Re: [NetBehaviour] broken thought tests

[Alan Sondheim via NetBehaviour]

Thanks, Johannes, first; I did write on midterm, two pieces which are
somewhere in the ether & in files. We voted early, a few weeks ago; I
wasn't caught up in the act but in the results.

DIWO, the expression is used by Furtherfield; I forget who created the
abbreviation, someone on this list, apologies. And it reminded me that
almost all the work I've done has either been with others (Foofwa,
musicians, Azure, collaborators all the way back) or in absolute isolation
where I feel like a hungered Rimbaud manque. So many people have helped for
example with coding, or have given me use of their programs, going all the
way back to Charles Strauss at Brown who let me use his hypercube program
for a video in which I had Rhode Island School of Design students learn to
"drive" in 4-dimensional space (vector graphics at the time).
So I've been lucky for most of my life. At this point it's harder; working
at Newark was amazing - we had at least ten people to work with - and it
was amazing. I can collaborate, and would love to collaborate with you
(again, remembering Heiner Muller); I haven't done that at a distance since
being in spaces and working between technology, people, and spaces among
all of them, is so important - pacing the floor, looking for resonances and
points of contact for things like vibration mics; I remember working with
Terry Fox and Bill Viola in Florence, a renaissance room; we had binaural
mics and plumbing pipes for example and played the room's standing waves
for an audience standing outside (did a similar thing in Dallas come to
think of it); anyway, the architecture itself resounded. I'd never heard
anything like it etc.

So yes to working/planning if we can; I assume this would be at a distance.
Here I have no tech except some computers and instruments, but no vr, not
even ar. So that's difficult.
I wonder a couple of things - what might be the sound of an eclipse? And
possibly would vlf or elf (very low frequency, extremely low frequency)
radio signals be affected by such? That could be tapped into of course.

All this poetics!

Best, Alan, apologies for going on so long -

On Fri, Nov 9, 2018 at 4:25 PM Johannes Birringer <
johannes.birrin...@brunel.ac.uk> wrote:

> thank you for responding Alan, and, i feel, in your response, you begin to
> ponder the question of working (as a weaving) with others as I had
> questioned your loneliness and unheard/unseen-ness.
>
> Your work resonates, and aggravates surely, as many here on the list
> probably feel charmingly disoriented and inspired and encouraged by the
> continuous outpourings of your texts, poems, aphorisms, images, and music.
> One cannot keep up, and so I sometimes find or relocate your broken remarks
> weeks later.
>
> did you write on voting, midterm?
>
> that is over now, i saw joyous report, and misgivings, and i read
> misgivings here too, every day, and cannot keep up with the failures of the
> imagination; meanwhile, I saw that Performing Arts Journal, in its current
> issue, remembers Reza Abdoh, the theatre artist (died in the 90s), and his
> work with others, Dar A Luz. The last piece i saw of them, in New York, was
> 'Quotations from a Ruined City." behind barbed wire.
>
> Now you speak of DIWO, i did not really know this expression; the friends
> and collaborators one works with are generous, this is my experience, and
> generosity is perhaps a crucial notion here, along with the passion and the
> preparation you mention (Foofwa) , which spoils us, and your broken tests
> are also partly credited to Azure, so you are fortunate in not being alone,
> nor isolated; the networked behaviors you address make me wonder, here, how
> many of us work alongside (Mark how many subscribers has this list?), and
> Alan you mention Finsbury Park where you came last year, but there are so
> many parks and studios, and if I had time I would love to meet/visit other
> studios more, and learn (share) coding more.
>
> Currently, a sound artists, A-Kin, whom I am working with, is helping me
> to re-activate the Sensestage Minibees, wearable sensors I got hold of from
> STEIM a few years ago but never really managed to get to work on my Mac -
> has anyone worked with the minibees?  well, we are almost there with the
> new Max patch to see whether they are useful, meaningful.  Laurie Anderson,
> in that same PAJ issue, talks about her dabbling with VR in 'The Chalkroom'
> (which she made with Hsin-Chien Huang), saying she finds, often, that new
> technologies are clumsy, and the goggles certainly were when she first
> tried to work with them. But she felt she could develop something, slowly,
> some stories in VR, along with her collaborator (via Skype, they live in
> different places). "it's a wonderful way to work on ideas," she says about
> skyping with others developing a new piece.
>
> So, Alan, why don't we work on something for next year (I am planning a
> dance about the moon eclipse)...
>
> regards
> Johannes Birringer
>
> 

[NetBehaviour] Ethernet Orchestra wanting to work with interactive music systems

[Roger Mills]

Hi all,

Ethernet Orchestra are interested to meet musicians and technologists who are 
developing interactive music systems for potential experimental improvisatory 
networked performances on public networks.

