[NetBehaviour] languor

[Alan Sondheim]

languor

http://www.alansondheim.org/starling.jpg *
http://www.alansondheim.org/languor.mp3

occupying, hidden in a tree, murmuration into it
because humans are still absent for the most part
and the birds are loved

http://www.alansondheim.org/starling.jpg *
http://www.alansondheim.org/starling.jpg *
http://www.alansondheim.org/starling.jpg *
http://www.alansondheim.org/starling.jpg *
http://www.alansondheim.org/starling.jpg *
http://www.alansondheim.org/starling.jpg *

and each image is the same and the song unique

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Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

dear all
just found a music/video by Shabaka Hutchings from the newly released "We are 
sent here by history,"
i think it's the track "Go my heart, go to heaven,"
please have look here:  

https://findersrecords.com/UPC/60250864560

the Sphinx in the plastic museum of old bones. I am impressed with these 
visuals and the music, the leather masks, the dance of
grim laughter, haunting really! 

regards
Johannes Birringer
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Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

hello Michael
after more reflection, I don't go with you after all, never mind what you call 
the false dichotomies you thought I set up -  i think my questions were 
actually sound, regarding the zoom concert and the unmuting and the pretense, 
and I shared with you some concerns and worries, or critiques, about how one 
might in fact think of how the zoom room affects us, how see see it facing us, 
and in the case you shared with us you argue it was not only different but 
added new depth, and I questioned that, would you perhaps be willing to respond 
more or tell us why you thought it added depth?
thanks
respectfully
Johannes Birringer


From: Johannes Birringer 
Sent: 07 July 2020 09:46
Subject: Re: [NetBehaviour]  go tell it to the mountains

Hallo Michael;
yes, I'd go with you then, and am sorry for having gotten lost in translation, 
i think I was trying to say something completely different, but various zoom
sessions had dried up most of my sense of humor. I had never even been to 
Darmstadt's new music scene, though I performed an installation there once, in 
a garden, during the 'Vogelfrei' Biennial, with a small fish in a long 
elongated glassbowl shaped like a bassoon, the fish generated the sound through 
its movement which was monitored with a small camera sending the motion data to 
the software.  The fish performed wonderfully,
with regards
Johannes


From: Michael Szpakowski 
Sent: 07 July 2020 00:52
To: netbehaviour new netbehaviour; Johannes Birringer
Subject: Re: [NetBehaviour]  go tell it to the mountains

Hi Johannes
well I'd resist the setting up of what for me are false dichotomies -either 
Darmstadt ( and I think Cage would have had something strong to say about being 
subsumed *there*) or Solange Knowles, either the digital or corporeal. I don't 
think that Zoom made the performance of 4 33 better, just interestingly 
different and thereby in a sense added new depths to what we might expect from 
the work.
I'm of the Harry Hill school - this or that , which is better? only instead of 
the *FIGHT* ! I'd just say well ..er.. both are better
cheers!
Michael

On Tuesday, July 7, 2020, 12:15:28 AM GMT+1, Johannes Birringer 
 wrote:


Hi Michael and all:

enjoyed your comment!  looked/listened in again. I looked at the faces and 
persons playing (this is a Scottish/Uk ensemble, based in Edinburgh?), and 
pondered why I responded to a Cage concert with my note on Stockhausen. New 
music, right??  Darmstadt tradition, how odd.  Not sure anything can get 
transcended.

I had actually been reading about Shabaka Hutchings and the new album just 
released, "We Are Sent Here by History"  (Shabaka and the Ancestors), and 
following the discussions swirling around in our societies. do we start 
questioning our traditions, allegiances?  is the anti-black curriculum 
dismantable? chamber music in helicopters, good heavens. This is a different 
discussion for sure, but I wish to pick up your faith or enjoyment of the zoom 
concert and question it, if you permit... I watched many musicians in this 
fragmenting multiroom Red Note zoom pretending not to play, and on occasion 
heard some rambling, wonderfully interfering noises, someone had unmuted their 
mic, nice,  but why were they not all unmuted?  You felt there was community? 
ambient world? Could we even imagine this ambient contingent world, looking at 
all the instrumentalists in these tiny zoom frames?  Mind you, I am actually 
trying to raise a larger question, which came up in the Lab of Dance conference 
in Warsaw last week (https://sites.google.com/view/labofdance) - do you like 
dancing by yourself in front of camera? Do you like seeing yourself?  can you 
teach dance in a zoom ? create choreography, meet audience, exchange vibrations 
and energies with real people in organic space? Liberating openness or 
frustrating closedness?


