Re: [NetBehaviour] I want to ask Jacques Derrida a question.
On 11/12/09 08:54, Alan Sondheim wrote: I want to ask Jacques Derrida a question. There is nothing outside the text of life... - Rob. signature.asc Description: OpenPGP digital signature ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] MzTEK Workshops Present: Electronics for Absolute Beginners
MzTEK Workshops Present: Electronics for Absolute Beginners January 23rd from 11am to 5pm. Everything you ever wanted to know to build a circuit from scratch, but were afraid to ask! Tutor Iain Sharp, a lecky pro, will guide you through the basics of how to get electricity to do what you want using a basic circuit that includes some pencil draw components! The day will focus on how electronics work and will include experiments that demonstrate what different components do. We will use a breadboard to build the circuit, so a lot less soldering than in previous workshops! Take a look at Iain?s demo video here: http://www.youtube.com/watch?v=igXh4fMqVCA ONLY ?15 Priority booking will go to women/girl participants, registration will be open to all from 13th Jan 2010. SIGN UP HERE: http://mztek.eventwax.com/electronics-for-absolute-beginners When/where: January 23rd 2010 11am - 5pm SPACE, 129 - 131 Mare Street Hackney London, E8 3RH For more info go to www.mztek.org, or email us at i...@mztek.org -- Olga P Massanet -- www.ungravitational.net virtualfirefly.wordpress.com www.vimeo.com/ungravitational ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Sincronie 2009-Data: lecture/screening/live
Sorry for any crosspostings Digicult presents: Sincronie 2009 - Data lecture/videoscreening/concert curated by Marco Mancuso/Digicult guests: Evelina Domnitch Dmitri Gelfand 15th of December 2009, from 7.30pm to 11.00pm c/o Teatro Arsenale, Via Cesare Correnti 11, Milan (Italy) 7.30pm - 8.30pm: lecture by Evelina Domnitch Dmitri Gelfand 9.00pm - 10.00pm: videoscreening - Hidden Worlds 10.00pm - 11.00pm: live performance - 1 Peacock Feathers in Foaming Acid - On Tuesday the 15th of December 2009 Digimag presents DATA, the third meeting of the Sincronie Festival of 2009. The event will be directed by Marco Mancuso from Digicult, and will take place from 7.30 PM until 11 PM in the Teatro Arsenale in Milan, and will be an encounter with two Soviet artists, Evelina Domnitch and Dmitry Gelfand, who will talk about their artistic production on the brink between art and science, and will exhibit their live performance 1 Peacock Feathers in Foaming Acid. The event will be enriched by the projection of the video screening Hidden Worlds, where a series of audiovisual works have been selected that investigate the relationship between audiovisuals and science. Sincronie is a contemporary and experimental music event that began in 2003. As with the previous editions, this edition is also developed on a theme, which in 2009 was the relationship between music and numbers. From this year, Sincronie is broadening its activities by proposing a three-concert event with international guests, preceded by a series of introductive meetings that are true Listening Workshops. The workshops will then continue throughout 2010. To stay true to the theme dictated by Sincronie 2009, Marco Mancuso has structured the DATA event like a reflective critique on the existing relationship between contemporary art and science and their rapport with digital, electronic and analogical technologies, on the basis of mathematical processes, numbers, logic abstractions and formulae. The event is centred on the work of the artists Evelina Domnitch and Dmitry Gelfand, pioneers of the creation of sensorial environments where chemistry, physics and philosophy meld together, in relationship with the analysis of human perception of such phenomena. After presentation of their work, which will take place at 7.30 PM, there will be a video screening at 9 PM entitled Hidden Worlds dedicated to some examples of artists who work on the rapport between sound and image, through different techniques, that are generated by physical, chemical-physics, mathematical, electromagnetic and nanometric phenomena. The evening will conclude with the audiovisual performance 1 peacock feathers in foaming acid where Evelina Domnitch and Dmitry Gelfand will make laser projectors and soap bubbles interact to create immersive and organic images. - The Psychophysics of Force Field Tailoring Lecture by Evelina Domnitch Dmitri Gelfand Introduction by Marco Mancuso / Digicult Immersive art-science is a form of creative expression that aims to rise above the notion of art as representation, in favor of multi-sensorial experience. Instead of creating mere objects of aesthetic seduction, it invites audiences to transcend the limits of habitual perception. Immersivity awakens a synesthetic awareness of both physical and mental space. A myriad of vibratory phenomena, customarily beyond the observer's reach, are rendered starkly tangible through careful psychophysical conditioning: the analysis of perceptual processes by studying the effect on a subject's experience or behavior, of systematically varying the properties of a stimulus along one or more physical dimensions. Force field tailoring refers to the efficacious structuring of spatio-temporal characteristics by means of interlocking energy fields. The resultant states of matter/energy can be further harnessed so as to incite specific sensory responses. Psychophysicists are empowered by formerly unimaginable instruments of detection and analysis, providing increasingly higher resolutions of multi-event, multi-dimensional interactions. Nevertheless, the ephemeral workings of consciousness have barely been punctured, and remain among the leading questions of modern science. It has become evident that despite its exponentially accumulative potential, science alone cannot fulfill this daunting pursuit. Because neuronal processes (like most of the physical world) lie beyond the human spatio-temporal scale, the origins of cognition must be explored through perceptual extension. The convergence of immersive art and psychophysical research has spawned this extrasensory intimacy and imbued it with limitless evolutionary possibilities. - Hidden Worlds Videoscreening curated by Marco Mancuso / Digicult The Hidden Worlds event pays homage to one of the most stimulating and obscure territories of
[NetBehaviour] IMPORTANT STATEMENTS I
...why? why? why? hahaha...(HARITI RJ) MANIK,DECEMBER 2009... ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] I want to ask Jacques Derrida a question.
