Re: [NetBehaviour] Nobel prize for Handke

[Ana Valdés via NetBehaviour]

Difficult discussion and a eternal question are the intellectual measured
with other tools and rules that other people?
If we demand of others coherence and balance between thoughts and deeds why
are we willing to allow the intellectuals to think and act as they were
separate entities?
The Norwegian Nobel prize Knut Hamsun was a enthusiastic admirer of Adolf
Hitler, the French Louis Ferdinand Celine and the American expatriate poet
Ezra Pound were deeply anti Semite. In modern times the Argentinian Jorge
Luis Borges accepted a medal from Pinochet and was never given a Nobel
prize for it.
Jean Paul Sartre, himself admirer of Fidel Castro and Mao Tse Tung, wrote
about “l’intelectuel engage”, it means the engaged intellectual and he
demanded all intellectual should be engaged in their times social struggles
and fought against injustice and social inequality. By the way Sartre
refused to accept the Nobel prize arguing among other arguments that a
prize given in the name of the inventor of dynamite was an aberration.
Mario Vargas Llosa, the Peruvian Nobelprize, evolved from a deep leftist
writing and a clear social commitment to a political partisan of far right
and a staunch defender of Israel.
The film maker Emir Kusturica is a fervent defensor of Milosevic too and
when I was in Tuzla, in Bosnian, marching with Women in Black from Serbia,
supporting the women survivors of the Srebrenicas massacre, many Bosnian
and Serbian women wanted him judged by his vitriolic attacks against Muslim.
The choice of Handke can sees as a world wide tendency where Fascism is
being “ normalized” or tolerated or a, again, another way to measure the
intellectuals behavior and thoughts.
Ana

tors 10 okt. 2019 kl. 18:54 skrev Max Herman :

> Hi Ana,
>
> It did strike me as odd that he was politically criticized yet honored so
> highly for writing.  It points to something of a disconnect perhaps.  Is
> writing separate from politics, or separable?  Which is to say, is Handke's
> art political?  Is the answer sometimes, i.e., on a case by case basis?
> Certainly humans are full of contradictions and can do both good and evil
> in the same lifetime, year, or even hour.
>
> Full disclosure I don't know anything at all about Handke except the news
> today and that he worked on Wings of Desire and wrote a play called
> "Kaspar." That was about a person who grew to age 17 with no exposure to
> society, or language, then emerged.  Handke said it was about "speech
> torture," perhaps how language itself controls and deforms us.  Perhaps
> like an internal framework of control, a moving network machine perhaps?
> An articulated network i.e. with joints and movement but still a machine,
> perhaps he is saying.
>
> I also recall from *Wings of Desire* the line "Ich weiss was keine Engel
> weiss," or I know what no angel knows.  Perhaps this suggests that
> consciousness requires a body, and mortality, to be real.  Angelic,
> abstract, rationalized knowledge would in this view perhaps be non-human or
> even de-humanizing, like speech torture.  The desires of fleshly mortality
> -- physical, aesthetic, emotional, experiential -- are the wings or pathway
> to freedom and fulfillment.
>
> These ideas can easily veer into the ideas about blood and soil, lines of
> DNA and place, flesh and geography.  But it seems to me that they do not
> necessarily need to.
>
> Not having read any Handke at all, I'm interested to see if he omits ideas
> of networks or what he says about networks.  Handke was writing at the same
> time as Calvino, and Calvino wrote about the novel as a network.  Perhaps
> Handke viewed language and hence literature as a mechanized, networked
> system of control and mechanization of the human genius.  Or as potentially
> such, a network capable of evil.
>
> I could be totally wrong about what Handke is saying, it is pure
> speculation on my part which I will need to verify by research.  There may
> be no way possible, ultimately, to know how or why the writer of "Kaspar"
> also wrote positively about Milosevic.  However, if there is something to
> it, then the idea of language as a network and the brain as a network might
> relate.
>
> Think of each (language and the brain) as a complex dynamic system
> operating in time.  Perhaps Handke is suggesting there can be or must be
> some intangible, organic quality to each in order for human consciousness
> to exist.  This would agree properly with the "network neuroscience model
> of consciousness" which is getting more popular.  Our physical fleshly
> brains have a certain need for a certain sort of organic communication,
> expression, consciousness, etc., and can't just have something technical
> "downloaded" for the purposes of control without adverse consequences.
> Perhaps he saw problems with both eastern-bloc intellectual systems and
> western-bloc, almost twin sides of the same structure of control.  I do
> know a bit of Bernhard and like his take on many things; I'm not sure of

