[NetBehaviour] the big floods. the bloods.

[Alan Sondheim]

the big floods. the bloods.

http://www.alansondheim.org/roches54.jpg
http://www.alansondheim.org/roches49.jpg

floods. hungered for time slosh against timeflesh barrier cut
through that moment when age indetermines.

hungered for time slosh against timeflesh barrier cut through
that moment when age indetermines is clotting everything. -
closed. soaked. wrote. erased. smeared bodies.

wiped into the world. smeared into it. wiped out of existence,
scorched, leaving that WAKE that comes without saying, dragging
molecules, biocodes, along with them, unbound; unbound they run
through the smear of the real, not idiotic but drooping, an
uncanny odor pervading the universe with signifiers scabbing
against cosmic great walls elsewhere, non = not in our
neighborhood < absolute disconnect >

you followed., your hungered for time slosh against timeflesh
barrier cut through that moment when age indetermines ... the
flooding of names, soaking of things ...

_the doll spills._

closed. the meat closed. what closes here decays, corrodes,
opens nowhen nowhere else, fissures : the longevity of longevity

as if these fluids, these pastes were universal. they're not.

theyy're grounded in our holes, our poles, pores, our skins.

effluvia. breathing in something. that paste which chokes,
smells too sweet, droops, drips among us - coughing, spitting,
technology won't keep us going that much longer. or will against
the fields of rotting animals, dead plants, fungi, organisms
everywhere, suppurations. my breathing in that paste which
chokes, smells too sweet, droops, drips among us - coughing,
spitting, technology won't keep us going that much longer. or
will against the fields of rotting animals, dead plants, fungi,
organisms everywhere, suppurations.  is your chemistry here.
uninitialized value at .juluold line 95,  chunk 4.

closes. decays. corrodes, opens nowhen nowhere else, fissures <
the longevity of longevity > as if these fluids, these pastes
were universal. they're not. they're grounded in our holes, our
pores, our skins.  calls forth spit presence, hungered, making
things.

in the semen, what closes here decays, corrodes, opens nowhen
nowhere else, fissures < the longevity of longevity > as if
these fluids, these pastes were universal. they're not. they're
grounded in our holes, our pores, our skins.  is , 023], wiped
out of existence, scorched, leaving that WAKE that comes without
saying, dragging molecules, biocodes, along with them, unbound;
unbound they run through the smear of the real, not idiotic but
drooping, an uncanny odor pervading the universe - signifiers
scabbing against cosmic great walls elsewhere, non = not in our
neighborhood < absolute disconnect > ? ... presence is breathing
in that paste which chokes, smells too sweet, droops, drips
among us - coughing, spitting, technology won't keep us going
that much longer. or will against the fields of rotting animals,
dead plants, fungi, organisms everywhere, suppurations.  on wet
flesh, it's presence?

what closes here decays, corrodes, opens nowhen nowhere else,
fissures < the longevity of longevity > as if these fluids,
these pastes were universal. they're not. they're grounded in
our holes, our pores, our skins. ? the worst of us, us among us,
repellent, repellent!! your thing. your bloody thing. my thing.
my bloody thing.

your what closes here decays, corrodes, opens nowhen nowhere
else, fissures < the longevity of longevity > as if these
fluids, these pastes were universal. they're not. they're
grounded in our holes, our pores, our skins. your bloody thing.
your bloody bloody thing.

i swallow my bloody g thing.