It might be interesting to discuss this further, if some of you are teaching or 
preparing to do hybrid stuff in the fall. One of the dancers in Warsaw told me 
(the format was arranged like this:  you watched the 5 video 
lectures/presentations beforehand, on youtube, then the panelists met with 
audience in zoom at 6pm
for Q & A, yet discussion was moderated via facilitator who read questions in 
chat, then translated them) that she had not mustered the attention or 
energy to watch all the video lectures, others confessed they get tired in 
front of zoom. Others reported from the summer semester dance classes: Working 
with camera as partner, trying things (how do you do Community Dance in zoom?). 
 How can public space be merged with virtual space,  how can dance be 
connecting,
creating dialogues? students tried all manner of things, danced in their 
kitchens, their balconies, created audiowalks, online work-books; networked 
performances, learning more about combination online-offline, etc. There was 
ambition, 

[NetBehaviour] flat 4th

[Alan Sondheim]

flat 4th

http://www.alansondheim.org/flat74.jpg
rabbits, mocking bird and fledgling, moon
https://youtu.be/CuCdQqBia8s VIDEO

Control is in the form of a blank space or a shallow dish. I
reiterate this over and over again because I find it impossible
to see our horizon where nothing is present where the anxiety
lives not with peaks but with chaos. I'm not quite sure where to
go from this because giving the lack of territory there isn't any
place to set up coordinates. it's neither nomadic nor based on
any kind of a grid or structure that might allow the presence of
coordinates. So it floats. I chose the example of fireworks in
Providence over a blank and empty parking lot because the echoes
are the only thing that defined whatever space is left. even the
land skap is either grey or blue gray or grey blue grey. It
doesn't proceed from anywhere and it doesn't go anywhere period
in that sense it's an ideal space because wandering is always a
null point. Wandering doesn't return and it doesn't leave however
at the same time it doesn't occupy anything other than an
ill(ness)-defined area. The machine says hang on, we need a
moment to catch up the machine is taking these words and trying
to make sense auxilia dio to produce what might be considered a
text that would make sense. but the text is senseless because it
reflects nothing but a blankness without boundary. did text has
no boundary pier to text is senseless as well because why.
Because it has no grounding in any language or any vocabulary.
This is a difficult time to think about the blank period

so where are we? I'm not really sure. if you look closely at the
video you'll see some light in the windows of the building across
head just for a brief moment get slightly brighter and then dull
again. I tried to figure out what was going on here. I thought
maybe there are bright lights coming from fireworks I love these
lights were down getting a situation where the iris diaphragm
would contract but that would tell everything and this doesn't
seem to be the case. And archaeology of affect is necessary here.
In the mean time you can consider this an anomaly or something
like an anomaly perhaps not even that period there's nowhere to
go from there the lights get slightly brighter they flicker then
they go down again. I don't really think it means anything.
outside a car has loud music playing and I'm not sure I can
either think or that the dictation here will make sense against
the noise. Against the noise. against the noise.

I start again. Yes there's nothing but a blank space as if I
could continue from where I left off. The flickering of the light
Disturbs me. Not really though. I don't think anything's going on
there. I think maybe it has something to do with the mistake.
that the camera makes or that the lighting made inside the
building. Maybe someone was there but I don't think so. I really
don't think so but someone could be there. Someone might have
been looking out of the window but I would have seen the person.
I didn't see anyone I was just looking through the camera I was
looking at whatever was around nothing was around I could hear
the fireworks myself in the distance the fireworks always seem to
be around and they surrounded me well not the fireworks. Not the
fireworks. Instead I think it might have been it might have been
what it might have just been the sound of the fireworks here this
sounds left trail of echoes resonances reverberation anything
that might extend them from the imminent or immediate immanent
sound that a firework usually make in this case. in this case
there's something else that is debouncing the defining of the
space which appears is it kind of bubble of sound a kind of
bubble of sound that expands as if it were modeling the universe.
it's modeling nothing. it's a bad metaphor. It's a bad matana me
for the universe. It doesn't really mean anything. So this is
just adding to the flatness of what was a very gray night with
the full moon but you can see the moon in this image. and the
moon was doll was dull in the clouds. You couldn't make out the
clouds anyway. There really weren't clouds to make out. it was
like a delhaize a delay or something else. I'm really not sure
what period it all went against the grain. My grain I mean just
the sound of my voice dictating this period and making error
after error after error.