Re: [NetBehaviour] Nobel prize for Handke

[Max Herman via NetBehaviour]

Hi Ana,

It did strike me as odd that he was politically criticized yet honored so 
highly for writing.  It points to something of a disconnect perhaps.  Is 
writing separate from politics, or separable?  Which is to say, is Handke's art 
political?  Is the answer sometimes, i.e., on a case by case basis?  Certainly 
humans are full of contradictions and can do both good and evil in the same 
lifetime, year, or even hour.

Full disclosure I don't know anything at all about Handke except the news today 
and that he worked on Wings of Desire and wrote a play called "Kaspar." That 
was about a person who grew to age 17 with no exposure to society, or language, 
then emerged.  Handke said it was about "speech torture," perhaps how language 
itself controls and deforms us.  Perhaps like an internal framework of control, 
a moving network machine perhaps?  An articulated network i.e. with joints and 
movement but still a machine, perhaps he is saying.

I also recall from Wings of Desire the line "Ich weiss was keine Engel weiss," 
or I know what no angel knows.  Perhaps this suggests that consciousness 
requires a body, and mortality, to be real.  Angelic, abstract, rationalized 
knowledge would in this view perhaps be non-human or even de-humanizing, like 
speech torture.  The desires of fleshly mortality -- physical, aesthetic, 
emotional, experiential -- are the wings or pathway to freedom and fulfillment.

These ideas can easily veer into the ideas about blood and soil, lines of DNA 
and place, flesh and geography.  But it seems to me that they do not 
necessarily need to.

Not having read any Handke at all, I'm interested to see if he omits ideas of 
networks or what he says about networks.  Handke was writing at the same time 
as Calvino, and Calvino wrote about the novel as a network.  Perhaps Handke 
viewed language and hence literature as a mechanized, networked system of 
control and mechanization of the human genius.  Or as potentially such, a 
network capable of evil.

I could be totally wrong about what Handke is saying, it is pure speculation on 
my part which I will need to verify by research.  There may be no way possible, 
ultimately, to know how or why the writer of "Kaspar" also wrote positively 
about Milosevic.  However, if there is something to it, then the idea of 
language as a network and the brain as a network might relate.

Think of each (language and the brain) as a complex dynamic system operating in 
time.  Perhaps Handke is suggesting there can be or must be some intangible, 
organic quality to each in order for human consciousness to exist.  This would 
agree properly with the "network neuroscience model of consciousness" which is 
getting more popular.  Our physical fleshly brains have a certain need for a 
certain sort of organic communication, expression, consciousness, etc., and 
can't just have something technical "downloaded" for the purposes of control 
without adverse consequences.  Perhaps he saw problems with both eastern-bloc 
intellectual systems and western-bloc, almost twin sides of the same structure 
of control.  I do know a bit of Bernhard and like his take on many things; I'm 
not sure of his relation to Handke or whether Bernhard had an evil side.  I did 
like Bernhard's Old Masters a lot, and appreciated his antipathy toward 
nationalism.  Kafka in "Metamorphosis" also illustrated how social, linguistic, 
and cultural systems of conformity and control can erase humanity.

It is possible that meditation or mindfulness, as a physically manifested 
neurological process-state, is the true source of a positive symbiosis between 
language and humanity i.e. between the organic realities of the brain/body and 
language systems which can be infused with technology.  The language network 
should respect and value the human consciousness, not try to control and reduce 
it to a machine part, and meditation is a necessary part of that "respect" 
which has dialectical and organic characteristics.