:indignant regret found::..place
of:foreshadow..offended Your
hobgoblin dissolves my act as an
open..rue..anger! avatar with ideohydraulesis!
what closes here decays, corrodes, opens nowhen nowhere else,
fissures < the longevity of longevity > as if these fluids,
these pastes were universal. they're not. they're grounded in
our holes, our pores, our skins. :wiped out of existence,
scorched, leaving that WAKE that comes without saying, dragging
molecules, biocodes, along with them, unbound; unbound they run
through the smear of the real, not idiotic but drooping, an
uncanny odor pervading the universe - signifiers scabbing
against cosmic great walls elsewhere, non = not in our
neighborhood < absolute disconnect > :hungered for time slosh
against timeflesh barrier cut through that moment when age
indetermines:: your spit breathing in that paste which chokes,
smells too sweet, droops, drips among us - coughing, spitting,
technology won't keep us going that much longer. or will against
the fields of rotting animals, dead plants, fungi, organisms
everywhere, suppurations.  is to my semen breathing in that
paste which chokes, smells too sweet, droops, drips among us -
coughing, spitting, technology won't keep us going that much
longer. or will against the fields of rotting a

[NetBehaviour] Melting ice means no rest for weary polar bears

[Alan Sondheim]

(this came into my inbox - without the visuals of course - during the 
discussion of accelerationism. apologies for the sentimentalism)



Melting ice means no rest for weary polar bears

Apr. 22, 2016

http://www.alansondheim.org/roches20.jpg
http://www.alansondheim.org/acdc.mp4

As the Arctics ice continues to melt away, polar bears are
increasingly being forced to swim for days straight to find food
and rest, The Washington Post reports. Of more than 100 bears
monitored by a Canadian researcher, 69% took a swim of at least
49 kilometers in 2012, up from 25% in 2004, according to a new
study in the journal Ecography. One bear in 2009 was observed
swimming 402 kilometers in a 9-day journey during which her
year-old cub died. Though polar bears are adept swimmers, they
are not built to swim long distances, and they were rarely seen
making such journeys in earlier decades. But the continuing
break-up of the Arctics sea ice means that polar bears must do
more marathon swims over open waters to find food.

(Usually I don't make assemblages, and this one, unfair as it
is, is something I've been thinking about recently. Consider it
propaganda at its worst. Do note the ucannily beautiful rust-
belt landscape from downtown Rochester.)

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[NetBehaviour] (no subject)

[{ brad brace }]

TMV Brand (637 photo-pages; vol 1) $66.99
TMV Brand (926 photo-pages; vol 2) $77.99


A re-purposed haute couture implosive collection of TMV Brand Denim Mini
Skirts sucked-up betwixt vibrant local insertions of viciously
compressed/distressed tropical/topical pinhole-panoramas -- lush/limpid
conspiracy theories and unseemly/undulating specious-speculation! What
more will you want!?

I've scrunched-down this version (it's likely quite-OK), so as to
superficially comply with Amazon dictates but as always, you'd be ever
so much better-off with the fullest-resolution (325/620mb) supporter's
version, directly from the artist: never/ever sold to institutions:
email me bbraceATeskimoDOTcom: same price ($66.99/$77.99) but no insular
quid pro quo graft! Make the effort/difference. Take a stand: signify!

Together we're working hard to make sure we were better off yesterday
than we are today. Unhemmed Source. Super Cute! Habeas Corpus!


http://bbrace.net/ppp/ppp.html
http://bradbrace.net/ppp/ppp.html
http://www.amazon.com/dp/B00GY8JOUO
http://www.amazon.com/dp/B00H266X9M


http://bbrace.net/ppp/ppp.html
http://bradbrace.net/ppp/ppp.html
http://www.amazon.com/dp/B00GY8JOUO
http://www.amazon.com/dp/B00H266X9M



/:b


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[NetBehaviour] Auto-Re: Across Portrait. 1986 - ongoing

[土木建筑学院]

 
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Re: [NetBehaviour] Accelerationism

[Alan Sondheim]

A few pieces and others we did that might be germane -

Ennui - Azure singing and F and I dancing and playing as fast as possible 
for as long as possible - the piece usually bottoms out around ten 
minutes. (started around 2002)


Accessgrid pieces - in which we used a multi-channel linux conferencing 
system to bounce signals around the world creating video echos of speech/ 
sound/movement; the delays were on the order of 1/10th second. (around 
2008)