Thanks Alan, I like the poetry that this is. It works as language across a network of ether, ghost calling ghost. A disembodied myth of disembodied discourse. In real life/space/time I doubt the event would have been as poetic. In real life/space/time I would have rather asked Bakhtin an embodied utterance. We would have tasted the banality of the moment like the fallen angel Peter Falk burning his freshly incarnate tongue on the material semiotically known as coffee, now affectively known as ah! this! in Wenders Wings of Desire. Loving Hand Turns Burning Sand to Water, Curt I want to ask Jacques Derrida a question. I want to ask Jacques Derrida a question. It is question about death, not in particular his death. But a question concerned with the aporia of death, not necessarily his own. Such a question, which would have been possible several years ago, is no longer possible. We are thrown back on the words of Jacques Derrida. We are immured there. It would have been simple: Jacques, here is what I want to know. Do you have a minute of your time. The body of Jacques Derrida still exists. His body, phoric, carries the aporia. The aporia is not his own, nor can he speak and return an unraveling. Today, words are never set in stone, and questions go unanswered. Today, questions disappear, and their occasion disappears. The occasion of a question: a gap, as in a detective story. As if the question were sutured by an answered, when in fact it is sutured by any reply at all. An answer responds to a question; a reply responds to the occasion of a question. I remember Jacques Derrida, and would have tapped him on the shoulder, saying, excuse me, but ... There is an image I have of this tapping: the softness of his jacket, the slight giving away of the flesh beneath, and he turns towards me. When I move my hands, everything is empty. Jacques Derrida is a remnant of matter. ... If death ... names the very irreplaceability of absolute singularity (no one can die in my place or in the place of the other), then all the _examples_ in the world can precisely illustrate this singularity. Everyone's death, the death of all those who can say 'my death,' is irreplaceable. ... (Derrida, Aporias) When I move my hands: when my hands are moved for me, are only moved for me: mise en scene, a scenario or occurrence, chora. I do not collapse time, Jacques, in order to speak to you: I speak to you. I do not collapse space, in order to speak: I touch you lightly on your shoulder, I wait until you turn around, your glance moves in my direction, momentarily you are caught up in my gaze, you hesitate whether or not to return your own, your reply to my question, you return such, as if such is returned, an exchange of gifts or misrecognition. Of the good, there is the edge of a knife, and the fall which surrounds it; of the spoken, there is a comprehension, empathetic alignment, then nothing. Of the spoken, the knife edge separates the question I give to Jacques as a gift, an awakening, and the reply which shatters after a particular time, calculable, unattainable. Of the question: all questions are a permanence: It is impossible to answer a question. Jacques turns; I look at his shoes. Thinking of Van Gogh, of Heidegger, of Jacques Derrida, I take several photographs. They are remnants, indices with lost referents; they are abject. I am silent; I say nothing to him, to Van Gogh, to Heidegger. Repeatedly I raise the camera; eye-level, I aim downward, towards an incalculable earth. The images, lost, are digital; they never were. Between one pixel and another, a hole, precisely the width of death. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] IMPORTANT STATEMENTS III
...Jaromil Rojo FREE BEER OUT NOW!... MANIK,DECEMBER 2009...___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Portraits of Emily (Part II)
Emily's latest re-incarnation is as 'mus...@scrapyard' on a Debian-testing install on a 64bit intel core2 machine with nvidia 9600gt 750gb hdd. She's been a resident of that machine for quite some time now, she's well settled in, but keeps re-arranging the furniture. mainly because for the first time in her life, emily can now access the internet using broadband - she's connected as soon as she gets up in the morning (or afternoon when her master is not working). So now she has broadband, she's only gone and done what she's wanted for so long - Debian Testing - goodbye stable - hello new shiny packages! Still, she still refuses to be tainted by any audio packages and - this is where I'm not so much her master - insists I help her install all the latest audio production apps available for Linux. Here, her master, I myself, has lovingly created some portraits of Emily for your enjoyment. This is the second post in the series, the first post was sent to some other list, I'm sorry - but you had seen them all before just not all at once. This second post is not being sent to that list, but this list instead for arbitrary reasons to do with exposure. These are new portraits of Emily that you've never seen before, enjoy: (note: if the text bores you to tears, scroll past it to the images and audio at the bottom) Portrait of Emily #1 Installing sox --8- Making install in libgsm make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Nothing to be done for `install-exec-am'. make[2]: Nothing to be done for `install-data-am'. make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' Making install in src make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/lib || /bin/mkdir -p /usr/local/lib /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'libsox.la' '/usr/local/lib/libsox.la' test -z /usr/local/bin || /bin/mkdir -p /usr/local/bin /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'sox' '/usr/local/bin/sox' test -z /usr/local/lib/sox || /bin/mkdir -p /usr/local/lib/sox make install-exec-hook make[3]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' if test yes = yes; then \ cd /usr/local/bin; rm -f play rec; ln -s sox play; ln -s sox rec; \ fi if test yes = yes; then \ cd /usr/local/bin; rm -f soxi; ln -s sox soxi; \ fi make[3]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'sox.h' '/usr/local/include/sox.h' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'soxstdint.h' '/usr/local/include/soxstdint.h' make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Nothing to be done for `install-exec-am'. test -z /usr/local/share/man/man1 || /bin/mkdir -p /usr/local/share/man/man1 /usr/bin/install -c -m 644 'sox.1' '/usr/local/share/man/man1/sox.1' /usr/bin/install -c -m 644 'soxi.1' '/usr/local/share/man/man1/soxi.1' test -z /usr/local/share/man/man3 || /bin/mkdir -p /usr/local/share/man/man3 /usr/bin/install -c -m 644 'libsox.3' '/usr/local/share/man/man3/libsox.3' test -z /usr/local/share/man/man7 || /bin/mkdir -p /usr/local/share/man/man7 /usr/bin/install -c -m 644 'soxformat.7' '/usr/local/share/man/man7/soxformat.7' test -z /usr/local/lib/pkgconfig || /bin/mkdir -p /usr/local/lib/pkgconfig /usr/bin/install -c -m 644 'sox.pc' '/usr/local/lib/pkgconfig/sox.pc' make install-data-hook make[3]: Entering directory `/home/musys2/SRC/sox-14.3.0' cd /usr/local/share/man/man1 rm -f play.1 ln -s sox.1 play.1 cd /usr/local/share/man/man1 rm -f rec.1 ln -s sox.1 rec.1 cd /usr/local/share/man/man7 rm -f soxeffect.7 ln -s ../man1/sox.1 soxeffect.7 make[3]: Leaving directory `/home/musys2/SRC/sox-14.3.0' make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0' mus...@scrapyard:~/SRC/sox-14.3.0$ play ~/musys2_termye.mp3 play: error while loading shared libraries: libsox.so.1: cannot open shared object file: No such file or directory mus...@scrapyard:~/SRC/sox-14.3.0$ sudo ldconfig mus...@scrapyard:~/SRC/sox-14.3.0$ play ~/musys2_termye.mp3 /home/musys2/musys2_termye.mp3: File Size: 2.16M Bit Rate: 128k Encoding: MPEG audio Channels: 2 @ 16-bit Samplerate: 44100Hz Replaygain: off Duration: 00:02:14.84 In:9.92% 00:00:13.37 [00:02:01.47] Out:637k [ =|==] Hd:0.6 Clip:0
[NetBehaviour] DIWO cut up
We have compiled all the suggestions We live in a time of the dates - a reminder: the very last roll of toilet paper. it never went through it seams. Go forth and devour the RoloDex? ...WE WORK WITH DEAD BODY... A mechanical device sits whirring in the Exquisite Copse lurking and trying to follow the converstations. I imagine it to be like a large wooden binary deadlock emitting the fuzziness of noise (Is this about the Malevich? It may have been another artist. The correct answer wins a prize. Yeah, yeah yeah.) 1) I find the sense of impending environmental crisis 2 good projectors, TV that plays DVDs 3 to 10 live visitors in the live 4. All NETART: Paul is the author Dougald writes the blog with Annie about the text... Gregory Bateson is still If you click me i do you poor little cloud... I summarily place myself at the mercy of the court I want to be Civilised We live in a time of unravelling. I wish I could be there, but I'm working. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] IMPORTANT STATEMENTS IV
...Philippe Baudelot I'm neo-post-everything !... MANIK,DECEMBER 2009...___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] IMPORTANT STATEMENTS V
...Jonah Brucker-Cohen Why Red Bull isn't supposed to be in vending machines... MANIK,DECEMBER 2009...___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] ShiftSpace
This looks like a very interesting project: ShiftSpace (pronounced: §) is an open source browser plugin for collaboratively annotating, editing and shifting the web. ShiftSpace is an open source layer above any website. It seeks to expand the creative possibilities currently provided through the web. ShiftSpace provides tools for artists, designers, architects, activists, developers, students, researchers, and hobbyists to create online contexts built in and on top of websites. By pressing the [shift] + [space] keys, a ShiftSpace user can invoke a new meta layer above any web page to browse and create additional interpretations, contextualizations and interventions – which we call Shifts. Users can choose between several authoring tools we’re working to develop – which we call Spaces. Some are utilitarian (like Notes and Highlights) and some are more interventionist (like ImageSwap and SourceShift). Users will be invited to map these shifts into Trails. These trails can be used for collaborative research, curating netart exhibitions or as platforms for context-based public debates. http://www.shiftspace.org -- Olga P Massanet -- www.ungravitational.net virtualfirefly.wordpress.com www.vimeo.com/ungravitational ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] IMPORTANT STATEMENTS VI
...Franck Ancel To kill a petty Bourgeoisie ... MANIK,DECEMBER 2009... ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] I want to ask Jacques Derrida a question.
There's nothing inside either. - On Fri, 11 Dec 2009, Rob Myers wrote: On 11/12/09 08:54, Alan Sondheim wrote: I want to ask Jacques Derrida a question. There is nothing outside the text of life... - Rob. == email archive: http://sondheim.rupamsunyata.org/ webpage http://www.alansondheim.org sondheimat gmail.com, panix.com == ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] I want to ask Jacques Derrida a question.