We are a group of cross-cultural performers spread throughout UK, Germany, 
Brazil, Canada and Australia. For more information about us please visit our 
website https://ethernetorchestra.net/ 

We will be doing a series of performances in March and April 2019, which we 
hope to record for a net label release.

We would also like to meet musicians and sound artists interested in exploring 
networked performance and welcome all electronic and acoustic instrument 
players who may be interested in performing with us.

Ethernet Orchestra has grown out of my research interest in the cultural 
aspects of tele-improvisation and I also am happy to participate in joint 
research/writing experiments in about this topic.

If this sparks something for you, please get in touch!

Regards

Roger 

--
Roger Mills

http://www.eartrumpet.org
http://ethernetorchestra.net
http://telesound.net

"Knowledge is only rumour until it is in the muscle" - Asaro Mudmen, Papua New 
Guinea.


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Re: [NetBehaviour] broken thought tests

[Johannes Birringer]

thank you for responding Alan, and, i feel, in your response, you begin to 
ponder the question of working (as a weaving) with others as I had questioned 
your loneliness and unheard/unseen-ness. 

Your work resonates, and aggravates surely, as many here on the list probably 
feel charmingly disoriented and inspired and encouraged by the continuous 
outpourings of your texts, poems, aphorisms, images, and music. One cannot keep 
up, and so I sometimes find or relocate your broken remarks weeks later.

did you write on voting, midterm?

that is over now, i saw joyous report, and misgivings, and i read misgivings 
here too, every day, and cannot keep up with the failures of the imagination; 
meanwhile, I saw that Performing Arts Journal, in its current issue, remembers 
Reza Abdoh, the theatre artist (died in the 90s), and his work with others, Dar 
A Luz. The last piece i saw of them, in New York, was 'Quotations from a Ruined 
City." behind barbed wire. 

Now you speak of DIWO, i did not really know this expression; the friends and 
collaborators one works with are generous, this is my experience, and 
generosity is perhaps a crucial notion here, along with the passion and the 
preparation you mention (Foofwa) , which spoils us, and your broken tests are 
also partly credited to Azure, so you are fortunate in not being alone, nor 
isolated; the networked behaviors you address make me wonder, here, how many of 
us work alongside (Mark how many subscribers has this list?), and Alan you 
mention Finsbury Park where you came last year, but there are so many parks and 
studios, and if I had time I would love to meet/visit other studios more, and 
learn (share) coding more.  

Currently, a sound artists, A-Kin, whom I am working with, is helping me to 
re-activate the Sensestage Minibees, wearable sensors I got hold of from STEIM 
a few years ago but never really managed to get to work on my Mac - has anyone 
worked with the minibees?  well, we are almost there with the new Max patch to 
see whether they are useful, meaningful.  Laurie Anderson, in that same PAJ 
issue, talks about her dabbling with VR in 'The Chalkroom' (which she made with 
Hsin-Chien Huang), saying she finds, often, that new technologies are clumsy, 
and the goggles certainly were when she first tried to work with them. But she 
felt she could develop something, slowly, some stories in VR, along with her 
collaborator (via Skype, they live in different places). "it's a wonderful way 
to work on ideas," she says about skyping with others developing a new piece.

