Re: [NetBehaviour] immaterial art- wetin you go do?

[Johannes Birringer]

Dear all

I tend to agree with Alan, and wondered Gretta what kind of works you had in 
mind when you mentioned "immaterial / non-existent artworks"  (the non existing 
ones
i find particularly interesting, did you mean works of a scale that makes them 
uncollectible or not so visible, like the kind of Smithson land art 
extravaganzas?

I just attended the Carolee Schneemann retrospective ("Kinetic Painting") at 
MMK Frankfurt, a massive exhibition across 11 galleries in the museum showing 
early work from the 50s, through late work,  paintings, assemblages, 
performances, films, photographic and graphic works, writings and 
installations.  This is such a comprehensive exhibition, including documentary 
photographs and films of her performance actions, that one could spend days in 
it and revel in the achievements of a [female] artist who has affected history 
through her own work and through her influence over subsequent generations of 
artists,  perhaps especially in the field of performance art. Though Schneemann 
obviously worked through the erotics and charisma of her body (Stelarc 
objectiifies "the body" differently, I think or treats 'it' differently), I 
wonder whether gender notions are easy to apply (especially as dichotomies)?  
When you think of land art or Smithson, you might also think of Ana Mendieta or 
someone like Yayoi Kusama or Min Tanaka or Otobong Nkanga who have worked in 
their own ways, with "landscapes" (so did Gertrude Stein, or Anita Berber). I 
enclose a photo
of Nkanga's "Wetin You Go Do?" - currently at Tate Modern's Tanks. quite a 
heavy work!

best
Johannes Birringer
dap-lab



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: 16 October 2017 14:11
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Maecenas

Body Art was both male and female, Gina Pane, Collette, Marina Abramovich,
etc. but also Vito Acconci, Dennis Oppenheim, Genesis P. Orridge, but also
Hannah Wilke, etc. A pretty mixed group. Most of the hard-core
conceptualists were male, but there are also Adrian Piper, the Guerilla
Girls, Alice Aycock and Nancy Wilson Kitchel, Martha Wilson, etc., who
spanned conceptualism and physical/person production as well.

- Alan

On Mon, 16 Oct 2017, Gretta Louw wrote:

> It?s interesting to me that artists working with immaterial / non-existent
> artworks in the past are so overwhelmingly male, but I don?t know yet what it
> means?http://www.modernedition.com/art-articles/absence-in-art/the-invisible-artw
> ork.html Something perhaps about the other side of the body art coin
> perhaps?
>
>
>
>
>
>   On 15. Oct 2017, at 17:15, ruth catlow
>   <ruth.cat...@furtherfield.org> wrote:
>
> I'd be up for thinking this one through.
> Let's do it.
>
> On 13/10/17 20:34, Edward Picot wrote:
>   Oops! Apologies for posting this twice. I thought the
>   first one hadn't worked.
>
>   On 13/10/17 19:10, Edward Picot wrote:
>   Can't we do something with this? Couldn't we create
>   a conceptual work of art that didn't actually exist
>   at all - we could use some ideas from Curt
>   Cloninger's 'Essay About Nothing' to represent it -
>   and market shares in it via the Blockchain? Proceeds
>   to Furtherfield, unless the value went above a
>   trillion dollars, in which case I want a cut.
>
>   Edward
>
>   On 11/10/17 18:56, Rob Myers wrote:
>   On Wed, 11 Oct 2017, at 12:58 AM, ruth catlow
>   wrote:
>   Perfectly put Helen!
> Art reframed as a new asset class for
> fractional ownership ain't my idea of utopia.
>
>
> """Marly studied the quotations. Pollock was down
> again. This, she supposed, was the aspect of art
> that she had the most difficulty understanding.
> Picard, if that was the man's name, was speaking
> with a broker in New York, arranging the purchase of
> a certain number of "points" of the work of a
> particular artist. A "point" might be defined in any
> number of ways, depending on the medium involved,
> but it was almost certain that Picard would never
> see the works he was purchasing. If the artist
> enjoyed sufficient status, the originals were very
> likely crated away in some vault, where no one saw
> them at all. Days or years later, Picard might pick
> up that same phone and order the broker to sell. """
>
> - William Gibson, "Count Zero", 1986.
>
>
>
> ___
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> NetBehaviour@netbehaviour.org
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Re: [NetBehaviour] plane depth in the furious light of the leader's bomb

[Johannes Birringer]

thank you for striking images, sounds and the writing. Alan.

out of sky a lot of things have fallen it seems,
i cannot articulate fear except fear for (the people in Korea and
all affected by the leader of the North and his military who are testing their
atomic bombs, and the people who are concerned, the neighbors, 
the people inside the country (who are threatened as much); the other leader
of the north (US) used a phrase, in the German translation, with dire biblical 
ring,
he would react to N. Korean bombs with"Feuer, Wut und Macht, wie die Welt
es so noch nicht gesehen hat" which I translate as with"Fire, Wrath and Might,
as the world has never seen before".

The leader of the North (US) here seems to echo Harry S Truman in his 1945
address before the US dropped the Atomic Bomb on Hiroshima; Truman also spoke of
a rain of total destruction from the air. 

In this context, I shall repeat what I proposed yesterday, that the war is not 
over;
when one looks at the Korean War in the early 1950s, it is believed that more 
than
4.5 million Koreans died, and many cities were nearly entirely destroyed. Napalm
was used by US and UN military forces that fought back the North Korean invasion
of the South, and the cold war there (China also becoming involved) seems not to
have ended in any solution to the crisis, and Korea remains a divided land. 

are these further strata? and are we witnessing "furious the leaders square off 
in their squares"?


Johannes Birringer



[Alan Sondheim schreibt
Sent: 06 September 2017 21:28


Thank you for this indeed. I think it's strata,


[Alan Sondheim schreibt]
Sent: 04 September 2017 03:37


plane depth in the furious light of the leader's bomb

out of the sky falls more sky

...

we will die in the leader's bomb
these sounds will do no harm
furious the leaders square off in their squares
their squares are full of tyros marching batons,
frayed conductances, unruly radiations

maze and meander obliterated, there are no paths among us
every direction is a path on a plain of scythes and glows

every image is there, michelangelo pulling from the rock
(dead michelangelo pulled from the rock)

nothing moves and everything hurts,  what the plane drops

up from the ground rises more ground

out of the sky falls more sky
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Re: [NetBehaviour] plane depth in the furious light of the leader's bomb

[Johannes Birringer]

thank you for striking images, sounds and the writing. 
out of sky a lot of things have fallen it seems,
i cannot articulate fear except fear for (the people in Houston
and my friends who stood in the water or looked up to the storm),
and then I pondererd, last week in Frankfurt, what I would have done back home 
in
Houston, stayed put, evacuated, crawled through a hole I'd make onto the roof 
as the water rises?

I was at the museum in Frankfurt to see "Kinetic Painting" 

https://youtu.be/bsI_KDii8po

http://mmk-frankfurt.de/de/nc/ausstellungen/ausstellung-details/article/carolee_schneemann_kinetische_malerei/

a breathtaking retrospecticve of Carolee Schneemann's work;
but then I met up with a friend who lives there and she calmy tells me that 65 
000
people would be evacuated on Sunday, as a heavy World War II british bomb HC 
4000
has been found during construction work in the west end.

This reminded me that Gordana Novakovic, last spring, told me the same, her 
Kilburn district in London
had to be evacuated, when they found a World War II german bomb there. 

that war ended more than 70 years ago, and so I read Alan's poem in this light, 
everything is there;
it has not ended in fact.

Johannes Birringer



[Alan Sondheim schreibt]
Sent: 04 September 2017 03:37


plane depth in the furious light of the leader's bomb

out of the sky falls more sky

http://www.alansondheim.org/pvd14.jpg

http://www.alansondheim.org/plane5.mp3
http://www.alansondheim.org/plane6.mp3
2nd radio, different frequencies, plane interior
you hear what the plane says
only what the plane says, its capability of your hearing

http://www.alansondheim.org/coupling.mp3
improvisation by changing antenna inductance with hands
(on the way to death i will do this music)

http://www.alansondheim.org/pvd15.jpg

we will die in the leader's bomb
these sounds will do no harm
furious the leaders square off in their squares
their squares are full of tyros marching batons,
frayed conductances, unruly radiations

maze and meander obliterated, there are no paths among us
every direction is a path on a plain of scythes and glows

every image is there, michelangelo pulling from the rock
(dead michelangelo pulled from the rock)

nothing moves and everything hurts,  what the plane drops

up from the ground rises more ground

out of the sky falls more sky

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Re: [NetBehaviour] Alan Sondheim's Avataurrors

[Johannes Birringer]

dear all

the place here is hot with wonderful and wide ranging responses to Alan 
Sondheim's show at Furtherfield in London, UK, and his artist talk yesterday 
the Commons in Finsbury Park,
and it is not often perhaps that a prominent active member of the list is in 
town, has a show we can visit and attend, so I wish to thank Alan for his 
wonderful presentation
and presence, alongside his partner Azure Carter; and Mark and Ruth for their 
hospitality at the venue, their curation of the show (and to Alison Ballard for 
showing me the exhibit when it
was about to close).  I met also a fine, attentive and warm audience, and some 
have already posted here, so the ripples are effected. 

well done Alan, you are an inspiration!

regards
Johannes Birringer
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Re: [NetBehaviour] An Interview with Alan Sondheim @furtherfield

[Johannes Birringer]

dear all..
perhaps a good moment and occasion to send a warm welcome to Alan Sondheim, 
coming to London and Furtherfield,
and sharing his amazing works and ideas with us,

with regards
Johannes Birringer



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Marc.garrett 
[marc.garr...@protonmail.com]
Sent: 28 June 2017 10:45
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] An Interview with Alan Sondheim @furtherfield

An Interview with Alan Sondheim

By Michael Szpakowski.

On the occasion of his talk at Furtherfield Commons this coming Wednesday 5 
July, and participation in the Children of Prometheus exhibition at 
Furtherfield Gallery we present an interview conducted by the artist and writer 
Michael Szpakowski in which Sondheim gives a broad overview of his artistic 
formation, practice and philosophy. Alan Sondheim has been ploughing a very 
singular furrow through art, music, writing, philosophy, technology, and much 
else since the late sixties.

http://bit.ly/2s17rtN

Wishing you well

marc

Marc Garrett
Co-Founder, Co-Director and main editor of Furtherfield.
Art, technology and social change, since 1996
http://www.furtherfield.org
Furtherfield Gallery & Commons in the park
Finsbury Park, London N4 2NQ
http://www.furtherfield.org/gallery
Currently writing a PhD at Birkbeck University, London
https://birkbeck.academia.edu/MarcGarrett

Curating, Touring Exhibition
Monsters of the Machine:Frankenstein in the 21st Century
At Laboral, Spain until Sept 2017 http://bit.ly/2eGdpw1
Visiting other countries soon...