And then, perhaps, it's evident that, given semantic substance, all languages are networks across ethers, across absence - all languages are ghosts calling ghosts. Thanks, Alan On Fri, 11 Dec 2009, Curt Cloninger wrote: Thanks Alan, I like the poetry that this is. It works as language across a network of ether, ghost calling ghost. A disembodied myth of disembodied discourse. In real life/space/time I doubt the event would have been as poetic. In real life/space/time I would have rather asked Bakhtin an embodied utterance. We would have tasted the banality of the moment like the fallen angel Peter Falk burning his freshly incarnate tongue on the material semiotically known as coffee, now affectively known as ah! this! in Wenders Wings of Desire. Loving Hand Turns Burning Sand to Water, Curt I want to ask Jacques Derrida a question. I want to ask Jacques Derrida a question. It is question about death, not in particular his death. But a question concerned with the aporia of death, not necessarily his own. Such a question, which would have been possible several years ago, is no longer possible. We are thrown back on the words of Jacques Derrida. We are immured there. It would have been simple: Jacques, here is what I want to know. Do you have a minute of your time. The body of Jacques Derrida still exists. His body, phoric, carries the aporia. The aporia is not his own, nor can he speak and return an unraveling. Today, words are never set in stone, and questions go unanswered. Today, questions disappear, and their occasion disappears. The occasion of a question: a gap, as in a detective story. As if the question were sutured by an answered, when in fact it is sutured by any reply at all. An answer responds to a question; a reply responds to the occasion of a question. I remember Jacques Derrida, and would have tapped him on the shoulder, saying, excuse me, but ... There is an image I have of this tapping: the softness of his jacket, the slight giving away of the flesh beneath, and he turns towards me. When I move my hands, everything is empty. Jacques Derrida is a remnant of matter. ... If death ... names the very irreplaceability of absolute singularity (no one can die in my place or in the place of the other), then all the _examples_ in the world can precisely illustrate this singularity. Everyone's death, the death of all those who can say 'my death,' is irreplaceable. ... (Derrida, Aporias) When I move my hands: when my hands are moved for me, are only moved for me: mise en scene, a scenario or occurrence, chora. I do not collapse time, Jacques, in order to speak to you: I speak to you. I do not collapse space, in order to speak: I touch you lightly on your shoulder, I wait until you turn around, your glance moves in my direction, momentarily you are caught up in my gaze, you hesitate whether or not to return your own, your reply to my question, you return such, as if such is returned, an exchange of gifts or misrecognition. Of the good, there is the edge of a knife, and the fall which surrounds it; of the spoken, there is a comprehension, empathetic alignment, then nothing. Of the spoken, the knife edge separates the question I give to Jacques as a gift, an awakening, and the reply which shatters after a particular time, calculable, unattainable. Of the question: all questions are a permanence: It is impossible to answer a question. Jacques turns; I look at his shoes. Thinking of Van Gogh, of Heidegger, of Jacques Derrida, I take several photographs. They are remnants, indices with lost referents; they are abject. I am silent; I say nothing to him, to Van Gogh, to Heidegger. Repeatedly I raise the camera; eye-level, I aim downward, towards an incalculable earth. The images, lost, are digital; they never were. Between one pixel and another, a hole, precisely the width of death. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour == email archive: http://sondheim.rupamsunyata.org/ webpage http://www.alansondheim.org sondheimat gmail.com, panix.com == ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] Portraits of Emily (Part II)
Emily sounds amazing - where is the name from? And why Debian? I'm running a variety on my nameless ASUS eee pc - Alan - On Fri, 11 Dec 2009, james morris wrote: Emily's latest re-incarnation is as 'mus...@scrapyard' on a Debian-testing install on a 64bit intel core2 machine with nvidia 9600gt 750gb hdd. She's been a resident of that machine for quite some time now, she's well settled in, but keeps re-arranging the furniture. mainly because for the first time in her life, emily can now access the internet using broadband - she's connected as soon as she gets up in the morning (or afternoon when her master is not working). So now she has broadband, she's only gone and done what she's wanted for so long - Debian Testing - goodbye stable - hello new shiny packages! Still, she still refuses to be tainted by any audio packages and - this is where I'm not so much her master - insists I help her install all the latest audio production apps available for Linux. Here, her master, I myself, has lovingly created some portraits of Emily for your enjoyment. This is the second post in the series, the first post was sent to some other list, I'm sorry - but you had seen them all before just not all at once. This second post is not being sent to that list, but this list instead for arbitrary reasons to do with exposure. These are new portraits of Emily that you've never seen before, enjoy: (note: if the text bores you to tears, scroll past it to the images and audio at the bottom) Portrait of Emily #1 Installing sox --8- Making install in libgsm make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Nothing to be done for `install-exec-am'. make[2]: Nothing to be done for `install-data-am'. make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' Making install in src make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/lib || /bin/mkdir -p /usr/local/lib /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'libsox.la' '/usr/local/lib/libsox.la' test -z /usr/local/bin || /bin/mkdir -p /usr/local/bin /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'sox' '/usr/local/bin/sox' test -z /usr/local/lib/sox || /bin/mkdir -p /usr/local/lib/sox make install-exec-hook make[3]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' if test yes = yes; then \ cd /usr/local/bin; rm -f play rec; ln -s sox play; ln -s sox rec; \ fi if test yes = yes; then \ cd /usr/local/bin; rm -f soxi; ln -s sox soxi; \ fi make[3]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'sox.h' '/usr/local/include/sox.h' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'soxstdint.h' '/usr/local/include/soxstdint.h' make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Nothing to be done for `install-exec-am'. test -z /usr/local/share/man/man1 || /bin/mkdir -p /usr/local/share/man/man1 /usr/bin/install -c -m 644 'sox.1' '/usr/local/share/man/man1/sox.1' /usr/bin/install -c -m 644 'soxi.1' '/usr/local/share/man/man1/soxi.1' test -z /usr/local/share/man/man3 || /bin/mkdir -p /usr/local/share/man/man3 /usr/bin/install -c -m 644 'libsox.3' '/usr/local/share/man/man3/libsox.3' test -z /usr/local/share/man/man7 || /bin/mkdir -p /usr/local/share/man/man7 /usr/bin/install -c -m 644 'soxformat.7' '/usr/local/share/man/man7/soxformat.7' test -z /usr/local/lib/pkgconfig || /bin/mkdir -p /usr/local/lib/pkgconfig /usr/bin/install -c -m 644 'sox.pc' '/usr/local/lib/pkgconfig/sox.pc' make install-data-hook make[3]: Entering directory `/home/musys2/SRC/sox-14.3.0' cd /usr/local/share/man/man1 rm -f play.1 ln -s sox.1 play.1 cd /usr/local/share/man/man1 rm -f rec.1 ln -s sox.1 rec.1 cd /usr/local/share/man/man7 rm -f soxeffect.7 ln -s ../man1/sox.1 soxeffect.7 make[3]: Leaving directory `/home/musys2/SRC/sox-14.3.0' make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0' mus...@scrapyard:~/SRC/sox-14.3.0$ play ~/musys2_termye.mp3 play: error while loading shared libraries: libsox.so.1: cannot open shared object file: No such file or directory mus...@scrapyard:~/SRC/sox-14.3.0$ sudo ldconfig mus...@scrapyard:~/SRC/sox-14.3.0$ play ~/musys2_termye.mp3
Re: [NetBehaviour] Portraits of Emily (Part II)
My partner named my computer Emily. I never thought of my computer as anything other than a computer. Now it's a she called Emily. I'm using Debian because when I first started using linux, when I wanted to download software I had to run to and fro between my computer and my parents windows machine. Where most distros only provide a single dvd of software, debian comes on 5. Linux is like car engines. My dad used to fix his car engines, but he can't anymore because of computers and stuff, whereas the mechanics he knew. It's a bit like that with linux: the modern shiny polished desktops and 'trippy' desktop-fx, where (almost) everthing is (almost) a piece of piss to do, you plug in your ding-dong in and just connects or it auto-mounts and a folder pops up, all because of the car-electronics background services. I prefer (or it's become habit to) to strip as much as that out as possible, and I'm comfortable with Debian. james On 11/12/2009, Alan Sondheim sondh...@panix.com wrote: Emily sounds amazing - where is the name from? And why Debian? I'm running a variety on my nameless ASUS eee pc - Alan - On Fri, 11 Dec 2009, james morris wrote: Emily's latest re-incarnation is as 'mus...@scrapyard' on a Debian-testing install on a 64bit intel core2 machine with nvidia 9600gt 750gb hdd. She's been a resident of that machine for quite some time now, she's well settled in, but keeps re-arranging the furniture. mainly because for the first time in her life, emily can now access the internet using broadband - she's connected as soon as she gets up in the morning (or afternoon when her master is not working). So now she has broadband, she's only gone and done what she's wanted for so long - Debian Testing - goodbye stable - hello new shiny packages! Still, she still refuses to be tainted by any audio packages and - this is where I'm not so much her master - insists I help her install all the latest audio production apps available for Linux. Here, her master, I myself, has lovingly created some portraits of Emily for your enjoyment. This is the second post in the series, the first post was sent to some other list, I'm sorry - but you had seen them all before just not all at once. This second post is not being sent to that list, but this list instead for arbitrary reasons to do with exposure. These are new portraits of Emily that you've never seen before, enjoy: (note: if the text bores you to tears, scroll past it to the images and audio at the bottom) Portrait of Emily #1 Installing sox --8- Making install in libgsm make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Nothing to be done for `install-exec-am'. make[2]: Nothing to be done for `install-data-am'. make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' Making install in src make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/lib || /bin/mkdir -p /usr/local/lib /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'libsox.la' '/usr/local/lib/libsox.la' test -z /usr/local/bin || /bin/mkdir -p /usr/local/bin /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'sox' '/usr/local/bin/sox' test -z /usr/local/lib/sox || /bin/mkdir -p /usr/local/lib/sox make install-exec-hook make[3]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' if test yes = yes; then \ cd /usr/local/bin; rm -f play rec; ln -s sox play; ln -s sox rec; \ fi if test yes = yes; then \ cd /usr/local/bin; rm -f soxi; ln -s sox soxi; \ fi make[3]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'sox.h' '/usr/local/include/sox.h' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'soxstdint.h' '/usr/local/include/soxstdint.h' make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Nothing to be done for `install-exec-am'. test -z /usr/local/share/man/man1 || /bin/mkdir -p /usr/local/share/man/man1 /usr/bin/install -c -m 644 'sox.1' '/usr/local/share/man/man1/sox.1' /usr/bin/install -c -m 644 'soxi.1' '/usr/local/share/man/man1/soxi.1' test -z /usr/local/share/man/man3 || /bin/mkdir -p /usr/local/share/man/man3 /usr/bin/install -c -m 644 'libsox.3' '/usr/local/share/man/man3/libsox.3' test -z /usr/local/share/man/man7 || /bin/mkdir -p /usr/local/share/man/man7