I would differ from the argument that flesh and geography are necessarily the 
source (which can be inferred incorrectly from the truth that humans are 
embodied and located in space-time, and that sometimes flesh and geography can 
coincide with the source to a granularity which makes the two 
indistinguishable).  We do form meaningful connections to other people, 
objects, architecture, the natural world.  However, I believe that the 
meditation element that infuses every culture is the primary source of the 
harmony, and the physical/spatial connections emanate from the meditational 
element.

One reason for this I believe is the necessity of self-regulation, of re-set, 
and their corollary of healing or repair.  If a consciousness-body is out of 
sync, disrupted, and lacking in physical/locational conditions which have 
changed or disappeared or perhaps never were, how could it possibly adapt and 
remain resilient?  If the "source" of proper balance and calibration is the 

Re: [NetBehaviour] Nobel prize for Handke

[Ana Valdés via NetBehaviour]

Handke is one of the most interesting writers in post war Germanspeaking
world. He worked with Wim Wenders in the fillm Himmel over Berlin. But in
the latest years he has developed to a controversial writer, supporting the
Serb warcriminal Slovobodan Milosevic and writing books and articles
describing Serbia as an offer in the war.
A brilliant writer but a political idiot.
Ana

On Thu, Oct 10, 2019 at 2:10 PM Max Herman via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> Does anyone have thoughts on this?
>
> I had never heard of Handke but am interested to read some now.
>
> His play "Kaspar" has some interesting themes it appears.
>
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[NetBehaviour] Cyprusmachine

[Alan Sondheim]

Cyprusmachine

http://www.alansondheim.org/Cyprusmachine.jpg
http://www.alansondheim.org/cyprusmachine.mp3



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[NetBehaviour] Nobel prize for Handke

[Max Herman via NetBehaviour]

Does anyone have thoughts on this?

I had never heard of Handke but am interested to read some now.

His play "Kaspar" has some interesting themes it appears.

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[NetBehaviour] Fw: WORKSHOP / London / Sat. 12 October

[lauraplanagracia via NetBehaviour]

Sensible analysis of image datasets through ImageJBy Doreen A. Rios

Saturday, 12 October 2019
>From 11:00-15:00h

I K L E C T I K
'Old Paradise Yard' 20 Carlisle Lane
SE1 7LG, London
United Kingdom

Min. participants 5
Max. participants 20

Duration 4h.

Price students / concessions £15
General Admission  £20

TICKET LINK
https://www.tickettailor.com/events/iklectik/274224


Tools:
- Laptop
- ImageJ (download here https://imagej.nih.gov/ij/download.html )
- About 20 – 30 images in .jpg, preferably in 720px

This workshop aims to build basic knowledge for the use of ImageJ (free 
software) for the visualization of image datasets. It focuses on creating and 
understanding the visual patterns provided by the chosen image set and explores 
how to use it for both research and/or artistic creation. In the same way, a
the theoretical framework will be provided and will expand into what does 
DataViz means as well as its different forms and uses and how it has been 
integrated into contemporary artistic creation.

During the first hour we’ll be looking into the historical part of DataViz and 
during the last 2 hours we’ll be developing a series of exercises using ImageJ, 
for which we’ll need an image data set (about 20 – 30 images in .jpg, 
preferably in 720px) and a laptop with the software installed (you can find it 
here https://imagej.nih.gov/ij/download.html ).

>From this workshop, you can expect to learn how to produce 2D images, 
>animations and short videos in which you can see a colour analysis from a 
>selected image set.

*This workshop doesn’t require any previous experience in DataViz and will 
provide a full introduction into the potential uses of ImageJ as a creative 
tool.

--

Doreen A. Ríos (Mexico, 1992)

Doreen holds an MA in Contemporary Curation from the University of Southampton, 
specializing in digital culture, and a BA in Architecture from Tecnológico de 
Monterrey. She is also the founder of [ANTI]MATERIA, a platform that aims to 
facilitate international exchanges between art professionals interested in 
digital practices. As part of [ANTI] MATERIA she has curated several
shows in Mexico and in the UK. Her work focuses on research and curation of 
digital art and postdigital practices.


--
CONTACT 
Laura Netz 
E: la...@netzzz.net
M: 07505922748
W: www.netzzz.net 


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