Sent with ProtonMail<https://protonmail.com> Secure Email.

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Re: [NetBehaviour] inter - intra - action, and then the Chthulucene

[Johannes Birringer]

dear Annie
oh, please I hope you were aware that my responses were quite playful...
and merely raised, perhaps, some general issues about worries (from the theory 
end) that may or may not affect us too much in our work.
hmm barely have I said this, i note that Mark brings up the "dada-esque" as a 
dismissive term, Alan Sondheim announces his "post-theory" texts. 
Annie I don't know why agents would bring up negative feelings, I for one had 
always wanted to be an agent during the cold war, but a
post=anthropocenic one, in relationality with everything, including the 
biologies of multispecies becoming-with, 
under the understanding that to be an agent at all, you must be a many, and 
"one's" work is unthinkable. 

warm regards
Johannes Birringer


[Annie writes]

Thanks for reacting. First of all I am not trying to get a new hype going, I am 
using an existing term coined by Arjen Mulder in 2012 to think about artistic 
practices that somehow take human behaviour as their anchor point, as their 
aesthetic material. it made me a bit sad that the word agency brings along so 
many negative feelings in a lot of people, because for me it is an empowering 
word, it means I can put things in motion. For years I used silently in myself 
the term behavioural art - silently yes, because for someone trained in biology 
"behavioural" is a stained word. It turned out that for others "agency" is just 
as stained.
I can't find other words and will do with these ... , I was very happy with 
Mulder's theoretical embedding of the concept.

Yes, I was struggling with how to relate the concept of Agency Art and Barad's 
ideas (as far as I could understand them) and I think I found my personal 
solution near the end of my second mail :
"Agency Art is made of interaction, but should be constructed, looked at with 
intra-active spectacles."

"Agency Art is art that makes it clear to the receiver via his or her body what 
is at stake, where opportunities for action lie, and which virtual* behaviours 
he or she can actualize. It demonstrates how choices work, and how to create 
patterns that retain their coherence while you remain part of them and 
transform when you move within their field of action." (* virtual understood as 
potentiality, not as a quality or in a re-presentable way)

As for Distant Feeling(s), Johannes, - I am glad you bring that work up - that 
might be the best example in my work of what I am looking for in Agency Art - 
open to all, a meeting, no hierarchy, a frame (the interface) / the apparatus 
is co-constructing the final performance, some rules, every participant 
responds freely and is responsible. (thanks for making it co-happen)

xxx Annie

ps I was not suggesting that you take any technology or medium as  starting 
point, but I know a lot of work using technology does.
And please forgive me for bothering you all with unfinished thoughts.I thought 
some might be interested.
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Re: [NetBehaviour] inter - intra - action, and then the Chthulucene

[Johannes Birringer]

Dear Annie

you did (before you sent the long post today, which I could not read yet) make 
me think, go to your blog,
and I managed to watch the theory video you had suggested to us. Thanks. You 
even transcribed it, and I sense you have reasons for liking Barad's 
terminology, though Ruth expressed some reservations or cautions.

I suppose, if you wanted more debate,  I could agree with your sense of how we 
are entangled with assemblages, and how things (I glanced at a recent book by 
Jane Bennett, Vibrant Matter:  A Political Ecology of Things, 2010)
emerge, collaboratively, how there are these strange concatenation of stuff, 
and how maybe these are not so distinguishable from performances and what we 
think we do when we intend and carry out. The interconnectedness and the 
machinic I like, and all the recent interest in matter and materialism, very 
nice.

I suppose as with all new theory vernaculars, they on occasion sound sexy (body 
without organs, reterritorialization, folds –  you remember those), and then 
they get repeated and cited, but I think agency has now been
used for a while, and we can let it be, no?  "Agency art" does not convince me, 
as I also did not, as you imply, take "any technology or medium as  starting 
point [of what? .of the agency?].  When you invite me to
participate in Distant Feeling, I did so as a performer, not a secret agent, 
nor as a laptop. yes, we came together, there were relations. There were 
interactions too, and they did not deflect responsibility, as Barad claims. 

As to the agents and such, imagine a new word i now had to learn today from 
reading about Donna Haraway's latest thing:  the Chthulucene !
(I think it's her critique of the hype of the Anthropocene).

And today, on the empyre list, someone from the US suggested we live in the 
"Trump era."  
That was news to me, I think eras take longer to arise and then be defined in 
retrospect after a strong and lasting impact they may have made in some areas 
or corner of the globe. 

with regards
Johannes Birringer

>>>>

On 13/02/17 09:55, Annie Abrahams wrote:
Hi netbehaviourists,

Interaction was the word I used 20 years ago when I talked about my work in 
hypertext. Today I need other words: one word, I already wrote about it in my 
last post, is Agency Art. Another might be Intra-action. This word could be 
usefull to analyze my works of collaborative performance art, where it is not 
really clear what is causing what, where the agency is – not between clearly 
distinguisable entities, but coming from within a whole, where server 
conditions, individual computers, webcam and sound devices, as well as the 
voices and images of the co-performers, local light conditions and family 
situations are all entangled in what Barad would call the phenomenon.
>From https://aabrahams.wordpress.com/2017/02/06/inter-intra-action-eng/

I am not done with these yet. Somewhere soon hopefully something more concrete 
on Agency Art and maybe Bohrian Apparatusses.

All the best
Annie


I like the concept of Agency Art because it doesn’t take any technology or 
medium as it’s starting point, but puts what these make possible in the 
foreground.
https://aabrahams.wordpress.com/2017/01/26/agency-art/

J’aime beaucoup la notion d'Agency Art, parce que elle ne prend pas un medium, 
ou une technologie comme point de départ, mais met en avant ce que celles-ci 
rendent possible.
https://aabrahams.wordpress.com/2017/02/07/inter-intra-action-fr/

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Re: [NetBehaviour] call for contributions: SOUND/THEATRE: SOUND IN PERFORMANCE

[Johannes Birringer]

CALL FOR PAPERS

CRITICAL STAGES/SCENES CRITIQUES
www.critical-stages.org
International Association of Theatre Critics

SOUND/THEATRE: SOUND IN PERFORMANCE
Critical Stages # 16 (December 2017)
Proposal deadline:  Feb 28 2017

Special Issue Editor: Johannes Birringer (DAP-Lab)

Overview
Inspired by recent productions in theatre and dance as well as by scholarly 
attention given to an acoustic/sonic turn in recent years that is closely 
linked to the growth in scenographic and design studies, this special issue of 
Critical Stages (number 16, December 2017) will focus on 
sonification/musicalization of the stage environment, generative sonic 
processes, theatre aurality, music theatre/opera, digital performance and sound 
design.
Looking at a widening arena of composed theatre as well as interactive and 
sonic installation art, we encourage vigorous debate on emerging concepts of 
rhythmic spaces, resonant dramaturgies, audiophonic scenographies, vibrational 
theatres, multisensory atmospheres in performance.
Many creative processes today (enhanced by diverse technologies and 
ever-changing techniques) gather momentum, in which audible, but also tactile, 
haptic and/or visible dynamics, actions, atmospheres and traces are recreated, 
without that theories of affect and perception have yet fully defined or 
explored the contours sound affords for the spectators/listeners, especially if 
interactions unfold within the area of the non-verbal and beyond alignment with 
signs, narrative threads.
We are also interested in hearing from practitioners who work in collaborative 
production on such contouring.
This issue invites a broad range of interdisciplinary perspectives drawn from 
compositional processes and production aesthetics as well as from 
investigations into the perception of the interplay of analogue/digital, 
instrumental/vocal, and musical or noise-sound, or various manifestations of 
sound design and sonic scenographies.

KEY THEMES
The issue will approach the role of sound in performance/performance of sound 
with the following general headings in mind:
• Practices
• Sonic Design/Sonic Scenography
• Vocabularies
• Experiences
• Acoustic Ecologies
• Aesthetics and Politics
Length of papers: maximum 4000 words
Proposals: 28 February 2017
First drafts: 1 August 2017
Publication date: December 2017

All proposals, submissions and enquiries should be sent to:
johannes.birrin...@brunel.ac.uk
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Re: [NetBehaviour] Research seminar at Brunel University London

[Johannes Birringer]

i n v i t a t i o n

Performance Research Seminar:
Wednesday 7 December 2016,  4:00 PM - 5:30 PM
Drama Studio, Gaskell Bldg, Brunel University London, Cleveland Rd


Fabrizio Manco  (Roehampton University):
 
“Ear Bodies:  Acoustic Ecologies in Site-Contingent Performance”



This presentation, based on Manco’s recently completed PhD thesis, delves into 
a philosophy and a performance practice of the ear. It is a theoretical 
reflection as well as a discussion on his hearing/listening and performance 
practice, research and workshops. Here is where sound and the body move and 
perform by relating to the constantly changing acoustic environment. It is an 
enquiry into and a corporeal experience of sound as the ear body, a bodied 
experience of sound and listening where the whole body becomes an ear. 

This is explored through his experience of chronic tinnitus, a criticism of 
over-determined technology and through a discussion on the trance-dance therapy 
of Tarantism. With a focus on environmental awareness, the research encompasses 
an ecophenomenological investigation in Manco’s theory of site contingency, 
where he connects his ecophenomenological approach to contingency – contingency 
intended as a necessary experience of the world – and to acoustic ecology. 

Fabrizio Manco is an artist, scholar and visiting lecturer at the University of 
Portsmouth and University of Roehampton. He obtained his PhD from the 
University of Roehampton, entitled Ear Bodies: Acoustic Folds and Ecologies in 
Site-specific Performance.  His research applies acoustic ecology, drawing and 
ecophenomenology to what he calls site contingent performance, exploring and 
engaging 'bodiment', perception and experience of the auditory in 
choreographic, kinaesthetic, spatial and visual forms.  Past projects include 
[STATES OF]TRANCEformation (2005) on Tarantism at  Chisenhale Dance Space 
and Ringing Forest (2005), a sci-art project on tinnitus at  the Ear 
Institute (Wellcome Trust award), Building:Sound (2010) a collaboration with  
Finer (AHRC Beyond Text initiative).

++

Research Seminar Theme:  Precarity and the Politics of Art:  Performative and 
Critical Empowerment after Democracy
This Research Seminar Series aims to probe troubling interpretations of the 
increasing impact of unrestrained capitalism in the Western hemisphere and its 
impact on all social-economic, cultural, creative, and educational sectors in 
the developed world.  How sustainable is democracy in the face of political 
unrest caused by precarity, migration, refugees and the resulting labour and 
welfare issues?

Seminar Coordinator: Johannes Birringer
Contact: +44 (0)1895 267 343
All Research Seminars are co-produced with dance-tech live TV and streamed 
online as well as archived.
Check our whole series at:  
http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html

+
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Re: [NetBehaviour] Sisyphus of the Ear - film concert

[Johannes Birringer]

The film/percussion concert, "Sisyphus of the Ear", is performed in a preview 
this Wednesday, Oct. 26, during the Arts@Artaud showcase of music, poetry, 
theatre and film at Brunel's Artaud Performance Center, 7:15 pm.