Early synthesizer work in which we used patchcords to overload video 
or audio synthesizers (including one we built) to create chaotic 
emergences (similar to 'animals' in turbulence) that we'd build on. 
(around 1970)


Foofwa's dancerun work performing marathon movements/vectors through 
cities dancing all the way followed by television crews and people who'd 
join and drop out. (past decade or two)


My own overloading work in virtual worlds creating anomalies and artifacts 
and zeroing in on them until the suicide crashes take place. (past few 
years)


My audiotape piece involving a large stage, tape emerging from one machine 
at twice the speed the other's picking it up, with feedback loops - time 
gets drawn out, tape pools on the floor, things go out of control, 
performance stops. (1980 or so)


Stelarc's wiring/writing himself into the Net, nodal-Stelarc. (twenty 
years ago)


Chris Burden's early performance work heading towards the bring of 
catastrophe. (1970s)


Raves. Speedmetal. Current punk debris. Parkour.

Etetetetc
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Re: [NetBehaviour] Wider die Akzeleration

[Johannes Birringer]

found a translation of the manifest (into german): "Beschleunigungsmanifest"
(and some of you made me go back and read Marx & Engels on the weekend, thank 
you,
that was actually very helpful)

then found link to the accelerated website/blog but it's gone

>
accelerationism.wordpress.com is no longer available.
The authors have deleted this site.
>

that was quick, as far as manifestos go. 
  

thanks for the many fascinating discussions amongst all of you here.
(John's point, a couple of days ago, was well taken though).

regards
Johannes

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[NetBehaviour] Auto-Re: Accelerationism

[土木建筑学院]

 
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[NetBehaviour] Accelerationism

[Edward Picot]

I can kind of see where Accelerationism's coming from - assuming that I 
understand Accelerationism correctly, which I more than likely don't. 
After you've repeated a certain number of times the usual breast-beating 
and groaning about the commodification of personal space and 
relationships, the world-domination of monster Web-based corporations, 
the failure of monetarist democracy to deliver either equality or 
political enfranchisement, the destructiveness of the endless-growth 
model of capitalism, the damage it does to our environment, the damage 
being done to our minds and our souls as the online/virtual/social 
media/gaming/dating app world comes to dominate our attention more and 
more thoroughly at the expense of the here-and-now, etc. etc. - after 
you've repeated those things a certain number of times, they start to 
feel not only tiresome and futile, but inadequate as a response to the 
situation in which we find ourselves. You can't keep simply rejecting 
and vilifying the new reality which is now our everyday world. You have 
to find a way of responding to it, representing it, coming to term with 
it, living in it. So perhaps the answer is to embrace it. Instead of 
running for the hills, ride the surf. Go with it. Use its energy. Find 
ways of making it work for you. As Rob says in his article about 
Accelerationist art, the idea is to 'grab the wheel rather than slam on 
the brakes'.


The example of Futurism, however, is a deterring one. The 
Accelerationists, from what I can gather, are at pains to say that 
they're not like the Futurists, but the parallels are difficult to 
ignore - here's Wikipedia's take: 'The Futurists admired speed, 
technology, youth and violence, the car, the airplane and the industrial 
city, all that represented the technological triumph of humanity over 
nature... They repudiated the cult of the past and all imitation... 
dismissed art critics as useless, rebelled against harmony and good 
taste, swept away all the themes and subjects of all previous art, and 
gloried in science.' And despite their objectionable ideas, the 
Futurists produced some strikingly original and challenging work. Their 
determination to embrace the new and their contempt for 'established' 
art with its traditions, its nostalgia, its sentimentality about nature 
and landscape, its distrust of urban environments and technology, 
allowed them to wipe the artistic slate (almost) clean and stake a big 
claim for themselves in an area into which (almost) nobody had ventured 
before. And like the Accelerationists, their agenda was political as 
well as artistic. Of course it's difficult to discuss the political 
aspects of their ideas now without flinching at their Fascist tendencies 
- actually 'tendencies' is putting it mildly - "We will glorify war — 
the world's only hygiene — militarism, patriotism, the destructive 
gesture of freedom-bringers, beautiful ideas worth dying for, and scorn 
for woman." But the feeling behind this inhumane super-macho posturing 
was that just as existing art, existing criticism and existing aesthetic 
perspectives were not only inadequate but rotten to the core, based on 
falsehoods, and needing to be junked before anything of real value could 
be constructed, so too with society and its values - everything would 
have to be smashed to pieces and scoured clean by technology, war, or 
better still techno-war, and only then could proper foundations be put 
in place and a proper society be constructed.