Re: [NetBehaviour] Portraits of Emily (Part II)
oh i'm so boring. On 11/12/2009, james morris ja...@jwm-art.net wrote: My partner named my computer Emily. I never thought of my computer as anything other than a computer. Now it's a she called Emily. I'm using Debian because when I first started using linux, when I wanted to download software I had to run to and fro between my computer and my parents windows machine. Where most distros only provide a single dvd of software, debian comes on 5. Linux is like car engines. My dad used to fix his car engines, but he can't anymore because of computers and stuff, whereas the mechanics he knew. It's a bit like that with linux: the modern shiny polished desktops and 'trippy' desktop-fx, where (almost) everthing is (almost) a piece of piss to do, you plug in your ding-dong in and just connects or it auto-mounts and a folder pops up, all because of the car-electronics background services. I prefer (or it's become habit to) to strip as much as that out as possible, and I'm comfortable with Debian. james On 11/12/2009, Alan Sondheim sondh...@panix.com wrote: Emily sounds amazing - where is the name from? And why Debian? I'm running a variety on my nameless ASUS eee pc - Alan - On Fri, 11 Dec 2009, james morris wrote: Emily's latest re-incarnation is as 'mus...@scrapyard' on a Debian-testing install on a 64bit intel core2 machine with nvidia 9600gt 750gb hdd. She's been a resident of that machine for quite some time now, she's well settled in, but keeps re-arranging the furniture. mainly because for the first time in her life, emily can now access the internet using broadband - she's connected as soon as she gets up in the morning (or afternoon when her master is not working). So now she has broadband, she's only gone and done what she's wanted for so long - Debian Testing - goodbye stable - hello new shiny packages! Still, she still refuses to be tainted by any audio packages and - this is where I'm not so much her master - insists I help her install all the latest audio production apps available for Linux. Here, her master, I myself, has lovingly created some portraits of Emily for your enjoyment. This is the second post in the series, the first post was sent to some other list, I'm sorry - but you had seen them all before just not all at once. This second post is not being sent to that list, but this list instead for arbitrary reasons to do with exposure. These are new portraits of Emily that you've never seen before, enjoy: (note: if the text bores you to tears, scroll past it to the images and audio at the bottom) Portrait of Emily #1 Installing sox --8- Making install in libgsm make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Nothing to be done for `install-exec-am'. make[2]: Nothing to be done for `install-data-am'. make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' Making install in src make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/lib || /bin/mkdir -p /usr/local/lib /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'libsox.la' '/usr/local/lib/libsox.la' test -z /usr/local/bin || /bin/mkdir -p /usr/local/bin /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'sox' '/usr/local/bin/sox' test -z /usr/local/lib/sox || /bin/mkdir -p /usr/local/lib/sox make install-exec-hook make[3]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' if test yes = yes; then \ cd /usr/local/bin; rm -f play rec; ln -s sox play; ln -s sox rec; \ fi if test yes = yes; then \ cd /usr/local/bin; rm -f soxi; ln -s sox soxi; \ fi make[3]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'sox.h' '/usr/local/include/sox.h' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'soxstdint.h' '/usr/local/include/soxstdint.h' make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Nothing to be done for `install-exec-am'. test -z /usr/local/share/man/man1 || /bin/mkdir -p /usr/local/share/man/man1 /usr/bin/install -c -m 644 'sox.1' '/usr/local/share/man/man1/sox.1' /usr/bin/install -c -m 644 'soxi.1' '/usr/local/share/man/man1/soxi.1' test -z /usr/local/share/man/man3 || /bin/mkdir -p /usr/local/share/man/man3 /usr/bin/install -c -m 644 'libsox.3' '/usr/local/share/man/man3/libsox.3' test
Re: [NetBehaviour] Portraits of Emily (Part II)
It's weird, on the Asus, you have to independently download a KDE desktop to get beyond the silly interface Asus provides. It didn't even come with ftp if I remember correctly. I've thought about using Suse on something, but I keep getting derailed vis-a-vis linux because so much of my work is video in .mov or .avi format.. :-( - Alan, and thanks. I know some Emily's - a truly excellent name! On Fri, 11 Dec 2009, james morris wrote: My partner named my computer Emily. I never thought of my computer as anything other than a computer. Now it's a she called Emily. I'm using Debian because when I first started using linux, when I wanted to download software I had to run to and fro between my computer and my parents windows machine. Where most distros only provide a single dvd of software, debian comes on 5. Linux is like car engines. My dad used to fix his car engines, but he can't anymore because of computers and stuff, whereas the mechanics he knew. It's a bit like that with linux: the modern shiny polished desktops and 'trippy' desktop-fx, where (almost) everthing is (almost) a piece of piss to do, you plug in your ding-dong in and just connects or it auto-mounts and a folder pops up, all because of the car-electronics background services. I prefer (or it's become habit to) to strip as much as that out as possible, and I'm comfortable with Debian. james On 11/12/2009, Alan Sondheim sondh...@panix.com wrote: Emily sounds amazing - where is the name from? And why Debian? I'm running a variety on my nameless ASUS eee pc - Alan - On Fri, 11 Dec 2009, james morris wrote: Emily's latest re-incarnation is as 'mus...