Below subsequent premiere dates in Russia:
October 30, 2016  Ufa / Bashkir (Republic of Bashkortostan, Russia)  // 
 November 2, 2016Moscow  (Russia)

'Sisyphus of the Ear'
Percussion, electronics and film



Paulo C. Chagas (music)
Johannes Birringer (film)
Performed by Thierry Miroglio

The music of percussion instruments creates a powerful scenario of an 
imaginative journey of inner concussions and tremors. The instrumentalist is 
renowned soloist Thierry Miroglio.
A near-silent film  - with an electronically augmented soundtrack of breath, 
moving stones, and speech sounds, deconstructed and distorted from the poem 
'Zang Tumb Tumb' by the futurist artist Marinetti - is driven invisibly by the 
musician's gestures which sustain and channel this audio-visual composition. 
This performance represents the second collaboration between composer Paulo C.  
Chagas and media choreographer Johannes Birringer. Their first digital 
oratorio, Corpo, Carne e Espírito, had its world premiere at the Klauss Vianna 
Theatre, Belo Horizonte, Brasil during the  FIT-BH Festival 2008.

+  +  +
Paulo C. Chagas is Professor of Composition at the University of California, 
Riverside. A very versatile composer, Chagas has written over 140 works for 
orchestra, chamber music, electroacoustic music, audiovisual and multimedia 
compositions. His music unfolds a pluralistic aesthetic, using the most diverse 
musical materials from different cultures, acoustic and digital media, dance, 
video, and audiovisual installations. Chagas is also a prolific author of 
articles on musical semiotics, electroacoustic and digital music. His most 
recent book Unsayable Music (Leuven University Press, 2014) presents 
theoretical, critical and analytical reflections on contemporary music 
creativity. The six essays of the book approach music from different 
perspectives such as philosophy, sociology, cybernetics, musical semiotics, 
media, and critical studies.

Websites: http://paulocchagas.com   //  
http://www.music.ucr.edu/people/faculty/chagas/index.html


Johannes Birringer is an independent choreographer/media artist. He lives in 
Houston and London, and co-directs the Design and Performance Lab [DAP] at 
Brunel University London, where he is a professor of performance technologies 
(http://www.brunel.ac.uk/dap<http://www.brunel.ac.uk/dap>). Together with 
fashion designer Michèle Danjoux he has created immersive dance works featuring 
electro-acoustic and sensortized wearables. DAP-Lab's "Suna no Onna" premiered 
in London in 2007; the mixed reality installation "UKIYO [Moveable Worlds]" 
premiered in 2009-10 before touring in Eastern Europe in 2010. A new dance 
opera, "for the time being/Victory over the Sun," premiered at Watermans 
International Digital Arts Festival in 2012; an expanded version was shown at 
Sadler's Wells (2014). The dance film "Lung Pulmo Pneumo" was exhibited at 
Cinedans Festival, Amsterdam, in 2014. He collaborated on the European METABODY 
project, along with 12 other European organizations, and 'Metakimospheres', a 
series of immersive installations, began touring in 2015-16. He is also 
founding director of Interaktionslabor, an annual media lab housed in an 
abandoned coalmine in the Saarland (http://interaktionslabor.de).


Thierry Miroglio is internationally renowned as a soloist and has been invited 
to perform in forty countries, at numerous venues and many prestigious 
festivals. Currently working with a solo repertoire of more than 400 works, 
Miroglio has collaborated with many distinguished composers including John 
Cage, Luciano Berio, Kaija Saariaho, Jean-Claude Risset, Marlos Nobre, Edison 
Denisov, Franco Donatoni, Unsuk Chin, Daniel Teruggi, Zhang Xiaofu, Misato 
Mochizuki, Ivan Fedele, Manfred Stahnke, Marco Stroppa, Gérard Grisey, Philippe 
Hersant, Ichiro Nodaira, Philippe Manoury, Betsy Jolas and Hugues Dufourt, 
often giving premières of works of which he is the dedicatee. With numerous 
productions for international radio and TV stations and many soloist 
recordings, he enjoys exploring the boundaries of modern music, and has given 
performances which link music, the visual arts, electronica, dance and theatre 
into a homogenous whole. Thierry Miroglio studied percussion with Jean-Pierre 
Drouet and Sylvio Gualda at the Conservatoire National de Versailles, where he 
was awarded first prize, and later studied Musical Acoustics with Iannis 
Xenakis at the University of the Sorbonne.  
http://www.naxos.com/person/Thierry_Miroglio/250980.htm



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Re: [NetBehaviour] i am the descendent of heiner müller / Sisyphus of the Ear

[Johannes Birringer]

hallo descendents and ancestors, 

Alan's reverse reverberations are a continuing source of inspiration, thanks 
for sharing with us here on netbehavior.  Your images were very intriguing as 
you mix the surreal twisted avatars
with instruments and playing hands fragments. Your text is puzzling and 
wonderful.

 We talked (off list) about the oulipian "Machine" composition I stumbled 
across this summer (a radio play by Georges Perec that  resembles a machinic 
destructuring or disintegration of a short poem by Goethe (ancestor of 
Schopenhauer). and you knew the OULIPO gang and we exchanged some brief 
memos.

Now you evoke for me the familiar opening of "Hamletmachine" (by Heiner 
Müller), another poetrymachine.

[FAMILY ALBUM]
  I was Hamlet.
  I stood on the beach and spoke withe waves BLA BLA,
  behind me the ruins of Europe...


I would like hear more about the sound side; and whether your poetry is a part 
of a (specific) visual or sonic development (ongoing series? well i am sure in 
the longer picture all your music and writing and visual work of course is). 
Your "orchestral" pieces fascinate me, the ones where i hear many overlapping 
instruments. 

Today at our Music School we had a gust artist, Kathy Hinde, show a very very 
beautifiul array of works, audiovisual installations and what she calls 
installations-as-instruments.
Her talk was about her music and her visual work ("Merging the Visual and the 
Sonic").  Many here on this list work in this way, and i wonder whether
someone has come across Hinde's installations or whether the notion of 
migration (she is fond of birds and watches their flight patterns, and makes 
installations with them) of sound into
(out of)instruments and to-fro visual interaction or co-composition could find 
more discussion here. 

One piece she showed was "Tipping Point" - an installation created using a 
delicate combination of glass, water, audio feedback and lighting; suspended 
lass vessels filled with water, dripping (?), are balanced by mechanics and 
bespoke computer software, which listens to microphone feedback produced by the 
acoustic qualities of the vessels themselves in the room.  
[https://vimeo.com/113274669#at=0]In her talk she referenced Alvin Lucier's 
" I'm sitting in a room," while I was more interested in watching audience tip 
toe or walking through the "instrument." her documentarys showed pristine 
installation but no people walking or pacing around, stumbling into the breath 
of water.

This moving through the instrument interests me and is part of what I am 
working on, in my current percussion-film piece "Sisyphus of the Ear"  (not 
performed yet). The film is about an older man stumbling-climbing up a hill he 
hears rumbling in the left ear.


Kathy Hinde ended by referring to collaboration with (film) artist Solveig 
Settemsdal.  This new piece is currently performed on tour:
"Singularity" : a fluid form of sculptural drawing in the video work, done 
through suspending white ink in cubes of gelatin; the concept of an expanding 
point is echoed in Hinde’s musical composition. Sounds evolve out of silence 
into clustered layers, drawing attention to the microscopic detail of the 
expanding abstract forms.

There's  a short intro video available, with sound and the beautiful visuals, 
then we hear the two women artists talk about the work:  
https://www.youtube.com/watch?v=21DsmZfmT5c

with regards to you all,

Johannes Birringer
dap-lab


___
From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Sunday, October 02, 2016 11:03 PM

i am the descendent of heiner muller

http://www.alansondheim.org/heinermuller2.png
http://www.alansondheim.org/heinermuller6.mp4

the schoepenhaur the gertrude edvard of the the of i of am the
the t.s. chatterton i kristeva the schoepenhaur of parnes
descendent john jabes i am am of thomas austen compatriot not
the melia of ancestor i schoepenhaur the celan not descendent i
am am of of am the am the ancestor am i celan the not i i am of
compatriot shakespeare ancestor am lankowski the of jane am am i
ludwig salmonica ancestor ancestor compatriot paul philippe
william of descendent shakespeare descendent am the descendent
chatterton eggars ancestor the i not the of kristeva milton am
heiner descendent the of the the emily jabes shakespeare i not
milton i the i am the balman descendent montrose lautreamont am
lautreamont the the compatriot ancestor the the ancestor
chatterton the julia jane the i montrose not i ancestor am emily
of the descendent melia dickenson kristeva of not of chatterton
of ancestor not of stein of descendent descendent ludwig am of
descendent the of am i i i descendent am of i not salmonica
descendent descendent thomas i kristeva of salmonica the of
wittgenst

Re: [NetBehaviour] What the hell with Snapchat?? Help!

[Johannes Birringer]

the clunky email discussion lists do not always work as well (as this 
spontaneous & wild one here)
when they are moderated and controlled and when there is a fictive membership 
(hundreds, thousands?)
that do not engage in debates so that the extended discussion, as Alan seems to 
think it exists in empyre,.
is matter of a dozen guests a month who have been gathered into a forum - this 
can be very good and very provocative, indeed,
but I also have seen less and less listening,  Alan, than you suggest; and a 
lot of posters. 

putting human experience out of reach of machines?  tell me.


best wishes
Johannes Birringer



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Tuesday, August 30, 2016 1:55 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] What the hell with Snapchat?? Help!

email lists, which still seem on the wane, seem to be the only online
forum for extended discussion and a kind of 'care' in reading that's
almost impossible elsewhere. that's why empyre, for example, works so
well. there's a kind of reading-voice and interiority that allows for
thoughtfulness, listening...

