Hi steve Just because I've written about them recently I'd suggest Robert cahen's L'etreinte, Daniel Crooks' work in general, Daniel Reeves' Obsessive Becoming - artists for the most part working in single channel video and to some extent in installation; older works by the late Thierry Kuntzel, almost anything by Peter Gidal . . . There's a justifiable argument that the machine must be unmade: as I understand it that's the line in software art, and was back in John lansdowne's day for some digital artists. That remaking may include repurposing footage, retroengineering equipment, detourning the device - but these are formalisms if they don't prise open the possibilities of a future otherwise than the present (the Adorno line), take responsibility for what they undertake (the Joyce aesthetic) and pursue what in badiou comes out as an 'essential Truth' (terms I find hard to drag free of their metapgysical baggage -- you could say 'the potential lurking in every actual') - somehwre then I admit between romanticism and modernism, but learning from the horrors of the 20thC that planning the future, giving the future a content, is the surect way to ensure that it never comes about
On 30/11/08 5:52 AM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > Sean, > > what art speaking of the good are you thinking of ? > > The only material i can think of is that which escapes between the shims > in the machine. > > steve > > Sean Cubitt wrote: >> A catastrophe in its ordinary running, and a crisis-prone catastrophe. >> >> Fifteen years ago, or maybe twebnty, Jimmie Durham noticed that the >> invading white men accused the native Americans of rape, scalping, >> gratuitous slaughter of whole villages . . . But that of course it >> was the other way round. Who still believes violence is repressed in >> liberal capitalist democracies? It is the everyday rapes, pillage and >> murders by which capitalism manages to profit from its own >> catastrophic nature. The unending terror that began with Calvin still >> populates the very heart of commerce (and the state is its executive >> branch) >> >> The problem now can be phrased like this: The world is split between >> Evil (regimes, terrorists . . .) and Innocent (civilians, victims . . >> . ). There is no room left for the Good. What art can do uniquely is >> to speak of the Good, that is of the very thing that does not exist in >> or for contemporary capitalism >> >> sean >> >> >> >> >> On 29/11/08 10:21 AM, "Verena Conley" <[EMAIL PROTECTED]> wrote: >> >> Excellent point. Of course, terror is endemic to capitalism. >> Though we still have to define it. >> Also, since earlier we spoke of catastrophes, it seems fairly safe >> to say that free market capitalism the way it was practiced since >> 1989 but especially 2000 is the real catastrophe. >> >> Verena >> >> On Fri, Nov 28, 2008 at 5:05 PM, simon <[EMAIL PROTECTED]> wrote: >> >> Does this mean - the following - the following (too late), >> which my >> earlier post was an attempting to articulate: that capital encodes >> terror? makes use of it in its flows of symbolic exchange? as >> if having >> reached a critical velocity, the accident of history is given to >> returning endlessly? >> >> Or conversely has there been some sort of symbolic phase shift >> whereby >> the simulacrum, the coded world, that Image of >> thought-as-representation, now only runs by circulating, >> through the >> circulation of, acts/networked nodes of terrestrial and >> extraterrestrial >> terror? Is capital now entrained in the duration of terror? >> (As we are >> entrained in the durations of its spectacular technological >> means.) >> >> Simon Taylor >> >> www.squarewhiteworld.com <http://www.squarewhiteworld.com> >> www.brazilcoffee.co.nz <http://www.brazilcoffee.co.nz> >> >> >> Nicholas Ruiz III wrote: >>> As a reflection of the transparency of evil (Baudrillard), >> the whole >>> lot of it, Mumbai, etc.--is commerical art...and the millions of >>> downloads, transmissions and commentaries are its market, >> paid for in >>> broadcast fees, cable and satellite subscriptions and financed by >>> advertisers: with media art critics and all! We are >> enveloped by a >>> postmodern Roman media coliseum, where gladiatorial urges are >> elicited >>> and fulfilled, where spectators take part in the war games, >> which are >>> repeated endlessly and archived for posterity on the Network. >>> >>> NRIII >>> >>> Nicholas Ruiz III, Ph.D >>> Editor, Kritikos >>> http://intertheory.org >>> >> _______________________________________________ >> empyre forum >> empyre@lists.cofa.unsw.edu.au >> http://www.subtle.net/empyre >> >> >> >> >> Prof Sean Cubitt >> [EMAIL PROTECTED] >> Director >> Media and Communications Program >> Faculty of Arts >> Room 127 John Medley East >> The University of Melbourne >> Parkville VIC 3010 >> Australia >> >> Tel: + 61 3 8344 3667 >> Fax:+ 61 3 8344 5494 >> M: 0448 304 004 >> Skype: seancubitt >> http://www.culture-communication.unimelb.edu.au/media-communications/ >> http://homepage.mac.com/waikatoscreen/ >> http://seancubitt.blogspot.com/ >> http://del.icio.us/seancubitt >> >> Editor-in-Chief Leonardo Book Series >> http://leonardo.info >> ------------------------------------------------------------------------ >> >> _______________________________________________ >> empyre forum >> empyre@lists.cofa.unsw.edu.au >> http://www.subtle.net/empyre > _______________________________________________ > empyre forum > empyre@lists.cofa.unsw.edu.au > http://www.subtle.net/empyre Prof Sean Cubitt [EMAIL PROTECTED] Director Media and Communications Program Faculty of Arts Room 127 John Medley East The University of Melbourne Parkville VIC 3010 Australia Tel: + 61 3 8344 3667 Fax:+ 61 3 8344 5494 M: 0448 304 004 Skype: seancubitt http://www.culture-communication.unimelb.edu.au/media-communications/ http://homepage.mac.com/waikatoscreen/ http://seancubitt.blogspot.com/ http://del.icio.us/seancubitt Editor-in-Chief Leonardo Book Series http://leonardo.info _______________________________________________ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