@scrapyard' on a Debian-testing install on a 64bit intel core2 machine with nvidia 9600gt 750gb hdd. She's been a resident of that machine for quite some time now, she's well settled in, but keeps re-arranging the furniture. mainly because for the first time in her life, emily can now access the internet using broadband - she's connected as soon as she gets up in the morning (or afternoon when her master is not working). So now she has broadband, she's only gone and done what she's wanted for so long - Debian Testing - goodbye stable - hello new shiny packages! Still, she still refuses to be tainted by any audio packages and - this is where I'm not so much her master - insists I help her install all the latest audio production apps available for Linux. Here, her master, I myself, has lovingly created some portraits of Emily for your enjoyment. This is the second post in the series, the first post was sent to some other list, I'm sorry - but you had seen them all before just not all at once. This second post is not being sent to that list, but this list instead for arbitrary reasons to do with exposure. These are new portraits of Emily that you've never seen before, enjoy: (note: if the text bores you to tears, scroll past it to the images and audio at the bottom) Portrait of Emily #1 Installing sox --8- Making install in libgsm make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[2]: Nothing to be done for `install-exec-am'. make[2]: Nothing to be done for `install-data-am'. make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/libgsm' Making install in src make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/lib || /bin/mkdir -p /usr/local/lib /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'libsox.la' '/usr/local/lib/libsox.la' test -z /usr/local/bin || /bin/mkdir -p /usr/local/bin /bin/bash ../libtool --silent --silent --mode=install /usr/bin/install -c 'sox' '/usr/local/bin/sox' test -z /usr/local/lib/sox || /bin/mkdir -p /usr/local/lib/sox make install-exec-hook make[3]: Entering directory `/home/musys2/SRC/sox-14.3.0/src' if test yes = yes; then \ cd /usr/local/bin; rm -f play rec; ln -s sox play; ln -s sox rec; \ fi if test yes = yes; then \ cd /usr/local/bin; rm -f soxi; ln -s sox soxi; \ fi make[3]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'sox.h' '/usr/local/include/sox.h' test -z /usr/local/include || /bin/mkdir -p /usr/local/include /usr/bin/install -c -m 644 'soxstdint.h' '/usr/local/include/soxstdint.h' make[2]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Leaving directory `/home/musys2/SRC/sox-14.3.0/src' make[1]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Entering directory `/home/musys2/SRC/sox-14.3.0' make[2]: Nothing to be done for
Re: [NetBehaviour] Portraits of Emily (Part II)
On Fri, 11 Dec 2009, james morris wrote: oh i'm so boring. Either everything's boring or nothing is, depends on the human/human interface. I'm sure I'm not the only one fascinated by your work and descriptions thereof on the list - Alan ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Upgrade! Tijuana, Sat Dec 19th, Elle Mehrmand, Chris Head and Zach Blas
Saturday, December 19th, 2009 Upgrade! Tijuana 6-8pm @ Protolab Presentations by: Zach Blas Elle Mehrmand Chris Head Telefono: (0152 - 664) 686 1610 y 686 6318 Dirección: Blvd. Agua Caliente # 10535 Edificio Gallegos Planta Baja. Fracc. Aviación, Tijuana, B.C. Mexico. C.P.22014 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - *Elle Mehrmand* is a performance/new media artist and musician who uses the body, electronics, video, photography, sound and installation within her works. She is the singer and trombone player of Assembly of Mazes, a music collective who create dark, electronic, middle eastern, rhythmic jazz rock. Elle is currently an MFA candidate at UCSD, and received her BFA in art photography with a minor in music at CSULB. Elle has received grants from UCIRA and Fine Arts Affiliates. She is a researcher at CRCA and the b.a.n.g. lab at UCSD. Her performances have been shown in Los Angeles, Tijuana, Montreal, Dublin, San Diego, Long Beach, San Fransisco and Bogotá, Colombia. *sextrument. 2008 performance/video* A live durational performance where I masturbated for one hour, with a Nintendo Wii remote controller. The accelerometer sensor in the Wii-mote measured the speed and intensity of my hand movement, which sent messages to MaxMSP altering the sound of my voice, which was then projected through speakers outside of the room. Behind a locked door, I invited viewers to look through the peephole, seeing only the bottom of my breasts, down to the top of my pubic line, revealing the in-between. http://visarts.ucsd.edu/something-happening/?p=177 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - *Zach Blas* www.zachblas.info http://zachblas.info/ is an artist and writer working at the intersections of networked media, queerness, and the political. he is particularly interested in activist art that addresses the methods and styles in which technologies, bodies, and capital impact, reconstitute, and proliferate assemblages of sexuality, gender, and knowledge, alongside the potentials and possibilities of reshaping these assemblages as well as reconfiguring un/human modes of agency and resistance. zach is a phd student in literature information science + information studies at duke university. he holds a mfa from the design | media arts department at the university of california los angeles, a post-baccalaureate certificate from the school of the art institute of chicago in the art and technology studies department, and a bachelor of science from boston university in film and philosophy.” zach’s current project, *Queer Technologies*, is an organization that develops applications and situations for queer intervention and social formation. Queer Technologies produces flows of resistance within larger spheres of capitalist structurations, “identifying” and “disidentiying” with these spheres in tandem. All pieces are designed as product, artwork, and political tool, materialized through an industrial manufacturing process so that they may be disseminated widely. QT products include transCoder, a queer programming anti-language; ENgenderingGenderChangers, a “solution” to Gender Adapters’ male/female binary; Gay Bombs, a technical manual manifesto that outlines a “how to” of queer networked activism; and GRID, a mapping application used to track the dissemination of QT products and map the “battle plans” for Queer