- Alan

On Tue, 30 Aug 2016, ruth catlow wrote:

> I now work on the assumption that anything that i do using social media is
> allowing profit-driven corporations to reach into my person, harvest parts of
> my subjective experience even I didn't know about, for their own profit, and
> at the risk of alienating my current selves from my future selves.
>
> long live clunky email discussion lists : )
>
> putting (a little part of) human experience out of the reach of the machines
> - ha hah!
>
>
>
> On 30/08/16 00:16, Alan Sondheim wrote:
>>
>> Agree with you but this seems particularly intrusive; basically, it wants
>> to take control of one's life -
>>
>> On Mon, 29 Aug 2016, John Hopkins wrote:
>>
>>>
>>>> Help - am I missing something? This is what Snapchat can access
>>>> on my PC if I install it - it seems like a serious invasion of
>>>> privacy. Any comments greatly appreciated - Alan
>>>
>>> at this point, anything on social media is going to to this and more --
>>> no need to be surprised, eh, Alan? more data = more $$ -- it's nauseating
>>> imho.
>>>
>>> is there any 'net privacy available anymore? doesn't seem like it...
>>>
>>> jh
>>>
>>>
>>> --
>>> ++
>>> Dr. John Hopkins, BSc, MFA, PhD
>>> grounded on a granite batholith
>>> twitter: @neoscenes
>>> http://tech-no-mad.net/blog/
>>> ++
>>> ___
>>> NetBehaviour mailing list
>>> NetBehaviour@netbehaviour.org
>>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>>>
>>>
>>
>> ==
>> email archive http://sondheim.rupamsunyata.org/
>> web http://www.alansondheim.org / cell 718-813-3285
>> music: http://www.espdisk.com/alansondheim/
>> current text http://www.alansondheim.org/uc.txt
>> ==
>> ___
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>> NetBehaviour@netbehaviour.org
>> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
> --
> Co-founder Co-director
> Furtherfield
>
> www.furtherfield.org
>
> +44 (0) 77370 02879
>
> Unicorn hunter
>
> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i
>
> Furtherfield is the UK's leading organisation for art shows, labs, & debates
> around critical questions in art and technology, since 1997
>
> Furtherfield is a Not-for-Profit Company limited by Guarantee
> registered in England and Wales under the Company No.7005205.
> Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally
> Ho Corner, London N12 0EH.
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>

==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/uc.txt
==
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Re: [NetBehaviour] stone bridges, QRRR and counter-Munich

[Johannes Birringer]

I'm afraid i feel more like a coward
and if everyone who goes on, only for surviving, is a hero
then the word, too, is utterly meaningless to me. far from heroic,
I feel demoralized, small, degraded, maybe like many others; and if we are 
privileged
enough, in some countries or towns or villages, to feel relatively safe,
to carry on, and thus, as some friends told me tonight after we met for
soccer practice, to behave "as if nothing happened so not to let terror
control our life and civil liberties,"  then what? 
do we carry on to make art, make another piece? go to a workshop, attend a 
symposium, 
read a good review (I just read one about an art work called "Those that are 
near. Those that are far"
by Walid Raad), carry on? 

I guess I tried to precisely point to that hateful liturgy in the poem I
quoted the other day.

Johannes


From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Tuesday, July 26, 2016 8:52 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] stone bridges, QRRR and counter-Munich

Yes! I agree, among everyone here.

On Tue, 26 Jul 2016, Ana Vald?s wrote:

> Dear Alan and dear Johannes and dear Ruth and Marc and so many others dear
> to me. Dear because we share a feeling of despair and frustration but we are
> stubborn enough to believe in beauty, in sharing, in creating...In the
> middle of the horrors of the Holocaust camps people created, in Rwanda poets
> found time and places to write, in Chile Victor Jara sang at the Stadium
> before they cut his hands. I truly belive as Albert Camus wrote once we are
> heroes. Not because we make heroic deeds but only for surviving and for
> coping with the small chores of everydays life.
> Ana
>
> On Tue, Jul 26, 2016 at 4:38 PM, Alan Sondheim <sondh...@panix.com> wrote:
>
>
>   We go on because otherwise one's giving into fear, I'd say
>   "just" giving into fear, and statistically and otherwise one is
>   almost entirely safe, not however in Turkey or other countries
>   where the singularity of the iron fist overshadows all. Turkey
>   is turning into another hell; I don't think (and I'm speaking
>   ignorantly) France for example is. The U.S. remains to be seen
>   of course. But there are other natural disasters, and disasters
>   the result of negligence or stupidity as well. And we can't
>   forget that there are other moments of exaltation; otherwise one
>   is living in a constant state of anger, anguish, depression -
>   and that is unbelievably counter-productive; that's happening,
>   it seems (according to the news) to be happening everywhere in
>   the United States now, fury from the left and right
>   simultaneously, and I fear fury as much as anything; there has
>   to be another way. So the question is NOW - what is to be done?
>   Should we accelerate the violence and rhetoric in a kind of
>   incandescent accelerationism, or should we learn, even at this
>   late stage, to listen to one another? (I admire the work of so
>   many on this list who believe in, open up to, the commons where
>   listening and activism, art and non-art, prevail.)
>
>   - Alan
>
>
>   On Tue, 26 Jul 2016, Johannes Birringer wrote:
>
>
> apologies. yes, it was loaded, and terror is a word
> I now dread to hear, day after day, and day after
> day, and I am sorry i linked something that you had
> sent us, Alan (not about the historical Johnstown
> incident, but about your poetic media work with the
> QRRR and the bridge), with a few lines that I had
> jotted down from a a Munich poet who recently died.
> I was trying to ask the question how we go on, what
> warns us to be fearful or to resist fearfulness for
> our lives (condemning, perhaps, others or seeking
> for culprits to blame), to believe in the kind of
> democracy we cling to or hope to live in if we are
> fortunate, and what do you do when the tide quickly
> or gradually turns. I write to friends in Turkey
> yesterday, who tell me artists and academics have
> now been forbidden to travel. Just imagine you are
> told, sorry, you can't lave the country. You climb
> on a train, and watch out to spot the aggressor who
> may have a backpack on their shoulders, with a bomb.
> You stand in line to a rock concert, and the person
> near you blows himself up. You go to a fastfood
>  

Re: [NetBehaviour] stone bridges, QRRR and counter-Munich

[Johannes Birringer]

apologies. yes, it was loaded, and terror is a word I now dread to hear, day 
after day, and day after day,
 and I am sorry i linked something that you had sent us, Alan (not about the 
historical Johnstown incident,
but about your poetic media work with the QRRR and the bridge), with a few 
lines that I had jotted down from a 
a Munich poet who recently died. I was trying to ask the question how we go on, 
what warns us
to be fearful or to resist fearfulness for our lives (condemning, perhaps, 
others or seeking for
culprits to blame), to believe in the kind of democracy we cling to or hope to 
live in if we are
fortunate, and what do you do when the tide quickly or gradually turns. I write 
to friends in Turkey
yesterday, who tell me artists and academics have now been forbidden to travel. 
Just imagine
you are told, sorry, you can't lave the country.  You climb on a train, and 
watch out to spot the
aggressor who may have a backpack on their shoulders, with a bomb. You stand in 
line to a
rock concert, and the person near you blows himself up. You go to a fastfood 
restaurant, some
one pulls a gun and starts shooting. You dance in a disco, someone starts 
killing people on the
dance floor. You walk on a promenade, somone drives over you in a huge truck.
You attend a peaceful pro democracy rally, as folks did in Kabul, and then 
there is an explosion.
I was asking for a counter narrative.

regards
Johannes Birringer






From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Monday, July 25, 2016 1:58 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] stone bridges, QRRR and counter-Munich

"Terror" is already a loaded term and it effaces sometimes what one might
want to reveal. We just have different attitudes here. And poverty wasn't
the issue in Johnstown at the time. I apologize again, however; the
discussion is too loaded for me as well.

On Sun, 24 Jul 2016, Ana Vald?s wrote:

>
> Dear Alan I think life is inclusive and terror in Munich and what happened
> in Johnstown are not exclusive but includes each other. Poverty and to feel
> different are the mothers of the terror as well.
> Ana
>
>
> Den 24 jul 2016 21:41 skrev "Alan Sondheim" <sondh...@panix.com>:
>
>   First -"Lone wolf" - from the WSJ - "The Phrase Lone Wolf Goes
>   Back Centuries A phrase used to describe the culprit in the
>   Sydney siege stretches centuries back to Native American chiefs,
>   Kipling and Crane."
>
>   I've heard it all my life.
>
>   Second - The bridge and what happened at Johnstown is quite
>   different - two books are David J. Beale, Through the Johnstown
>   Flood, and David McCullough, The Johnstown Flood. As I
>   mentioned, I think, a minimum of 2209 people died from drowning,
>   the physical force of buildings bearing down upon them, and
>   fire. The bridge was a retaining wall for debris, buildings,
>   fire, people dead and alive, and animals dead and alive.
>
>   It seems problematic to me - having been up and down in
>   Johnstown, seeing the poverty there now, and so forth - to
>   immediately have this slip into a dialog about the Olympics and
>   the usual discussions on terror. Johnstown wasn't this; it was
>   also very much about class differences, etc., but it was also
>   about heroic efforts to save thousands and thousands of lives
>   (which involved everything from creating hospitals from scratch
>   to building railroad tracks in a very few days, etc.). It's not
>   that I don't think the other issues and dialogs are important -
>   they're absolutely critical - but the issues are not the same
>   between the two.
>
>   When I was in Johnstown with Azure, we walked to the damsite
>   (where the dam gave way), where the Little Conemaugh River still
>   flows - and for us and many people there, the issue is the vile
>   pollution from mine runoff - which kills but slower - that's
>   evident everywhere; the River ran bright orange, nothing lived
>   in it at all, and it's part of the watershed.
>
>   I apologize if I'm overstepping my bounds here, in the
>   discussion; I just feel odd about the slippage into a discourse
>   which seemed to me to efface what happened 5/31/1889 in
>   Johnstown, what's happening there now as well.
>
>   Alan
>
>   On Sun, 24 Jul 2016, Johannes Birringer wrote:
>
>
> Dear Ana
>
> not wanting to engage in ideological fracturings
> here, to be honest; you must be refering to the
> passage that my fr

Re: [NetBehaviour] stone bridges, QRRR and counter-Munich

[Johannes Birringer]

Dear Ana

not wanting to engage in ideological fracturings here, to be honest; 
you must be refering to the passage that my friend from Houston had sent me in 
the reference to the Olympic Games
of 1972, he spotted a sinister irony in the choice of the site;  you will 
recall that the militant group 'Black September' , a palestinian organization, 
took responsibility for
the hostage taking, there is little disputing that, and i had no intention of 
causing harm with labeling. 

I was more interested in the perversion of term lone wolf (which was a literary 
term i think, from Hesse's Steppenwolf). 
My friend from Texas also pondered the scene he found on the internet captured 
during the Munich shootings last Friday:
"An extraordinary altercation took place between some individuals filming the 
Munich killer as he wandered around a roof car park which was empty.
 A fair amount of invective was directed from the group doing the filming at 
the killer below. His response to this was to repeat, 
"I am German." A strange response. There is perhaps no easy answer to the 
question, 'What did he mean?'"

maybe you have an answer.
regards
jb



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Ana Valdés 
[agora...@gmail.com]
Sent: Sunday, July 24, 2016 9:11 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] stone bridges, QRRR and counter-Munich

Johannes I am always moved by your words. You have such a touching way to paint 
with words:)
When you use the words "Palestinian terrorists" I react. Because I has been in 
Palestine several times and the only terror I met was that exerced by the 
Israeli soldiers at the checkpoints making us run from their rubber bullets and 
from their gas grenades.
And many of the old Israeli politicians, as Menachem Begin, Sharon and others 
were called terrorists by the English when they bombed the King David Hotel 
killing many civilians and when they killed the envoy from the United Nations 
Folke Bernadotte.
You are born in a country who exerced terror over Europe and Africa killing 
civilians and executing Jews, homosexuals and dissidents. The English exerced 
terror over the Boers in South Africa and were the first creating concentration 
camps.
The French called the time between 1791 and 1794 the Regime of the Terror when 
not only the French aristocracy but also the political dissidents paid with 
their life their dissent.
My point is terror is such an ambiguous word and I think no one should label 
others with it since terror seems to be inherent to all people and to all 
cultures.