The problem is, of course, that when society actually reaches the 
melting-point, what follows is not a rebirth, a clean slate, a chance to 
start all over again, but terrible human suffering on a massive scale, 
followed by a slow and painful, often tyrannical, process of 
reconstruction. The meltdown-and-rebirth process has been envisioned 
before: here is the poet Robert Graves writing in the 1961 edition of 
The White Goddess: 'No: there seems no escape from our difficulties 
until the industrial system breaks down for some reason or other, as it 
nearly did in Europe during the Second World War, and nature reasserts 
herself with grass and trees among the ruins.' But the reality, as we 
ought to be able to see with the benefit of fifty years of hindsight, is 
more likely to look like post-revolutionary Russia or China than some 
kind of return to primal innocence, assuming that there ever was such a 
thing as primal innocence.


Of course, the Accelerationists would probably argue that the 
let's-crank-everything-up-until-it-breaks philosophy, or the 
let's-step-on-the-gas-until-we-achieve-escape-velocity philosophy, are 
only minor strands of what they've got to say, and perhaps only 
expressed by a few nutcases on the fringe of the movement. Just as 
important is the attempt to create some kind of new hacktivist politics 
that gets beyond the 'folk politics' of the Occupy movement. Just 
sitting down and protesting isn't enough: that's been demonstrate

Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Annie Abrahams]

Thanks Ruth, yes, nice, glad I saw the set-up!

Other artworks ...? thinking about it ? for me interesting artworks on the
border between art and politics try to reach out to something else, try to
crossover, are hybrid things made by people who do not stick to one field
of knowledge
what we need in this world to better it, if possible, is people who
experiment with working together, who try to find new coalitions, who try
to further "trust, attention, listening". we need to "exit" art, even stop
thinking about

https://vimeo.com/163826337 "Displaced" by Soyung Lee is a work I
discovered recently - I don't really understand yet why it touches me so
much, of course because it points to communities of people of different
backgrounds, different languages doing things together - it points to a
place where English is not dominant, it's done, made by amateurs and
professionals, it has a beautiful text at its base, it talks about a very
actual condition - the displacement in a way we can feel all - it unites me
with them, with refugees, - it's performance, cinema and theater

But this has nothing to do with technology? or does it?

Annie

On Sun, Apr 24, 2016 at 5:29 PM, ruth catlow 
wrote:

