaos articulated on a plane of consistency, selected and articulated, so that complexity arises of its own self-organizing accord." regards Johannes Birringer <>___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] intimate networks

nd independent ) parameters/infrastructures, and psycholoigical front and back stages, and here i think the term "imagined community" quickly reaches various critical borderlines. has anyone been at DAW in Xi'an? regards Johannes Birringer DAP-Lab / Interaktionslabor PS. one aspect

Re: [-empyre-] thinking images and social choreography

t behavior in an urban situation, involving contact, can also be acts of violence, swarms can create havoc, etc, competition and exclusion reign? Then what model of social choreography do you study now, James, in a non-shamanic and non-Amazonian con

Re: [-empyre-] Creativity as a social ontology / Le don

t, surprisingly. But now James is off line, Simon says. (why sorry?, am I missing a pun, as non native english speaker?). May I ask Kriss whether she likes to comment on "Le Don" ? with regards Johannes Birringer <>___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] Creativity as a social ontology

ll or just "...different folk sharing different spaces at different times, for example" ;)>> I think the posts raised so many - perhaps not easily answerable - questions that almost none were asked this week. regards Johannes Birringer <>___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] Creativity as a social ontology

t might be valuable to look at the failure of anarchism as an example and, yes, reread the impossible manifesto that Hakim Bey wrote in 1985: "The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism" http://hermetic.com/bey/taz_cont.html what a fascinating and

Re: [-empyre-] Creativity as a social ontology

colleagues formulate cultural value (in the producers of the dance or the receivers and participants - the audiences?). Does the notion of "creativity as social ontology" imply that there are no more audiences? But can there be a culture, and a history of cultural values, without audience recognizing value or feeling valued by the art? regards Johannes Birringer http://interaktionslabor.de <>___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] Creativity as a social ontology

dear all, dear Ruth I don't think there should be a need to apologize for 'poorly timed interjections' as i believe this months debate is/has been ongoing and your response to postings that went out here over the weekend is much appreciated, in fact I was interested in your telling us that y

Re: [-empyre-] Creativity as a social ontology

rticipants to come to the Cornell to experiment with the "entertainment"? could you also please elaborate on why you think the "now traditional forms of shaped discourse such as the listserv (empyre?) and new media sites such as CTHEORY ..." have explosive power? exploding wh

[-empyre-] Conservar, Documentar, Archivar.

hat are located nowhere (rhizome? forging-the-future.net/ ?) or are trans-local? and then the question is not important? But was not the specifically located media archive an important challenge you raised? with regards Johannes Birringer DAP-Lab West London http://www.brunel.ac

Re: [-empyre-] Conservar, Documentar, Archivar.

media labs and workshops, etc. "Trespassing geographies is very much what this is about, on every level," Lynn argues, and I wonder whether this is as easily done as it is claimed. respectfully Johannes Birringer claudia wrote Subject: Re: [-em

Re: [-empyre-] "Archiving New Media Art: Ephemerality, and/or Sustainability." translation approach

Explosion. Mehr als je zuvor sind, an diesem Stadium angelangt, alle Wahlmöglichkeiten des Zugriffs erlaubt. Die Fülle dieser Freiheit ist proportional den Regeln und Beschränkungen der Kontingenz, die den Rahmen unserer Existenz einschränken würden, d.h. den Rahmen unseres Bewusstseins dies

Re: [-empyre-] "Archiving New Media Art: Ephemerality, and/or Sustainability." curatorial approach

dear all this just came in from a graduate student, and you might like to hear about it and pass it on, it seems to touch upon our subject, and Patrick's interesting warning voice, in a nice way. I adore the way curators talk about antiquated concepts/data of the human. << Post-Human//Futu

Re: [-empyre-] "Archiving New Media Art: Ephemerality, and/or Sustainability." translation approach

on of a novel dubbed "the book of the century" is based on an early draft manuscript, and contains hundreds of mistakes in spelling, grammar and characterisation. hmmm. what does one make of this. naturally, we hear that some will buy the the erring edition precisely now for that reason,

Re: [-empyre-] "Archiving New Media Art: Ephemerality, and/or Sustainability." translation approach

tinued. But who cares, and who ever would stumble on this site, and take a minute to see whether information or critical reflection is relevant, and to whom and why. so is a workshop preservable? http://empaclivemediaperformancelab.blogs