Ana

On Sun, Jul 24, 2016 at 1:56 PM, Johannes Birringer 
<johannes.birrin...@brunel.ac.uk<mailto:johannes.birrin...@brunel.ac.uk>> wrote:


Receiving a note from Alan Sondheim, on the road, he mentions a stone bridge 
where he
created a piece "changing the bridge lighting to produce,
sequentially, and on different lighting levels/apparatus, SOS, QRRR, and
MAYDAY (QRRR is an old radio code for warning/danger/disaster); this
alternative with flame-light images on the bridge side (invisible from the
trains that run above it) representing burning crushed buildings and
people."

i am not sure why I think of the bridge, but a friend from Texas, after I told 
him
about the chaos in Europe, the shootings, the terror, the military putsches, 
purges,
and the new security measures, the increasingly heated debates on refugees
and migration, Islamism, fascism, and violence, well, he noted that the 
shootings
in Munich took place on the site of the former Olympic Park.

The Olympia shopping centre is a two-tiered glass-covered mall that was built 
on the site of the 1972 Olympics.
The Munich Games were overshadowed by a terrorist attack in which 11 Israeli 
sportsmen and a German policeman were
killed after being taken hostage by Palestinian terrorists.

Now we hear that the shooting last Friday was by a young "lone wolf" (and what 
exactly do they mean by lone wolf).



A Munich-based poet, the late Paul Wühr, once wrote about Die Wirklichkeit 
unter Beschuss (reality under shooting attack)

alles ist doch in Ordnung /
es geht weiter /
ich glaube /
ich glaube es geht weiter /
ja des glaub ich schon.


(translated)

everything's all right, no? /
life goes on /
I believe /
I believe life goes on /
yeah, I believe so /



that short QRRR, I tend to think, was meant as Wühr's satirical comment on 
"weltfromme Bekenntnisformeln" ,  pious liturgies that we tell ourselves, as we 
must repeat them and murmur them in the face of the all the constant flare ups.



Johannes Birringer
c/o Interaktionslabor Göttelborn

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Re: [NetBehaviour] stone bridges, QRRR and counter-Munich

[Johannes Birringer]

Receiving a note from Alan Sondheim, on the road, he mentions a stone bridge 
where he 
created a piece "changing the bridge lighting to produce, 
sequentially, and on different lighting levels/apparatus, SOS, QRRR, and 
MAYDAY (QRRR is an old radio code for warning/danger/disaster); this 
alternative with flame-light images on the bridge side (invisible from the 
trains that run above it) representing burning crushed buildings and 
people."

i am not sure why I think of the bridge, but a friend from Texas, after I told 
him
about the chaos in Europe, the shootings, the terror, the military putsches, 
purges,
and the new security measures, the increasingly heated debates on refugees
and migration, Islamism, fascism, and violence, well, he noted that the 
shootings
in Munich took place on the site of the former Olympic Park.

The Olympia shopping centre is a two-tiered glass-covered mall that was built 
on the site of the 1972 Olympics. 
The Munich Games were overshadowed by a terrorist attack in which 11 Israeli 
sportsmen and a German policeman were 
killed after being taken hostage by Palestinian terrorists.

Now we hear that the shooting last Friday was by a young "lone wolf" (and what 
exactly do they mean by lone wolf).



A Munich-based poet, the late Paul Wühr, once wrote about Die Wirklichkeit 
unter Beschuss (reality under shooting attack)

alles ist doch in Ordnung /
es geht weiter /
ich glaube /
ich glaube es geht weiter /
ja des glaub ich schon.


(translated)

everything's all right, no? /
life goes on /
I believe /
I believe life goes on /
yeah, I believe so /



that short QRRR, I tend to think, was meant as Wühr's satirical comment on 
"weltfromme Bekenntnisformeln" ,  pious liturgies that we tell ourselves, as we 
must repeat them and murmur them in the face of the all the constant flare ups.



Johannes Birringer 
c/o Interaktionslabor Göttelborn

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Re: [NetBehaviour] To Turbulence

[Johannes Birringer]

This tribute to Turbulence, so eloquently written by our friends Ruth and Marc,
needs to be wholeheartedly underwritten -. I found it very moving. 

thank you

Johannes Birringer


Hi Helen and Jo,

We’re writing this while on holiday with a dodgy Internet connection, and too 
much to do which has nothing to do with being on holiday.

However, on hearing that Turbulence is winding down, we had to respond and 
rightly, announce with others how important and brilliant your work has been 
over the last 20 years. And, because we share similar values alongside a 
dynamic history regarding net art, and other art projects engaged in using 
digital networks and technology.

Turbulence is great for so many reasons:

-You have built through the years a fantastic database and resource of 
newly commissioned work.

-You didn’t conform to the (tediously easy) neoliberal defaults and its 
trappings.

-You supported artists not based on their privilege and status, but focused 
on the needs of the art itself, and the context of the practice.

-You helped artists new to various technologies to create & experiment with 
new projects, on their own terms.

-You expressed a genuine interest in the artists and their work, and the 
larger community. Meaning the artists were not just data, or fodder.

-You made an effort to understand the artworks and the contexts behind them.

-You allowed digital art movements to develop in their own ways and 
actively supported them. Not because it was trendy, but because it was 
excellent and interesting in its own right. That takes guts.

-You’ve been open to a wider international community beyond limitations of 
race, gender, religion, and especially the ogres of nationalism and 
centralization.

Your decision to end Turbulence of course represents something very significant 
to many people allover the world.

To us, this news gives rise to an extra feeling of unhappiness as a long-time 
ally and friend leaves us to fend alone. It has been a real pleasure having you 
out there. Turbulence was and still is, an org that has a heart and soul. You 
offered us integrity and generosity.

And, even though it is an end of an era as many are saying, it is the start of 
others (hopefully) giving you something back, by including Turbulence in their 
histories and much much more...

Wishing you well.

Marc and Ruth from Furtherfield.



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Re: [NetBehaviour] email about "prevent"

[Johannes Birringer]

dear all
never heard of it.  when doing some fact checking, 'prevent' seems to have been 
a government counter terrorist initiative,
for the past ten years, not entirely successful I read. But in the arts and 
educational arenas where I work, it's not a factor nor has anyone 
ever approached me to do any such reporting on any 'signs of radicalization' ; 
our duties as tutors are educational and pastoral in the sense of caring for the
well being and creative and intellectual growth of our students (and an 
anti-muslim policy, that you discern, Michael,
would be completely unsupportable and unsupported at my school).  respectfully, 
Johannes


From: Alan Sondheim 
To: NetBehaviour for networked distributed creativity 

Sent: Saturday, April 30, 2016 5:03 PM
Subject: Re: [NetBehaviour] email about "prevent"

from what I gather, I agree; can you say more, for the non-British on the
list, exactly what Prevent is? racial profiling in schools?

thanks, Alan

On Sat, 30 Apr 2016, ruth catlow wrote:

> Hi Michael,
> I appreciate your response to this process, and for highlighting so clearly
> what is at stake. I no longer hold a permanent post in a Higher Education
> institution but have been shocked to read in the press, and to hear from
> those of my peers who do, about increasing pressure to monitor and report
> (and so impinge on the freedom of expression of) learners. This is part of a
> wider threat (along with the tactics of the gutter press) to the development
> of the critical and discursive faculties in the UK public at large.
>
> Sigh!
> Ruth
>
> On 29/04/16 20:27, Michael Szpakowski wrote:
>  Hi all
>  the college where I teach has enthusiastically taken to heart
>  the government's Islamophobic "prevent" strategy. Last week they
>  made it compulsory for every further education student to attend
>  ( and I am not making this up) a puppet show about "prevent" and
>  put pressure on HE lecturers to pressure their students to
>  attend.
>
>  In response I sent I sent a carefully worded e mail to our
>  management and copied in the UCU  ( the lecturers union)
>  membership and my students too, whom I regard, perhaps
>  unfashionably, as being capable of making their own minds up
>  about things.
>  I have now been summoned to a meeting with HR and a senior
>  manager.
>  I am chronicling events on Flickr. I would really appreciate
>  support - at the moment simply in terms of favouriting and
>  commenting upon the posts but it could well come to some sort of
>  campaign if they attempt to discipline me. Here's my original
>  email:
>
>  https://www.flickr.com/photos/szpako/26601297832/
>
>
> and here's the latest exchange:
>
> https://www.flickr.com/photos/szpako/26716002535/
>
> please feel free to circulate this
>
> many thanks
> michael
>
>
>
>
> ___
> NetBehaviour mailing list
> NetBehaviour@netbehaviour.org
> http://www.netbehaviour.org/mailman/listinfo/netbehaviour
>
>
>
> --
> Co-founder Co-director
> Furtherfield
>
> www.furtherfield.org
>
> +44 (0) 77370 02879
> Meeting calendar - http://bit.ly/1NgeLce
> Bitcoin Address 197BBaXa6M9PtHhhNTQkuHh1pVJA8RrJ2i
>
> Furtherfield is the UK's leading organisation for art shows, labs, & debates
> around critical questions in art and technology, since 1997
>
> Furtherfield is a Not-for-Profit Company limited by Guarantee
> registered in England and Wales under the Company No.7005205.
> Registered business address: Ballard Newman, Apex House, Grand Arcade, Tally
> Ho Corner, London N12 0EH.

>
>

==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org  / cell 
718-813-3285
music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/tx.txt

==

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Re: [NetBehaviour] Fleeting

[Johannes Birringer]

what a relief on another cold day to read you here on
this fantastical list. I was worried about the promethean
posturing the other day, as i am about offences against
the natural order. but i read something this morning
(by Annie Dillard, 'Total Eclipse'), and share with you -

She drives to witness an eclipse.  She captures the shadow-cone of the moon 
speeding towards her.

“It rolled at you across the land at 1,800 miles an hour, hauling darkness 
behind it like plague …
This was the universe about which we have read so much and never before felt: 
the universe as a 
clock-work of loose spheres flung at stupefying, unauthorized speeds.”

How to articulate the kind of inconceivable power that can obliterate the sun; 
“The universe was not made in jest but in solemn, incomprehensible earnest. 
By a power that is unfathomably secret, and holy, and fleet.” 


i like that fleet bit at the end

Johannes




 [Rob Myers schreibt]

I'd hope my use of sound effects would indicate a lack of entire seriousness.