> Yes Annie,
>
> > Ok let's discuss concrete art works, activities etc - let's leave for a
> moment the theorethical philipoli stuff
>
> More examples would be good.
>
> > In this discussion we have until now Ruth's work
> http://gtp.ruthcatlow.net/ on time: human time, life time, computertime,
> scientific time, stone time and Rob's examples in his article
> http://furtherfield.org/features/articles/accelerationist-art  - what are
> these doing, what duscussion, thoughts they further ...
> >
>
> To answer your particular questions about my work
>
> > I just watched Ruth's work again, I like the reflexion it brings, how it
> articulates all these times.
> > I have a question: - What do the people who go to the installation get
> from this, is there a live video projection?, Can they understand how time
> is at stake in this work? (In the catalogue text I read Edward mentioned a
> projection, but so far I didn't see any photos of it)*
> > I admit I had difficulties understanding the complexity of the piece in
> the beginning but now, at the end I can enjoy it's beauty.
> > So probably what I want to know Ruth, is where was your focus on the
> final video object or on what happened in the installation ...
>
> I think/hope that the work is totally explicit for gallery visitors.  But
> now I understand that the documentation needs more clarity for online
> viewers
>
> The plasma screen displays this webpage http://gtp.ruthcatlow.net/ which
> shows the most recent image taken by the web cam, along with the looping
> video to which images are added every 3 or 4 images.
>
> People can pose for the web cam, or might be caught looking at the video
> in which they are soon to be portrayed.
>
> Here is a photo which shows the set up.
>
> https://www.flickr.com/photos/60673926@N02/24540097322/in/album-72157663958436545/
> Here you can scroll through a set of images showing selected stills from
> the video, as well as some installation shots
> https://www.flickr.com/photos/60673926@N02/albums/72157663958436545
>
>
> >
> > What did I get out of the examples Rob gave in his article? They are
> almost all art, just art, as far as I can see. Objects, you can show and
> sell. They function mostly in the Artworld. Holly Herndon and probably also
> Morehshin Allahyari & Daniel Rourke seem to be a bit different in the sense
> that they also engage with other domains and feel "whole". They reach out.
> > As feel "whole" for me someone like Hito Steyerl whose work I like a lot.
> >
> http://www.e-flux.com/journal/a-sea-of-data-apophenia-and-pattern-mis-recognition/
> > the dissappearance of an horizon - acceleration as stasis
> https://vimeo.com/81109235#t=99s
> > Does this have anything to do with accelerationism? I don't know and
> would that be important to know?
>
> Acceleration as stasis. Yes I think this is right Annie.
>
> Yes! more examples
>
> Thank you
>
> :)
> Ruth
>
>
>
> >
> > Please diversify examples ...
> >
> > Thanks for these discussions!!
> > Annie
> >
> > *I found a photo of a screen showing what?
> https://www.flickr.com/photos/szpako/24284339460/in/pool-wana2021/ a
> still, a looping video?
> >
> >
> >
> > On Sun, Apr 24, 2016 at 3:33 AM, Gretta Louw <
> gretta.elise.l...@gmail.com> wrote:
> >
> > This makes so much sense to me, thank you Ruth. I see so much of
> this in Europe, North America and the western, urban mainstream; an utter
> inability (and, probably, unwillingness) to look outside our own narrowly
> defined cultural lens when purportedly studying/attempting to understand
> technology, media, digitalisation, and their impacts. It hampers real
> discussion and cross-fertilization of ideas. Preaching to the (mostly
> white, educated, urban, western, northern) choir - as most tech/ digital/
> futurist and 

Re: [NetBehaviour] Accelerationism

[Simon Biggs]

I elaborated in a previous post. Manifesto’s are rarely discursive and I don’t 
really see why they require such a response.

best

Simon


Simon Biggs
si...@littlepig.org.uk
http://www.littlepig.org.uk
http://amazon.com/author/simonbiggs
http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs
http://www.eca.ed.ac.uk/school-of-art/simon-biggs