Technologies to more thoroughly infect networks of capital. Queer Technologies’ products are often displayed and deployed at the Disingenuous Bar, which offers a heterotopic space for political support for “technical” problems. QT products are also shop-dropped in various consumer electronics stores, such as Best Buy, Circuit City, Radio Shack, and Target. (www.queertechnologies.info) - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - *Christopher Head* gubbish.org Christopher Head is a MFA candidate at the University of California San Diego. His practice is focused on the application of experimental technologies and art to address issues at the intersection between virtual, public, and social spaces. Christopher’s work often engages computer games, data visualization, and issues of software production. Christopher’s current project and upcoming thesis exhibition (tentatively titled “mmmo”), is an attempt to create a software framework for exploring alternative narrative forms in interactive digital media. “mmmo” will be released first as a pair of free/libre and open-source software libraries, with a follow-up implementation as a development example and use-case. -- micha cárdenas / azdel slade Lecturer, Visual Arts Department, University of California, San Diego Artist/Researcher, Experimental Game Lab, http://experimentalgamelab.net Calit2 Researcher, http://bang.calit2.net blog: http://transreal.org ___ NetBehaviour mailing list
[NetBehaviour] IMPORTANT STATEMENTS VII
... Steven Read FUCKING GENIUS... MANIK,DECEMBER 2009... ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] IMPORTANT STATEMENTS VII
... Julie Lazar No real news here, unfortunately... MANIK,DECEMBER 2009...___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
Re: [NetBehaviour] I want to ask Jacques Derrida a question.
Bakhtin might disagree -- matter flows into language and language flows into matter (whatever matter and language may be). The echo of a touch: http://lab404.com/misc/calling_over_time.mp3 http://www.lab404.com/ior/hand.gif Curt And then, perhaps, it's evident that, given semantic substance, all languages are networks across ethers, across absence - all languages are ghosts calling ghosts. Thanks, Alan On Fri, 11 Dec 2009, Curt Cloninger wrote: Thanks Alan, I like the poetry that this is. It works as language across a network of ether, ghost calling ghost. A disembodied myth of disembodied discourse. In real life/space/time I doubt the event would have been as poetic. In real life/space/time I would have rather asked Bakhtin an embodied utterance. We would have tasted the banality of the moment like the fallen angel Peter Falk burning his freshly incarnate tongue on the material semiotically known as coffee, now affectively known as ah! this! in Wenders Wings of Desire. Loving Hand Turns Burning Sand to Water, Curt I want to ask Jacques Derrida a question. I want to ask Jacques Derrida a question. It is question about death, not in particular his death. But a question concerned with the aporia of death, not necessarily his own. Such a question, which would have been possible several years ago, is no longer possible. We are thrown back on the words of Jacques Derrida. We are immured there. It would have been simple: Jacques, here is what I want to know. Do you have a minute of your time. The body of Jacques Derrida still exists. His body, phoric, carries the aporia. The aporia is not his own, nor can he speak and return an unraveling. Today, words are never set in stone, and questions go unanswered. Today, questions disappear, and their occasion disappears. The occasion of a question: a gap, as in a detective story. As if the question were sutured by an answered, when in fact it is sutured by any reply at all. An answer responds to a question; a reply responds to the occasion of a question. I remember Jacques Derrida, and would have tapped him on the shoulder, saying, excuse me, but ... There is an image I have of this tapping: the softness of his jacket, the slight giving away of the flesh beneath, and he turns towards me. When I move my hands, everything is empty. Jacques Derrida is a remnant of matter. ... If death ... names the very irreplaceability of absolute singularity (no one can die in my place or in the place of the other), then all the _examples_ in the world can precisely illustrate this singularity. Everyone's death, the death of all those who can say 'my death,' is irreplaceable. ... (Derrida, Aporias) When I move my hands: when my hands are moved for me, are only moved for me: mise en scene, a scenario or occurrence, chora. I do not collapse time, Jacques, in order to speak to you: I speak to you. I do not collapse space, in order to speak: I touch you lightly on your shoulder, I wait until you turn around, your glance moves in my direction, momentarily you are caught up in my gaze, you hesitate whether or not to return your own, your reply to my question, you return such, as if such is returned, an exchange of gifts or misrecognition. Of the good, there is the edge of a knife, and the fall which surrounds it; of the spoken, there is a comprehension, empathetic alignment, then nothing. Of the spoken, the knife edge separates the question I give to Jacques as a gift, an awakening, and the reply which shatters after a particular time, calculable, unattainable. Of the question: all questions are a permanence: It is impossible to answer a question. Jacques turns; I look at his shoes. Thinking of Van Gogh, of Heidegger, of Jacques Derrida, I take several photographs. They are remnants, indices with lost referents; they are abject. I am silent; I say nothing to him, to Van Gogh, to Heidegger. Repeatedly I raise the camera; eye-level, I aim downward, towards an incalculable earth. The images, lost, are digital; they never were. Between one pixel and another, a hole, precisely the width of death. ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour == email archive: http://sondheim.rupamsunyata.org/ webpage http://www.alansondheim.org sondheimat gmail.com, panix.com == ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour ___ NetBehaviour mailing list NetBehaviour@netbehaviour.org