But to run with this idea for a minute...

The initial environmental cost of shipping robots offworld to move the mining 
and refining there would very quickly become a net environmental and political 
gain. Strip mining, resource wars, refining within the Earth's atmosphere would 
all be reduced.

Transitioning to higher technology economies reduces fertility rates, so this 
would reduce new bodies over time.

Maintaining industrial society (with a reduced carbon footprint!) would 
maintain more existing bodies over time than simply waiting to drown or starve. 
This includes netbehaviourists... And turning the profits into UBI means that 
we aren't just treated as surplus population to be mourned properly when it's 
the economy rather than the environment that no longer supports us.

So while (as with everything we are discussing) I am not entirely convinced by 
asteroid mining, I'm also not entirely convinced by initial rejections of it 
for environmental or philosophical reasons. it's not a simple environmental 
nightmare or offence against the natural order. The latter would be promethean 
anyway. ;-)

Art can have an impact here. The popular imagination can be seized by or turned 
against these possibilities

On Wed, 27 Apr 2016, at 12:05 AM, Annie Abrahams wrote:
a nightmare
you can't be serious Rob

On Wed, Apr 27, 2016 at 7:21 AM, John Hopkins 
> wrote:
On 26/Apr/16 21:39, Rob Myers wrote:
"One solitary asteroid might be worth trillions of dollars in platinum
and other metals. Exploiting these resources could lead to a global boom
in wealth, which could raise living standards worldwide and potentially
benefit all of humanity."
Which means more effing bodies on the planet which means a dirtier nest. You 
know what goes into prepping the machines to get to an asteroid? You know what 
energy goes into raw ore refining? I presume this is a joke? or?
Might as well start reading vintage L. Ron Hubbard...




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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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Re: [NetBehaviour] not an accelerationist / not into promethean amplifiers

[Johannes Birringer]

I like Alan's question.

(and stopped reading after the promo bit at the beginning)
>>
contemporary Accelerationism has both a philosophical and a political form with 
the latter only weakly related to the former. What Epistemic (philosophical) 
and Left (political) Accelerationism have in common is an attitude of 
"prometheanism", of amplifying our capabilities, of rationally overcoming 
intellectual and material limits. Of hacking the systems of philosophical and 
political thought to find the exploits that will allow us to increase our 
knowledge of them, our control of them, our reach through them
>>.


From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of dave miller 
[dave.miller...@gmail.com]
Sent: Thursday, April 21, 2016 2:25 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] My name is [Your Name Here] and I am an 
Accelerationist

I don't understand what accelerationism is yet, as I need to read a lot more - 
and a few times - and let it sink in. I find it hard to understand, to be 
honest.

I'm interested though in the connection with Donna Haraway's Cyborg Manifesto

And I'd like to know more about the accelerationist aesthetic, what it is, and 
why.

I'd like to know the general view from people on this list - as we are all new 
media/ net art/ media techy types , who have been experimenting with art, 
networked technology and politics for ages, is this something we should
a) take very seriously
b) embrace
c) be sceptical of?
d) be scared of?
e) wish that we'd thought of

cheers dave


On 21 April 2016 at 14:06, Alan Sondheim 
> wrote:


Hi - I have a naive question - does accelerationism deal with issues of 
pollution, extinction, and so forth? Can one wait for accelerationism? Has one 
already waited?
Thanks, Alan


On Thu, 21 Apr 2016, ruth catlow wrote:

Hello,
My name is Ruth Catlow,
and I am an Accelerationist.

Back in 1996 
(to be continued)



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Re: [NetBehaviour] International Metabody Forum in London April 7, 8, 9, 2016

[Johannes Birringer]

Dear all:

We warmly invite you to our International Metabody Forum event taking place 
early next month
at Artaud Performance Centre (Brunel University London)-

--  Thursday April 7, SYMPOSIUM  --  "Performance Architectures, Wearables and 
Gestures Of Participation" -- (15:oo - 21:oo)
--  Friday, April 8, Workshops / Exhibition-Performances (10:00 - 15:00 / 
evening performances 18:oo - 21:30)
--  Saturday April 9: Workshops / Exhibition-Performances (10:00 - 15:00 / 
evening performances 18:oo - 21:30)

There are many amazing artists & researchers involved traveling here from many 
places in the world - so we do hope to welcome some of you
and have you with us a participant-observers ; a preliminary program is on our 
website: http://people.brunel.ac.uk/dap/metabody.html


with regards

Johannes Birringer
director, DAP-Lab

Venue: Artaud Performance Centre
@DAP_Lab
http://people.brunel.ac.uk/dap/metabody.html

www.metabody.eu


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Re: [NetBehaviour] Interspersed amongst the decaying landscapes of Albion

[Johannes Birringer]

dear all

it is interesting to me to read the responses, or the conversation between Mark 
and Alan,
but I find Mark's (and to some extent yours, Alan, as well) commentary too 
close to
a kind of romanticism that evokes/links decaying landscapes and empires and the 
sublime (aesthetics).

And John did respond to my query, thank you, regarding "posturing of power, and 
the decay implicit in
myths of cultural heritage.. and 'preservation'", and I thought his discussion 
of
the depletion of energy/force (for building archive and hoarding in the museums 
of the former west) 
and depletion of social order (a kind of chaos theory of the end of political, 
including the poor cousins of landscape art and border art?), also in
the US empire (Amurika? whose albion is that?), was very thought-provoking. 

It did make me think, and wonder also, given Alan's silence, whether I offended 
sensibilities here evoking
a materialist dialectics that would see iconoclasm/destruction in another 
light. It was so easy
to condemn ISIS and be morally abhorred; and when you ask why is there no 
abhorrence
and condemnation and protest against the state governments that took the war to 
Syria and destroyed
Syria (after destroying Iraq), well, are we powerless to stop war, stop the 
refugee crisis?
 
nothing unknowable here, Mark, I guess. 


respectfully,
Johannes Birringer


From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Mark Hancock 
[mark.r.hanc...@gmail.com]
Sent: Monday, March 14, 2016 12:29 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Interspersed amongst the decaying landscapes of 
Albion

Hi,

Yes! It probably is me collapsing, bits falling away and into the ocean (of the 
sublime?).

I’d be interested to find out more of your feelings of insignificance, because 
I imagine that comes from knowing that there is so much more to know in the 
world. Perhaps the decaying landscape is our own uncertainty in the face of so 
much unknowable?

M

> On 13 Mar 2016, at 20:12, Alan Sondheim <sondh...@panix.com> wrote:
>
>
> Hi Mark,
>
> Wouldn't it be true to say that you're collapsing, not the landscape? And 
> whether that content is somehow manifest to us as viewers? I feel the same 
> sort of vertigo, but I associate it with the Kantian sublime (which for all I 
> know relates to Peirce's continuum via Zalamea), and a resulting, for me, 
> sense of insignificance - literally in the presennce of being (and Being) 
> _awe-struck._ ...
>
> - Alan
>
> On Sun, 13 Mar 2016, Mark Hancock wrote:
>
>> Hi all, thank you for taking the time to view the video!
>>
>>
>> In a very general, not too researched way, I was reading about Deep Time in 
>> (I think, I?m still on holiday away from my bookshelves) Collapse journal, 
>> Volume 2. That, coupled with a comic from Image, called Injection, which 
>> touches on aspects of British folklore and AI, got me thinking last year 
>> about the idea of cinema as occult exploration; part ritual, part 
>> documentation, perhaps? So I created these Deep Time Exploration experiment 
>> films, which I?ve linked below.
>>
>> This latest piece is an extension of that exploration, trying to see 
>> something in the landscape beyond what initially meets the eye.
>>
>> As for decaying landscapes, I?m extremely risk-averse and nervous whenever I 
>> go near any cliffs, constantly worrying that they?ll collapse and crush me. 
>> There?s beauty in there, but also fear. To me, the landscapes are constantly 
>> collapsing. Maybe I?m being paranoid.
>>
>> I?ve been using GoPros for a couple of years, because I?ve wanted to take 
>> this ?extreme sports? documentation tool and use it in a different, 
>> creative/playful way. As I?ve been thinking about this all now, I realised 
>> that one root was probably the work of Mark Amerika. In fact, an interview 
>> for DigiCult* I did with Mark a few years ago, probably lodged itself in my 
>> neural pathways.
>>
>> It?s rare that I get to think and write about my own work, so thank you and 
>> your references and thoughts have really got me thinking and making some 
>> connections.
>>
>> Regards
>>
>> Mark

>Interspersed amongst the decaying landscapes of Albion
netbehaviour-boun...@netbehaviour.org [netbehaviour-boun...@netbehaviour.org] 
on behalf of John Hopkins [chaz...@gmail.com]
Sent:   Saturday, March 12, 2016 7:21 PM
To:  netbehaviour@netbehaviour.org


Hei Johannes --

> What interests me here is the posturing of power, and the decay implicit in
> myths of cultural heritage anyway, and what is "preservation" standing in
> for?  What chasms?

Preservat

Re: [NetBehaviour] Interspersed amongst the decaying landscapes of Albion

[Johannes Birringer]

dear all

just watched Mark's film that he shared with us (thank you), and also saw Alan 
Sondheim's photograph, chasmb39.jpg,
of a late wintry landscape, and pondering the layerings of Marks' film (the 
white sliver a gap, crack from the sky, distorting 
the/a view from above, rolling over the landscape at the edge of the sea?), I 
felt compelled to ask Mark to tell us a little
more about what is meant by "decaying landscapes" and the reference to 
"Albion." 

The reason for my interest is also connected to a small cultural and political 
inquiry, if I may bring it up very briefly,
namely what some are now discussing vividly, the so-called "new materialism."

I attended a roundtable on Thursday at U of Westminster in London, on NEW 
MATERIALISM: POLITICS, AESTHETICS, SCIENCE 
(https://www.westminster.ac.uk/events/new-materialism-politics-aesthetics-science),
 trying to lear more about the interest in 'vibrant matter.'

There someone offered a talk that puzzled many, then energized and invited 
fervent debate. I mention it because last year, after Alan and I moderated
a discussion on ISIS and absolute terror, Alan expressed at some point his 
horror at the destruction of the ancient Assyrian site of Nimrod, the pillage
of historic monuments and artifacts. 

In light of Mark's film, I'd like to figure out what "Albion" here stands for, 
and whether, etymologically, there are some strange layers here going on
not only in the film but the "patrimony" of the word or whatever [albu, 
elfydd/elbid, "earth, world, land, country, district" /other European and 
Mediterranean toponyms such as Alpes, Albania;  *albho-, a Proto-Indo-European 
root meaning "white"?
etc) the white cliffs and islands refer to And why is "landscape" 
decaying at all? is it really?  or are the human built houses and bridges and 
architectures meant by that, are they crumbling?