> On 25 Apr 2016, at 12:02, BishopZ  wrote:
> 
> "The soul of wit, is the very body of untruth." -Aldous Huxley
> 
> So sharp? So definitive? Is there not room for debate?
> at least can you e-lab-or-ate?
> Bz
> 
> On Sun, Apr 24, 2016 at 6:15 PM, Simon Biggs  > wrote:
> Nope - don’t buy it. Quackery…
> 
> best
> 
> Simon
> 
> 
> Simon Biggs
> si...@littlepig.org.uk 
> http://www.littlepig.org.uk 
> http://amazon.com/author/simonbiggs 
> http://www.unisanet.unisa.edu.au/staff/homepage.asp?name=simon.biggs 
> 
> http://www.eca.ed.ac.uk/school-of-art/simon-biggs 
> 
> 
> 
> 
>> On 25 Apr 2016, at 03:36, Pall Thayer > > wrote:
>> 
>> From Manifesto for an Accelerationist Politics 
>> (http://criticallegalthinking.com/2013/05/14/accelerate-manifesto-for-an-accelerationist-politics/
>>  
>> ):
>> 
>> "21. We declare that only a Promethean politics of maximal mastery over 
>> society and its environment is capable of either dealing with global 
>> problems or achieving victory over capital. This mastery must be 
>> distinguished from that beloved of thinkers of the original Enlightenment. 
>> The clockwork universe of Laplace, so easily mastered given sufficient 
>> information, is long gone from the agenda of serious scientific 
>> understanding. But this is not to align ourselves with the tired residue of 
>> postmodernity, decrying mastery as proto-fascistic or authority as innately 
>> illegitimate. Instead we propose that the problems besetting our planet and 
>> our species oblige us to refurbish mastery in a newly complex guise; whilst 
>> we cannot predict the precise result of our actions, we can determine 
>> probabilistically likely ranges of outcomes. What must be coupled to such 
>> complex systems analysis is a new form of action: improvisatory and capable 
>> of executing a design through a practice which works with the contingencies 
>> it discovers only in the course of its acting, in a politics of geosocial 
>> artistry and cunning rationality. A form of abductive experimentation that 
>> seeks the best means to act in a complex world."
>> 
>> On Sun, Apr 24, 2016 at 1:22 PM Alan Sondheim > > wrote:
>> 
>> 
>> Can you say more?
>> 
>> On Sun, 24 Apr 2016, Pall Thayer wrote:
>> 
>> > Alan: But isn't that the whole idea behind left-acceleration?
>> >
>> > On Sun, Apr 24, 2016 at 9:46 AM Alan Sondheim > > > wrote:
>> >
>> >   I agree and the problem precisely is acceleration; the biosphere
>> >   doesn't
>> >   adapt well to accelerated change, as the plights of sealions,
>> >   walrus,
>> >   migrant birds, ocean lives, indicate. If anything, a form of
>> >   holding-back,
>> >   learning to listen, listening, is necessary. The fundamental
>> >   problem I
>> >   think is that we're blind when it comes to ecosystems, energy,
>> >   micro-
>> >   biomes, and so forth. The fundamentals of mycology are being
>> >   rewritten as
>> >   we discuss, and what's emerging are whole universes of
>> >   ignorance.
>> >   Meanwhile we plow ahead, destroying the planet. It seems to me
>> >   that
>> >   accelerationism is so fundamentally human-based (perhaps
>> >   man-based for all
>> >   that), that it really overlooks collateral damage. And what do
>> >   we do, for
>> >   example, with the increasingly violent drought in the Mid-East
>> >   which is
>> >   exacerbating warfares and genocides? This needs slow, dirty work
>> >   to deal
>> >   with it, culture theory which listens, not only to humans, but
>> >   to life and
>> >   lives everywhere -
>> >
>> >   Alan
>> >
>> >
>> >   On Sun, 24 Apr 2016, ruth catlow wrote:
>> >
>> >   > Yes Michael, and this is profoundly poetic.
>> >   >
>> >   > All human traditions, values and communities are dissolved in
>> >   an acid bath
>> >   > of everlasting agitation and uncertainty.
>> >   >
>> >   > What this passage does not describe though is a situation
>> >   where the wider
>> >   > ecologies of non-human planetary life, upon which we depend,
>> >   are also
>> >   > fatally eroded.
>> >   > We need to sense and eng

Re: [NetBehaviour] aesthetics examples ... forked from : Re: Accelerationist aesthetics

[Michael Szpakowski]

< after I'm back from hyperreality on Tuesday.>
I can't begin to say how unreasonably happy that sentence makes me


m.
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