Re: [-empyre-] "Archiving New Media Art: Ephemerality, and/or Sustainability." translation approach

and then on to translations.. here is a first version of >>l' archive recombinante<< in spanish, sent to us by Angeles, to be followed by a differently adapted version soon: >>l' archive recombinante<< [File 5 tr.1 ] Un archivo recombinante es un estado temporal de un proceso de arc

Re: [-empyre-] The archive

perceivable "as mainly North-Western cultures/societies centered, not in the scope maybe but in the way of understanding other people's contexts." with regards Johannes Birringer From: empyre-boun...@lists.cofa.unsw.edu.au [empyre-bo

Re: [-empyre-] Culturally specific archives

hi all thanks Jon for this text excerpt from your writing, and it seems you are grappling in a very interesting way with Diana Taylor's potentially confusing "so-called" juxtaposition -- between the "archive" of supposedly enduring materials (i.e., texts, documents, buildings, bones) and the

Re: [-empyre-] Culturally specific and unreliable archives

e of currency (they appear like strangely ornate baroque-like etchings coalescing into beavers and officious-looking buildings and such) and yet his repertoire was also inflected with imagery from everyday Northern/ Inuit life: broken skidoos, someone gutting a seal, garbage dumps,

Re: [-empyre-] localized scenes, digital arts & education

ket values of saleable art dropped in 2008, i thought, but our subject - new media arts - is not so sale-able, yes? Is the maneuver that Cindy Zeng/ Lao Dan and Hart Cafe undertook a logical one? regards Johannes Birringer London http://www.brunel.ac.uk/dap

Re: [-empyre-] localized scenes, digital arts & education

Dear all, dear Edward thanks for your recent response, and commentaries on the independent scene. I felt a bit foolish afterwards for thinking that the website (Cindy Zeng/Lao Dan and Hart Cafe) meant that they had expanded or changed their policy and were alive and well; I tried to contact t

[-empyre-] without fear or/of favor

webcam, after the BBC's request to visit him in China had been turned down. In other words, the Chinese authorities appear to be simultaneously infuriated by him and proud of him, as an artist of international standing. One can only hope it buys him en

Re: [-empyre-] without fear or/of favor

mmon conceptualizations imply that the trajectory of art within China is operated in a monolithic and unidirectional way, that is to say, from the West to East" but what about the diaspora, the many Chinese artists who have gone to other

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

n based on anonymous collaboration and action in order to escape from the overproduction of media, marketing, messages, branding, surveillance, study, investigation, knowledge and, most of all, information>> this is a lot to escape from; more or less you want to escape culture or (critical) fra

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

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,

Re: [-empyre-] the netopticon

ning the Panoptic gaze back upon the observer, struck a significant counter-attack in what might be considered an asymmetric info-war") the counter is. with regards Johannes Birringer ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] the netopticon

ing about Castelli and the artists who painted (for his gallery and dealership) - most efficient and most rewarding, one gathers. regards Johannes Birringer Christina schreibt: >> Thanks, Julian! I look forward to checking out the sites. In fact, there is no way to be sure that

Re: [-empyre-] Vigilar y Castigar

ming a form of kettling? are we then doing our own kettling by participating in a sustained unsustainable cynical darwinism that will wreck us? does the netopticon only concern the accessed/accessible? with regards Johannes Birringer ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] vigilar y castigar

nything other than the same (in other words, is such art an expression of Davin's suicidal faux-resistance? or is it inconsequential, simply youtubed and dissolved in the ocean? are there any consequences to youtubing?) And, Davin, i think public consciousness, whether in the United States or Afghanistan or Tunisia or elsewhere, is never effectively managed. with regards Johannes Birringer ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] Wearable Technologies, or dances with horse

the wearables don't perform. (and at London's Sadlers' Wells recently, Bartabas and Ko Murobushi performed with horses, or the other way round, the horses wore out the dancers). I'd ask more specifically what it is that is performed, what is augmented and what is (as you i

Re: [-empyre-] Wearable Technologies, or dances with horses

ite fascinating to look at social uses of wearable technologies ("social choreographies"), and ask whether and how they differ from arts-based/contexted performances. regards Johannes Birringer DAP-Lab dans sans joux http://www.danssansjoux.org ___