What I want to throw up here, for discussion, is what Ben Pitcher at Univ. of 
Westminster (its entrance in the building referencing king Edward VII) 
provocatively suggested in his talk on "Isis Iconoclasm and Rocks and Stones in 
Material Culture" --
he argued that rather than morally condemning ISIS and their iconoclasm at 
Nimrod, one could see such destruction as a creative act, and a touch (a haptic 
intervention) of stone and rock that does not reduce the object but modify and 
revivify something of a revelation (revealing the inside of the stone, and 
also, in the video/performance of the hammering down of the reliefs, drawing 
attention to a masonry quite common of the era and distributed widely in Iraq 
and the neighboring regions) Copies of copies.  What Pitcher suggested is to 
look not at the destruction of an "original" (myth) or an order but compare 
that iconoclasm (ordered, as ISIS of course ideologically correctly argues, by 
the prophet) with the colonial regimes and their perverse upholding of their 
order (having "requisitioned" others'  cultural patrimony or heritage for 
museums, in London, Berlin, Paris, New York, etc; forbidding touch/ 'do not 
touch the object') in the former west that extracted the artifacts and monu
 ments of Iraq and Egypt to transport reliefs/tombs to their museums onto their 
display of their power. 

What interests me here is the posturing of power, and the decay implicit in 
myths of cultural heritage anyway, and what is "preservation" standing in for?  
What chasms?


regards
Johannes Birringer
dap lab



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Mark Hancock 
[mark.r.hanc...@gmail.com]

A short video, filmed at Port Isaac in Cornwall (UK): Interspersed amongst the 
decaying landscapes of Albion

https://vimeo.com/158726454

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[NetBehaviour] Brunel Research Seminar next week: Choreographing the Politics of Touch / “Either we'll survive the sea or we'll die:”

[Johannes Birringer]

Please join us next week for our next Performance Research Seminar featuring 
two distinguished guests:


Wednesday February 17
4 PM - 6:00 PM
Drama Studio, Gaskell Building 048, Brunel University London, Cleveland Rd.


Royona Mitra  (Brunel, Theatre) “Choreographing the Politics of Touch”

Maria Kastrinou (Brunel, Anthropology):  “Either we'll survive the sea or we'll 
die:” From Syria to War”


Royoa Mitra is the author of Akram Khan: Dancing New Interculturalism 
(Palgrave, May 2015). She has a PhD from Royal Holloway, University of London 
(2011) on the British-Bangladeshi artist Akram Khan, an MA in Physical Theatre 
from Royal Holloway, University of London (2001) and a BA (Hons) in Theatre & 
Performance from the University of Plymouth (2000). She trained in classical 
and contemporary South Asian dance in India and specialised in physical theatre 
in the UK. Royona was the founding member and performer with Kinaetma Theatre, 
an intercultural physical theatre company that made work between India, UK and 
Portugal from 2002 to 2007. Prior to joining the Theatre Department at Brunel, 
Royona was a Senior Lecturer in the Drama Department at University of 
Wolverhampton where she was also the MA Drama Course Leader.


Maria Kastrinou is a political anthropologist whose work examines power 
relations in the construction of states and subjects through an ethnographic 
focus on ‘sectarianism,’ energy (geo)politics, statelessness and refugee. She 
has conducted long-term fieldwork in pre-war Syria (2008–2010) looking at 
contested identities and politics between the Druze sect and the Syrian state. 
Her research has incorporated political economy and historical sociology 
approaches in an ongoing project on energy and resource conflict in Syria, 
initiated through a research fellowship at Durham Energy Institute (2013-2014). 
Since the war erupted, Maria has been carrying out new research with Syrian 
refugees in Greece and Lebanon, and on energy politics and belonging in Lebanon 
and the Occupied Syrian Golan Heights.

+ +

Piotr Cieplak is a Lecturer in Documentary Practice. Prior to joining Brunel in 
September 2013, he was a senior teaching fellow in African film and video at 
the School of Oriental and African Studies (SOAS), University of London and 
worked for Africa Research Institute, a Westminster-based policy think-tank.

Piotr’s Memory Cards (film) - a project challenging and subverting the clichés 
and stereotypes present in how Africa appears to Westerners - was exhibited at 
the last Research Seminar when he kindly stepped in to replace Prof. Mondal who 
had to cancel. His introduction to his film work is available online


ALL WELCOMEFree talk  /  contact:  +44  (0)1895 267 343

Performance Research Seminar Coordinator:  johannes.birrin...@brunel.ac.uk
+++
INTERDISCIPLINARY PERFORMANCE RESEARCH SEMINAR SERIES 2015-16
BRUNEL UNIVERSITY
Dept. of Arts & Humanities

THEME:Precarity and the Politics of Art:  Performative and Critical 
Empowerment after Democracy


Forthcoming Events:  http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html
all seminars are up-streamed to 
https://www.youtube.com/playlist?list=PLC2ijZ2U-avidCh9OsHJeWDe8t5Ib75rm

http://www.dance-tech.net/events/brunel-research-seminar
+  +  +  +





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Re: [NetBehaviour] performance architectures/wearable performance event, April 2016 in London

[Johannes Birringer]

[reminder]


*call for participation*

"Performance Architectures, Wearables & Gestures of Participation"



Artaud Forum 5
Brunel University London
Antonin Artaud Performance Centre


Thursday, 7 April: Symposium 16:oo - 2o:oo
International  Laboratory
Friday and Saturday, April 8- 9, 2016
Call for submissions and enrolment in artistic–research workshop & symposium, 
followed by performances, exhibitions and screenings, and training classes in 
immersion performance


Please send abstracts (300 words plus bio) or proposals for installations, 
provocations, film, or performance, to
Johannes Birringer 

johannes.birrin...@brunel.ac.uk

The context for this international workshop, the fifth Artaud Forum held at 
Brunel Unversity, is the collaborative European project “Metabody” which works 
to redefine bodies in media, performance and design. Over the past few years, 
‘Metabody’ has developed new architectures and immersive environments which 
behave like living organisms that have an auditory, visual, and tactile sensory 
quality, with subtly changing states and affordances, they can be worn and 
breathed, felt and imagined, transported and taken off.

We invite participants to join us and work with these concepts of integrative 
tactile experience, kinetic atmospheres, multiperspectival space, and 
unconscious perception.
‘Metabody’ counteracts dominant technologies and their prevalent tendency to 
negate differences by reducing bodies and movements to prescribed forms in 
current surveillance culture. ‘Metabody’ emphasizes openness, and indeterminacy 
of embodied expressions as a key factor for a sustainable society. This project 
also foregrounds the need for a new politics. The workshop & performance 
laboratory probes troubling interpretations of the increasing unrestrainment of 
capital, and capitalism’s impact on all social-economic, cultural, creative, 
and educational sectors in a shared developed world now expanded by massive 
migration and refugee movement. The sustainability of democracy is an urgent 
theme for all those in the performing arts/creative fields becoming intensely 
aware of the multiplication of realities (virtualization; networked 
infrastructures, diasporas) and the tightening of our bodies into technological 
environments. This is a call for peripheral perception in existential 
experience.
*  *  *

Our theatre and studio spaces will be available for physical and conceptual 
workshop encounters over a period of three days (Thursday through Saturday, 
April 7-9), including public performances, exhibitions, screenings, and urban 
situations. There will be an enrollment fee necessary to cover costs for 
technical arrangements but they will include some of the catering. The fee for 
the three-day public event is £ 75  (£ 60 concession) for the whole, or £ 30 (£ 
20 concession) per day.

Accommodations can be booked at Brunel's Lancaster Suites Hotel / Brunel 
University London, Uxbridge UB8 3PH. Tel. +44 (0) 1895 268006 / email: 
lancaster-su...@brunel.ac.u



Curated by Johannes Birringer
Venue: Artaud Performance Centre
Brunel University London, Cleveland Rd UB78 3PH
@DAP_Lab
http://people.brunel.ac.uk/dap/metabody.html
www.metabody.eu


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Re: [NetBehaviour] Interdisciplinary Research Seminar at Brunel, January 27, 2016

[Johannes Birringer]

Please join us on Wednesday January 27  for our next special event, featuring 
two distinguished scholars/artists

4 PM - 6:00 PM
Drama Studio, Gaskell Building 048, Brunel University London, UK, Cleveland Rd.

Seminar 4:


Anshuman Mondal: "Free Speech (Melo)dramas: Liberalism and the political 
performativity of tolerance and dissent"

Taghreed Elsanhouri: “Autopsy of a Partition” (film)



Anshuman Mondal is Professor of English and Postcolonial Studies, specialising 
in post-colonial studies. He is the author of Nationalism and Post-Colonial 
Identity: Culture and Ideology in India and Egypt (RoutledgeCurzon, 2003), 
Amitav Ghosh (Manchester University Press, 2007), and Young British Muslim 
Voices, an account of his journey across the UK talking to young Muslims. His 
latest book is Islam and Controversy: The Politics of Free Speech after Rushdie 
(Palgrave, 2014). In 2004, Anshuman led an international project on 'Faith and 
Secularism' sponsored by Counterpoint, the cultural relations think-tank of the 
British Council, and wrote the Introduction to the pamphlet Faith and 
Secularism, part of the Birthday Counterpoint series, which was published by 
the British Council to mark its 70th anniversary. He has also published 
journalism in the leading current affairs magazine Prospect, and also The 
Guardian’s ‘Comment is Free’. He also writes a current affairs blog called 
‘Human Zoo.’ Anshuman has appeared on several TV and radio shows, including 
Newsnight, Al-Jazeera's 'The Listening Post', British Satellite Television 
News, BBC Radio 4's Moral Maze and Thinking Allowed and the BBC World Service. 
He has also spoken at numerous public debates including at the Wilderness 
Festival and the Cheltenham Literary Festival. In 2014, Anshuman was appointed 
Chair of the Postcolonial Studies Association

Taghreed Elsanhouri began her career in broadcast news and entertainment 
television. She is now completing a PhD by practice at Brunel University. Our 
beloved Sudan, the filmmaker’s 3rd independent documentary feature, premiered 
at the Dubai film festival in December 2011 and won the special Jury Silver 
award at the Luxor African film festival in February 2012. The film then went 
on to feature at the Herbert F. Johnson Museum, New York, Lines of Control 
exhibition, 2012.  Mother Unknown, her 2nd Independent feature, won the Unicef 
Child Rights award in 2009. Her directorial debut All about Darfur won the 
Award of Commendation from the American Anthropological Association in 2006 and 
the Chair Person’s prize at the Zanzibar International Film Festival (Ziff) 
2005 and was selected at numerous film festivals including the Toronto 
international Film Festival 2005.  Television projects include ‘Orphans of 
Mygoma,’ a short documentary commissioned by Aljazeera International for their 
‘Witness’ documentary strand.