So, Alan, why don't we work on something for next year (I am planning a dance 
about the moon eclipse)...

regards
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 04 November 2018 02:59


A beautiful weaving here, and I hope that my theory/exegesis/whatever hasn't 
disrupted the flow of poetics that also underlies what I do, what you do.
The viola-garb is almost clown-like, which is necessary for de/markating of 
course. All of this work, and yours too, and dance/theater is almost always 
DIWO, networked, I think.
Which is why, at least when I worked with Foofwa for example, I felt that our 
work with others was also DIWO. There's a question of skill as well. Who are 
the O? For me, there's a huge range but I know when I work with skillful 
musicians, or dancers, or actors, it can be a great relief; something emerges 
that's the result of relief in relation to the body. Years ago, I worked with 
untrained performers in works that involved acting; I think the results were 
clumsy at times. Then I was able to work with a professional actress, and the 
emergence gave me more freedom. On the other hand, working with non-actors, 
something else emerged, a kind of energy and experimentation... With musicians, 
though, I can get frustrated if they're not able to listen. I know this is 
often against the grain. There are questions here, then, what level of skill? 
Who are the O? How should this be as broad as possible? Or the opposite? Coding 
is another example; I've learned so much from generous skillful people! So many 
people have shared their code, for example, in Second Life, or years ago taught 
me the finer points of being a nuisance in IRC. Again, then, who are O? If I 
involve community in general (and in curating I do deeply; in my own work, it's 
more difficult), what is gained? What might be lost? Surely identity politics 
plays a role here; if I did a piece in Finsbury Park, I'd want to involve 
everyone who would want to participate!

I keep going back to Foofwa, who spoiled me. When we worked on a performance, 
say for a ten minute video, he'd warm up for at least a couple of hours. And 
then working together was fantastic; it was deeply open collaboration, he 
seemed capable of anything...

And now he does danceruns on the streets of various cities and the public joins 
in, and it's amazing!

Re: [NetBehaviour] The Doubter's Mysteries: Cain and Abel

[Edward Picot via NetBehaviour]

Alan,

What an interesting response! In answer to your first point, I'd love to 
see these performed some time, but I'll concentrate on getting them all 
online first, and into book form after that.


Some of the points of interpretation you raise I'm familiar with from 
browsing the stories online. I try not to get too much into the 
exegetical stuff, however, for fear that it'll cloud my own responses... 
and of course I'm coming at this from a sceptical/Christian perspective 
rather than sceptical/Jewish... but I do find the interpretations very 
interesting.


Also very interesting to get this insight into your own background!

Thanks again for taking the time to respond,

Edward

On 09/11/18 07:13, Alan Sondheim via NetBehaviour wrote:

Hi Edward,

Really like these/this. A couple of things - I wonder if some of this 
might not be put to music/ritual of some sort - in a way paralleling 
the mystery plays?
And then I wonder what Rashi etc. has to say about this. You've 
inspired me to look it up -
Part of the interpretation is that with Abel it was from*/his /*flock 
- in other words the sacrifice was something personal; with Cain, he 
"made no idivudal sacrifice and did not go out of his way to select 
the best of his personal possessions." Rashi also says Cain brought 
from the fruit of the ground - in other words, not his own, but 
otherwise. So this is an anti-ecology; it's Abel's possession over the 
earth itself, in a way, that wins out in the end.
(Interpretation from Nehama Leibowitz (I studied with her!), Studies 
in Bereshit / Genesis.)
You do well to bring out the distinction between meat and non-meat of 
course - and Jewish law has endless to say on kashrut in this regard.
There's also from Malbim, "He revealed unto him [Cain] that the Lord 
took no pleasure in gifts, but only in obedience. (goes on to quote 
"to obey is better than sacrifice") - i.e. "The main thing is that you 
should better your ways. You did not bring a worthy gift. Improving 
the gift will not help matters." etc.
Leibowitz was the best teacher I ever had; she was unusual, an 
Orthodox Jew who theological interpretations brought everything into 
play; at the time (early 60s) she was considered, at least by people I 
knew, the leading religious biblical authority.


Thanks for the text!

Best, Alan

On Thu, Nov 8, 2018 at 8:11 PM Edward Picot via NetBehaviour 
> wrote:


Dear all,

'The Doubter's Mysteries' are an attempt to write a short cycle of
Mystery Plays - ie. plays based on Bible stories, like the Medieval
Mystery Plays of York, Chester and Wakefield - from the point of
view of
a sceptical modern audience; an audience which either doesn't
believe in
God, or can't work out what he's playing at.

There are fourteen of these plays, and the third is now online: 'Cain
and Abel'.

http://edwardpicot.com/mysteries/03cainandabel.html (or for the full
series so far, visit http://edwardpicot.com/mysteries)

- Edward Picot
http://edwardpicot.com - personal website

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