This is what it is meant by a space without boundaries or with
varisoft very soft boundaries or maybe the idea of a boundary. I
think there might be a boundary somewhere in here




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[NetBehaviour] Y go outside

[Danielle Imara via NetBehaviour]

I shared a 1 minute film here in April, (Y Lockdown) made via Zoom with a
quarantined friend Yolande in NY (I’m in London). We'd repurposed a project
we'd intended to create in shared physical space. She was ill with Covid at
the time, and though apparently better, she still isn't fully recovered.
Anyway, we made a synchronised Zoom follow-up, around the easing of
lockdown.
https://vimeo.com/432775462



*‘Think Before You Thank’: If every Brit sent one less thank you email a
day, we would save 16,433 tonnes of carbon a year - the same as 81,152
flights to Madrid  **https://tinyurl.com/qqyuw2y
*
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Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

Hallo Michael;
yes, I'd go with you then, and am sorry for having gotten lost in translation, 
i think I was trying to say something completely different, but various zoom
sessions had dried up most of my sense of humor. I had never even been to 
Darmstadt's new music scene, though I performed an installation there once, in 
a garden, during the 'Vogelfrei' Biennial, with a small fish in a long 
elongated glassbowl shaped like a bassoon, the fish generated the sound through 
its movement which was monitored with a small camera sending the motion data to 
the software.  The fish performed wonderfully,
with regards
Johannes


From: Michael Szpakowski 
Sent: 07 July 2020 00:52
To: netbehaviour new netbehaviour; Johannes Birringer
Subject: Re: [NetBehaviour]  go tell it to the mountains

Hi Johannes
well I'd resist the setting up of what for me are false dichotomies -either 
Darmstadt ( and I think Cage would have had something strong to say about being 
subsumed *there*) or Solange Knowles, either the digital or corporeal. I don't 
think that Zoom made the performance of 4 33 better, just interestingly 
different and thereby in a sense added new depths to what we might expect from 
the work.
I'm of the Harry Hill school - this or that , which is better? only instead of 
the *FIGHT* ! I'd just say well ..er.. both are better
cheers!
Michael

On Tuesday, July 7, 2020, 12:15:28 AM GMT+1, Johannes Birringer 
 wrote:


Hi Michael and all:

enjoyed your comment!  looked/listened in again. I looked at the faces and 
persons playing (this is a Scottish/Uk ensemble, based in Edinburgh?), and 
pondered why I responded to a Cage concert with my note on Stockhausen. New 
music, right??  Darmstadt tradition, how odd.  Not sure anything can get 
transcended.

I had actually been reading about Shabaka Hutchings and the new album just 
released, "We Are Sent Here by History"  (Shabaka and the Ancestors), and 
following the discussions swirling around in our societies. do we start 
questioning our traditions, allegiances?  is the anti-black curriculum 
dismantable? chamber music in helicopters, good heavens. This is a different 
discussion for sure, but I wish to pick up your faith or enjoyment of the zoom 
concert and question it, if you permit... I watched many musicians in this 
fragmenting multiroom Red Note zoom pretending not to play, and on occasion 
heard some rambling, wonderfully interfering noises, someone had unmuted their 
mic, nice,  but why were they not all unmuted?  You felt there was community? 
ambient world? Could we even imagine this ambient contingent world, looking at 
all the instrumentalists in these tiny zoom frames?  Mind you, I am actually 
trying to raise a larger question, which came up in the Lab of Dance conference 
in Warsaw last week (https://sites.google.com/view/labofdance) - do you like 
dancing by yourself in front of camera? Do you like seeing yourself?  can you 
teach dance in a zoom ? create choreography, meet audience, exchange vibrations 
and energies with real people in organic space? Liberating openness or 
frustrating closedness?


It might be interesting to discuss this further, if some of you are teaching or 
preparing to do hybrid stuff in the fall. One of the dancers in Warsaw told me 
(the format was arranged like this:  you watched the 5 video 
lectures/presentations beforehand, on youtube, then the panelists met with 
audience in zoom at 6pm
for Q & A, yet discussion was moderated via facilitator who read questions in 
chat, then translated them) that she had not mustered the attention or 
energy to watch all the video lectures, others confessed they get tired in 
front of zoom. Others reported from the summer semester dance classes: Working 
with camera as partner, trying things (how do you do Community Dance in zoom?). 
 How can public space be merged with virtual space,  how can dance be 
connecting,
creating dialogues? students tried all manner of things, danced in their 
kitchens, their balconies, created audiowalks, online work-books; networked 
performances, learning more about combination online-offline, etc. There was 
ambition, and then ambivalence, critique. Capacities are now nearly exhausted; 
fragmentation ever-present; non verbal communication is stopped; energies not 
shareable, shadows are missing, so are sweat and smell. There is no substitute 
for flesh.  Sadness and frustration.

I feel almost exactly as in these last observations, and could do without zoom, 
for sure.

with regards
Johannes Birringer

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From: Michael Szpakowski 
mailto:m...@michaelszpakowski.org>>
Sent: 06 July 2020 17:27
Subject: Re: [NetBehaviour] online performance of 4' 33"

Cheers Johannes! Thanks for sharing it. It struck me that the final thing 
transcended in a number of interesting ways the original idea which had a 
quality of a ‘rather good wheeze’ about it, something light and fun and 
amusing. That remained ,sure enough,