Re: [-empyre-] Wearable Technologies, or dances with sound

in virtual worlds), also now relegated to the mythologies that always come along with new technologies. The use of gesture, or its social role, however, is an important subject that I hope we come back to. with regards Johannes Birringer Dap-Lab Susan wrote: >> I am interested i

Re: [-empyre-] Wearable Technologies: or, dances with sound

at the 3LD Art & Technology Center in 2009) with regards Johannes Birringer DAP Lab http://www.brunel.ac.uk/dap http://www.danssansjoux.org ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

[-empyre-] Wearable Technologies and dresses/bodies in flux

nflux.aspx)? the goth body? and how mass media play across these categories now or how fashion/advertising/entertainment in the late age of perverse capitalism is a rather chaotic mess, no? regards Johannes Birringer dap-lab ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] Week 4 of empyre: Wearable Technologies

n the arenas of art theory / and / media criticism or activism. i guess there's a prejudice against textiles and clothes, and if this is so, where does it come from and what does it indicate? with regards Johannes Birringer dap/dans sans joux http://www.danssansjoux.org >>. It h

Re: [-empyre-] wearables, distributed

ributed it or how you incited interest in body worn technologies as learning tools? with regards Johannes Birringer ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] this month's discussion on wearables, distributed

dear all well, it's been announced the month's discussion is nearly or practically over, and one already has a sense that for some reason the discussion didn't come together, or discussants posted and left/did not return, some returned but it felt we were not having a conversation, or debate on

Re: [-empyre-] social wearables and scanners

nction and involve various backstage scripts, and are we fully conscious of the choices we make and what gestures we have adopted, and then again, often we are fully/performatively conscious of the roles we play, and thus colonization (if you look at the text below) is a fractious political pr

Re: [-empyre-] Wearables, against choreography

atable, an immanently diffused and morphosic body wearing and unwearing iitself? I don't know, hmm. don't think so. regards Johannes Birringer DAP-Lab ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] Fwd: Call for e-action | Venice Biennale |Manifesto

Not sure what there is, so lovable, about the rhetorical manifesto (Stateless1 Pavillion Biennale.jpg) of futile gestures, and the proposal to squat between the fascist monuments (german and italian pavilions) in the Giardini, if one were to travel to Italy, that would require a passport, no?

[-empyre-] laws, outlaws & pirates

are hardly successful as romance (but involve "behaviours, ...in its raw sense, of killing, robbing, pillaging etc" ) and what forms of vandalism would fight what forms of vandalism? with regards Johannes Birringer ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

Re: [-empyre-] pirates and clapping

to anticipate the outcomes, which will help us to make better products." we are the products of Google, not clients, nor "pirates." I hope folks were clapping frequently during the Google speech. with regards Johannes Birringer ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

[-empyre-] After the facts, and from a distance

Will the discussion change now that the "locale" is left behind? how does this coming in and then leaving behind affect the theme of zones of contact? with regards Johannes Birringer dap-lab London ___ empyre forum empyre@lists.cofa.uns

Re: [-empyre-] October Forum: "E/motion frequency deceleration"

a reflection on butoh dance. In my next post i shall begin to introduce our guests. We have a lively and diverse ensemble of practitioners and thinkers, which I am very anxious to welcome! with regards Johannes Birringer (1) The 2011 CHOREOLAB at Krems, Austria, was envisioned a

Re: [-empyre-] October Forum guests: "E/motion frequency deceleration"^

Folds and Ecologies in Site-Contingent Performance, where he also weaves together his previous practice and research on Carmelo Bene and the Baroque (1998-2000), on Tarantism and Butoh (1998-2007) and tinnitus/hyperacusis (1998-to present).) thank you regards Johannes Birringer

Re: [-empyre-] : "E/motion frequency deceleration" (M Weiss) prolog

[1] First reflection, Prolog from Michael Weiss. - - - "Creating and Performing Existential Fields of Knowledge" (Reflections on a Choreolab) A person wanted to learn dancing and went to a teacher of dance, asking: “What is dance?“ The teacher answered by

Re: [-empyre-] : "E/motion frequency deceleration" (M Weiss) Movement 1

oÅNckler (musicology); and from interdisciplinary fields of art-and-science Johannes Birringer (media choreography/new media), Hannes Rauchberger (film studies/film directing/producing), Gerhard Trimmel (film studies) and Soenke Zehle (media theory/transcultural literary and media studies). To kee

