thanks Alan ! On Sat, Mar 12, 2016 at 4:50 AM, Alan Sondheim <sondh...@panix.com> wrote:
> > Hi, just wanted to mention you might look at issues of inner voice / inner > worlds - Vygotsky for example - and this connects also to inner worlds, > diegesis, the 'world of the book' - Miekal Dufrenne for example. There > isn't a voice in the written word - there are numerous voices, a panoply of > them. I'm well aware of this in my reading and writing. It's different > than, say, the kind of alterity Levinas writes about (Sartre for that > matter), the presence of another, the messiness of that presence (which > fascinates me). But all of these are interwoven and of course complex - > Alan (apologies if this is somewhat off-topic) > > > > On Fri, 11 Mar 2016, Annie Abrahams wrote: > > Thanks Ruth and Mark for paying attention - that is stimulating. >> >> Ruth : >> the voice, the voices - how I understand it is that the voice is what >> makes >> a text, an idea an unique expression in a relation. It is the voice that >> loads words with affect and makes it an address to someone. (I'm still >> processing the quote on Bakthin by Lazzarato) It is the voice that filters >> the possible significations of the words to one unique expression. >> >> No, I don't think there is "a voice" in the written word, not the same way >> at least. I can imagine that an extended range of voices you have access >> to, >> does influence your thought and writing. If a voice is an affective >> address, >> and if you can "change" voices, you get access to different registers of >> affect and address, your content as a consequence becomes richer, more >> diversified... Your style could change ... >> >> Maybe we should ask Curt Cloninger to react to this - he is the one who >> put >> me on the track of Bakthin. See here in his article on glitch (yes glitch) >> http://lab404.com/glitch/ >> Here are some Bakhtin quaotes from his article. >> "Language enters life through concrete utterances (which manifest >> language) >> and life enters language through concrete utterances as well. The >> utterance >> is an exceptionally important node of problems. >> >> Only the contact between the language meaning and the concrete reality >> that >> takes place in the utterance can create the spark of expression. It exists >> neither in the system of language nor in the objective reality surrounding >> us. Thus, emotion, evaluation, and expression are foreign to the word of >> language and are born only in the process of its live usage in a concrete >> utterance. >> >> Each text (both oral and written) includes a significant number of various >> kinds of natural aspects devoid of signification... but which are still >> taken into account (deterioration of manuscript, poor diction, and so >> forth). There are not nor can there be any pure texts. In each text, >> moreover, there are a number of aspects that can be called technical (the >> technical side of graphics, pronunciation, and so forth)." >> >> >> My interest is foremost in what our voices do in our besides, >> performances, >> how they function (when you don't see the person you are addressing), and >> what they do with the objects. >> To further investigate Martina and I planned to do a few short >> performances. >> Three very short performances : One as usual, one without voices, but with >> written text over the images of the things, and a third one with voices, >> but >> no text, no content. let's hope we get invited to do so. >> >> Mark : >> There are so many things going on at the same time in our performances; >> First of all it is a meeting between Martina and me. For us it is a way of >> getting to know the other by collaborating in a performance context. And >> so, >> yes it is always becoming. >> The understanding of a text is always a part of a relation. >> >> xxx >> Have a nice weekend >> Annie >> >> Communication without words and closed eyes : http://bram.org/distantF/ >> >> >> On Wed, Mar 9, 2016 at 7:31 PM, ruth catlow <ruth.cat...@furtherfield.org >> > >> wrote: >> Thank you for sharing this Annie, >> I have a question (I enjoyed reading the last Bakhtin quote >> about voice). >> Do you think that voice is also conveyed in the same way in the >> written word? >> >> I ask, because I recently participated in a residency in which a >> writer was partnered with a voice coach. I was lucky enough to >> have a session with the voice coach and feel that the extended >> range of voices that I accessed through this session have added >> range to my thought and writing. >> >> Ruth >> >> On 03/03/16 10:48, Annie Abrahams wrote: >> >> light >> >> This is a copy of my latest blogpost. I want to share it >> here too, because it might be of interest to some of you >> who are not connected to me otherwise. >> (Next performance will be March 19th 20h in Im_Flieger in >> Vienna) >> >> Take care >> Annie >> >> We started out with three very different meetings (See >> turbulence.org) and then decided to continue to explore >> one of them further; we restricted ourselves to a theme >> and made the project on ?meeting online =?also a research on >> the relation between objects/things, text and the voice. >> We began experiencing and experimenting the performances >> as an other method of thinking together about both object >> agency and online collaboration. >> >> ? We stage a collaborative performance project online. >> ? Meeting online = >> ? We are meeting online, trying to get more grip on what is >> actually happening in online webcam communication. >> ? This is a research project where we use performance as a >> tool. >> ? Using performance as a tool, is a way to create a common >> responsibility. >> ? We use an interface which doesn?t permit that either of us >> two can become dominant, an interface that has flaws, >> glitches, bugs, an interface that cannot be domesticated. >> ? We are not developing a performance ? our performances are >> part of a research process. >> My performances are a research tool, not an object ansich, >> not something to show off. (See allergic-to-utopias) >> >> But the audience? Why should they be interested, What is >> it for them? They can think with us! >> >> So far : >> besides, the person I am becoming 1/06 2015 >> There are : >> ? the interface : two webcam images side by side, one managed by >> Martina, one by Annie. Both images have exactly the same size >> and presence there is no power relation. >> ? a text : a remix, done together, of phrases read and heard, >> collected over one month by Annie and Martina individually. We >> determined before who would read what part of the text. >> ? objects : things : we will not use personal objects, things >> with a very specific personal history and they should not be >> too beautiful, as ordinary, casual, daily as possible. >> What did we mean by that, why? We didn?t want things to be >> symbols. We almost entirely excluded also natural objects as >> flowers, leafs etc., because, they are already alive on their >> own and so are too symbolically loaded too. >> The objects were placed in front of the webcam at before >> undetermined intervals. >> ? the hands : hands who lay down the objects carefully. >> ? two voices : as neutral as possible. Because the interface >> merges the sound of both webcams in one stream, there is no >> way for the audience to distinguish if a voice comes from the >> one or from the other webcam. They can only hear that there >> are two different voices, there is a dialogue. >> >> What dialogue? Who is talking to who, who is addressed? >> Who receives? The objects replace the faces we are used to >> see in webcam images. We see them in close up ? they become >> actors ? we can believe them to be intimate, to have a >> relation. They too have a / are in dialogue. They too are >> elements being in the event. (1) >> >> This is where the two subjects meet. This is where we >> meet. >> >> In besides, the city is not a tree, 22/07 2015 we used a >> different, more narrative, mix of the same text collection. We >> decided to abandon the neutral voice and let the exchange be >> more natural allowing for affect to transpire (2). We speeded >> the rhythm and alternations. >> Hands should be just careful installers, shouldn?t manipulate, >> nor stay too long in the frame. >> For besides, smaller than a single pixel 28/11 2015 we made a >> new text collection. No natural objects at all were allowed >> anymore. Would the perceived agency of the thing change if we >> would enter and exit them at specific moments in the text? If >> we stopped talking while changing the objects? Would the >> objects become more present, have more influence if we allowed >> for moments without text? >> We stayed with speaking the text in an ordinary manner. Would >> the dialogue be more fluent if we decided to use the texts >> fragments randomly? Would that give more dialogical power to >> our voices and rhythm? Would that help us to use text and >> objects equally in our perform thinking experience? >> >> We perform experimenting thinking together using words and >> things and the affects transferred via our voices. We >> experiment performing thinking together using words and >> things and the affects transferred via our voices. We >> think performing experiments together, We experiment >> thinking performance together, We experiment performing >> thought ? >> >> (1) ?According to Bakhtin, in order to ?overcome? the separation and >> opposition between art and life, between art and culture, the >> elaboration of a ?first philosophy? is required: The philosophy of >> event-being. Art and life cannot and must not tend towards >> identification, as was the case with the Situationists, for >> example. But, in order that the enriching, excessive and >> productive difference between art and life be able to express >> itself, it is necessary to possess a theory which, whilst >> maintaining the irreducible differences between these two >> dimensions, articulates them in the achievement of the event.? >> Maurizio Lazzarato in Dialogism and Polyphony. >> >> geocities.ws/immateriallabour/lazzarato-dialogism-and-polyphony.html >> >> (2) ?According to Bakhtin, the voice or intonation, not yet >> captured in the ?phonetic abstraction? of language, is always >> produced ?on the threshold of the verbal and the non-verbal, the >> said and the non-said? and it is through it that it addresses >> itself to the other. This address is affective and >> ethico-political rather than linguistic. It ?appropriates, >> travels, avails itself of linguistic and semiotic elements, >> confirms and drifts away, critiques and legitimates meanings >> and established intonations?. ?????It is only when the voice >> penetrates >> and appropriates words and statements that the latter loose >> their linguistic potentiality and turn into actualised >> expression. It is only at that moment that words and >> statements are encumbered with the a unique and non >> reproducible role in verbal exchange.? Maurizio Lazzarato >> generation-online.org/p/fp_lazzarato6.htm >> >> Notes on performance series besides, with Martina Ruhsam, >> 03 2016, Annie Abrahams >> >> >> >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> Tally Ho Corner, London N12 0EH. >> >> _______________________________________________ >> NetBehaviour mailing list >> NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> >> >> >> >> > == > email archive http://sondheim.rupamsunyata.org/ > web http://www.alansondheim.org / cell 718-813-3285 > music: http://www.espdisk.com/alansondheim/ > current text http://www.alansondheim.org/tv.txt > == > _______________________________________________ > NetBehaviour mailing list > NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour > -- Gretta Louw reviews my book <http://www.furtherfield.org/features/reviews/personal-politics-language-digital-colonialism-annie-abrahams%E2%80%99-estranger> from "estranger to e-stranger: Living in between languages", and finds that not only does it demonstrate a brilliant history in performance art, but, it is also a sharp and poetic critique about language and everyday culture. New project with Daniel Pinheiro and Lisa Parra : Distant Feeling(s) <http://bram.org/distantF/>
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