Re: [-empyre-] : "E/motion frequency deceleration" (M Weiss) Movement 1

[1] First reflection, Mov.1 (last part), from Michael Weiss. - - - Research with / through / of Body & Mind At the very day the Choreolab ended, I went on to an interdisciplinary seminar of four days which happened to be a scientific forum, consisting of so--‐‑called ΄senior fellows΄ from

Re: [-empyre-] : butoh

e foam). The sea is splashing into a chaotic light foam to be dispersed by the wind. regards Johannes Birringer To subscribe via the World Wide Web, visit http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre Send your own posting to:

Re: [-empyre-] "E/motion frequency deceleration" [Amos Hetz]

[relayed]: Dear Johannes, dear friends, Before writing some notes for our topics, I feel the need to add some sentences to my bio. I am an artist, a dancer who compose his dances through using the Eshkol-Wachman Movement-Notaion (EWMN) an israeli invention (1958). This system describes the hu

Re: [-empyre-] Listening, at times

sound rather than harmonising with it. Place confinement, in short, is a form of deafness." [1] thank you all for everything so far, and may we ask others to join in, please? Johannes Birringer references [1] Tim Ingold, “Against Soundscape,” in Angus Carlyle (ed.), Autumn. Leaves

Re: [-empyre-] listening, at times

... thought was not complete-d, when I suggested an issue came up listening moving during the choreolab, and that was when the film cameras were used at some point, and were considered an intrusion. Not by everyone, but probably by some, and we wondered whether we move differently when we

Re: [-empyre-] : "(E)MOTION FREQUENCY deceleration" (M Weiss) Movement 2

[2] Second reflection, Mov.2, from Michael Weiss. Choreolab as a Creation of Fields of Knowledge In the course of our study we want to convey that there is a great conjunction between motion and emotion, action and inaction, which ultimately strives for full illumination that can

Re: [-empyre-] : "(E)MOTION FREQUENCY deceleration" (M Weiss) Movement 3

[3] Third reflection, Mov.3, from Michael Weiss. Choreolab as / and Science & Arts-Based Research Art-based research [1] and advanced scientific thinking share a fundamental commitment to allowing the phenomena being studied to

Re: [-empyre-] : "(E)MOTION FREQUENCY deceleration"

sical and spiritual dimensions, variably addressed by practitioners who practice a method, are recognizable valid shareable and culturally effective dimensions, today, and how and where do you experience them? regards Johannes Birringer To subscribe via the World Wide Web, visit

Re: [-empyre-] : "(E)MOTION FREQUENCY deceleration" / second week, introducing our guests

ques as research data. with many regards Johannes Birringer To subscribe via the World Wide Web, visit http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre Send your own posting to: empyre@lists.cofa.unsw.edu.au ___ empyre forum

Re: [-empyre-] : "(E)MOTION FREQUENCY deceleration" / second week, introducing our guests

research data. with many regards Johannes Birringer To subscribe via the World Wide Web, visit http://lists.cofa.unsw.edu.au/mailman/listinfo/empyre Send your own posting to: empyre@lists.cofa.unsw.edu.au ___ empyre forum

Re: [-empyre-] condensacion/extrusión

dear all oh, David, no need to worry, anyone can join in at any point, when you feel urged to write. one could have introduced the whole ensemble of actors at beginning of october, but we tried to start actually with the physical workshop, then with the choreodancers, and gradually we're

Re: [-empyre-] condensación/extrusión 2

t_architectures" (nice concept):http://blog.khm.de/surveillant_architectures/?p=353 how would you speak about the notion of "real-time", in comparison with Olu's philosophical thoughts on "duration time" (not measurable time)? best wishes Johannes Birr

Re: [-empyre-] daimon: Lucier's performance

oh, how is it possible to re/create Lucier's brain wave /mediational performance - it was not scored, was it? how could it be scored? or is this a work that can be created again by others (thus participatory in the Cagean sense) being / performing in the same configuration or arrangement, mis

Re: [-empyre-] condensación/extrusión 3

Gordana's longer and invigorating post, "Artaud, ritual, spectacle, alchemy...and a pinch of science" really invites a final round of comments and feedbacks from this week's workshop discussants, and I am already tantalized by what our speakers from next week will have to say as some of the iss

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