ALL WELCOMEFree talk  /  contact:  +44  (0)1895 267 343

Performance Research Seminar Coordinator:  johannes.birrin...@brunel.ac.uk
+++
INTERDISCIPLINARY PERFORMANCE RESEARCH SEMINAR SERIES 2015-16
BRUNEL UNIVERSITY
Dept. of Arts & Humanities

THEME:   Precarity and the Politics of Art:  Performative and Critical 
Empowerment after Democracy

This Research Series aims to probe troubling interpretations of the increasing 
unrestrainment of capital, and its impact on all social-economic, cultural, 
creative, and educational sectors in the developed world; the sustainability of 
democracy is an urgent emerging research theme for those of us in the 
performing arts/creative field becoming intensely aware of the multiplication 
of realities (virtualization; networked infrastructures) and the growing 
depoliticization of culture and art. The main objective of the Series is to 
articulate various perspectives on politics and performance (within the context 
of precarization, the current refugee crisis, and the operations of unknowable 
information technologies).


Forthcoming Events:  http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html
all seminars are up-streamed to 
https://www.youtube.com/playlist?list=PLC2ijZ2U-avidCh9OsHJeWDe8t5Ib75rm

http://www.dance-tech.net/events/brunel-research-seminar
+  +  +  +




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Re: [NetBehaviour] Research Seminar on politics and performance : Brunel University, this Wednesday

[Johannes Birringer]

dear all
we are inviting you to this week's Researcg Event, featuring two distinguished 
artists/activists & curators

25 November 2015, 4 PM - 6:00 PM
Drama Studio, Gaskell Building 048, Brunel University London, Cleveland Rd.


Marina Gržinić (Ljubljana)
«Necropolitics, Racialisation, and ‘Social’ Curating»

Pascale Pollier (Ghent/London)
«Post Mortem: Curating Fabrics of Human Bodies»


Marina Gržinić will talk on capitalism and time and the image changes and 
challenges  for art, the performative and the political. The talk will be based 
on her book coauthored with Sefik Tatlic with the title Necropolitics, 
Racialization, and Global Capitalism  Historicization of Biopolitics and 
Forensics of Politics, Art, and Life (2014).  This book argues that 
necropolitics are a dominant, yet obscene, form of politics that sustains 
contemporary racism (racialization) as a primal ideology of global capitalism 
and connects globalization and its modernist narratives directly with 
colonialism. The book is important for those—and this means almost all of 
us—working with relations of modes of life and global capitalism and with 
articulations of political and epistemological principles onto which capitalism 
organizes its reproduction.
Marina Gržinić is professor of philosophy and works as researcher advisor at 
the Institute of Philosophy at the ZRC SAZU (Scientific and Research Centre of 
the Slovenian Academy of Science and Art) in Ljubljana. She is also professor 
at the Academy of Fine Arts in Vienna.

Pascale Pollier studied fine art and Painting in St Lucas art school in Ghent, 
Belgium, before postgraduate training with the Medical Artists Association, 
London UK. Till May 2015 she was president and is co-founder of BIOMAB 
(Biological and Medical Art in Belgium) In 2010 With Biomab she was curating 
and organizing exhibitions, dissection drawing classes, collaborative 
art/science projects, symposiums and conferences. In May 2015 the non profit 
organization ARSIC ‘Art Researches Science International Collaborations’ was 
founded - an international collective where Art and Science become entangled. 
This interdisciplinary association pursues several goals: Organizing and 
curating SciArt exhibitions, conferences and collaborative projects, supporting 
the publication of articles, books and films. Pascale is returning from a 
workshop in Moscow and recently curated the exhibition Post Mortem in Ghent, 
and before that the large touring exhibition Fabrica Vitae. Her inspiration is 
drawn from observing the internal and external human body in all its diversity, 
life and nature in all its beauty, strength, fragility, disease, mortality, 
immortality and death. Pascale currently lives and works in London as a 
self-employed artist.


ALL WELCOMEFree talk  /  contact:  +44  (0)1895 267 343

Performance Research Seminar Coordinator:  johannes.birrin...@brunel.ac.uk
+++
INTERDISCIPLINARY PERFORMANCE RESEARCH SEMINAR SERIES 2015-16
BRUNEL UNIVERSITY
Dept. of Arts & Humanities

THEME:
Precarity and the Politics of Art:  Performative and Critical Empowerment after 
Democracy

This Research Series aims to probe troubling interpretations of the increasing 
unrestrainment of capital, and its impact on all social-economic, cultural, 
creative, and educational sectors in the developed world; the sustainability of 
democracy is an urgent emerging research theme for those of us in the 
performing arts/creative field becoming intensely aware of the multiplication 
of realities (virtualization; networked infrastructures) and the growing 
depoliticization of culture and art. The main objective of the Series is to 
articulate various perspectives on politics and performance (within the context 
of precarization, the current refugee crisis, and the operations of unknowable 
information technologies).


Forthcoming Events:  http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html
all seminars are upstreamed to 
https://www.youtube.com/playlist?list=PLC2ijZ2U-avidCh9OsHJeWDe8t5Ib75rm
+  +  +  +


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Re: [NetBehaviour] bodies of evidence, and the long reach

[Johannes Birringer]

dear all
I sense reticence to engage the recent & current terror and that is 
understandable, and maybe, Alan, we need to think of
what we can do to express thoughts or reactions, here, on such list.
Some one writes somewhere: "Sunday: we wake under blue skies to Nicolas Sarkozy 
calling for ‘the whole world’ to destroy Isis and demanding a ‘new’ immigration 
policy, 
as he steps away from a meeting with Hollande. Stern words on the first day of 
national mourning declared by the president".   Meanwhile French military flies 
air strikes on
Raqqa, killing people randomly.

and yes, I read that "‘Nous sommes en guerre,"  the political leaders in France 
say; and in a newspaper in Germany I saw someone complain that the bombing in 
Lebanon
and the dead there did not receive universal attention or hardly ever do.  The 
complex scenario in the middle east was addressed, I thought quite pertinently, 
in a large op ed article in the New York
Times by Olivier Roy, Nov 16,  [ 
http://www.nytimes.com/2015/11/17/opinion/the-attacks-in-paris-reveal-the-strategic-limits-of-isis.html?rref=collection%2Fnewseventcollection%2Fattacks-in-paris=world=click=NextInCollection=Footer=article]
  which for me revealed some of the devastatingly complicated fractions
in the regions, and who might be pitted against whom or who uses whom for 
political gain.

Alan you address the anguish, the despair we might feel. But last night I also 
felt anger once again, how sentimentality or marketing work (the England-France 
soccer match
with the Wembley stadium halo painted blue white red and everyone standing to 
sing the Marseillaise like those brave footballers at the super bowl in some 
desert town in the US
clutching their chest when the US military jet fighters fly over). So when will 
sports and celebrity cultures and artists clutch their chests under drones and 
a guerre that reaches everywhere?
and when it does reach anywhere, then what does that mean?

Johannes

____
From: Johannes Birringer
Sent: Monday, November 16, 2015 5:18 PM

I just found your response, Alan, and it is Monday and the shock has not 
subsided,
but I also realize what point is there to speak or mention one's shockedness or 
anguish
and yet one perhaps must.

I appreciate what you write here so clearly, and strongly, and I went home 
Friday evening after I had posted
my anger at what I considered a pointless act of aggression against aggressors 
before
the terror in Paris broke,  and I didn't see that coming but of course knew 
something was coming but then
as you say yourself, where do we turn or where do they they turn, pointing to 
other witnessings -
everywhere now selves are at stake, everywhere potential bodies blown apart in 
evidence of
deathly politics and absolutisms.

A friend, who also took part in our exchanges last November
just sent a message from the Ukraine and told me she fears it's wiser sometimes 
to be
silent, but that is not (and I admire Ana and her women co-activists's 
insistence a great deal and
and am aware that is a tremendous exhausting effort) what she meant of course, 
what she meant is
"I was thinking to join an international independent journalist platform. There 
is no point to publish
anything in here as I would be immediately attacked by nationalists.It is also 
dangerous for the people
in the Eastern Ukraine to speak up against army or government. The local 
population is divided in its
loyalties to Ukraine and Russia and they report on each other to the fighting 
authorities.
The best protective strategy in the war zone is to be silent about everything."
And there is also such a thing as silent witnessing? but what if we were hiding 
behind our safe zones
and maillists, and yes, we can forget publishers and we can write and exchange 
...
and so to reply to you, I am all for it, let us continue to write as one form 
of screaming.

I thought, for those who were interested, Alan, we could mention your piece that
you published, after our November series, in VLAK: Contemporary Poetics & the 
Arts, 5 (2015),
"Annihilation to the Limit", pp. 239-47.Do you have a link:?

Mine was the one before, pp. 226-36, “Absolute Terror, or What Do You See 
Behind the Masks?”
VLAK: Contemporary Poetics & the Arts, 5 (2015),
http://people.brunel.ac.uk/dap/AbsoluteTerror.pdf

Johannes Birringer



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Saturday, November 14, 2015 6:03 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] bodies of evidence, and the long reach

I don't think drones are wonderful; I think they're a horror. And I also
think that ISIS is a horror, that negotiations fail with them, that
brutality is impossible to contain when brutalizers also go willingly to
their death. Abs

Re: [NetBehaviour] bodies of evidence, and the long reach

[Johannes Birringer]

I just found your response, Alan, and it is Monday and the shock has not 
subsided, 
but I also realize what point is there to speak or mention one's shockedness or 
anguish 
and yet one perhaps must.

I appreciate what you write here so clearly, and strongly, and I went home 
Friday evening after I had posted
my anger at what I considered a pointless act of aggression against aggressors 
before
the terror in Paris broke,  and I didn't see that coming but of course knew 
something was coming but then
as you say yourself, where do we turn or where do they they turn, pointing to 
other witnessings -
everywhere now selves are at stake, everywhere potential bodies blown apart in 
evidence of
deathly politics and absolutisms. 

A friend, who also took part in our exchanges last November
just sent a message from the Ukraine and told me she fears it's wiser sometimes 
to be 
silent, but that is not (and I admire Ana and her women co-activists's 
insistence a great deal and
and am aware that is a tremendous exhausting effort) what she meant of course, 
what she meant is
"I was thinking to join an international independent journalist platform. There 
is no point to publish 
anything in here as I would be immediately attacked by nationalists.It is also 
dangerous for the people 
in the Eastern Ukraine to speak up against army or government. The local 
population is divided in its 
loyalties to Ukraine and Russia and they report on each other to the fighting 
authorities. 
The best protective strategy in the war zone is to be silent about everything."
And there is also such a thing as silent witnessing? but what if we were hiding 
behind our safe zones
and maillists, and yes, we can forget publishers and we can write and exchange 
...
and so to reply to you, I am all for it, let us continue to write as one form 
of screaming.

I thought, for those who were interested, Alan, we could mention your piece that
you published, after our November series, in VLAK: Contemporary Poetics & the 
Arts, 5 (2015), 
"Annihilation to the Limit", pp. 239-47.Do you have a link:?

Mine was the one before, pp. 226-36, “Absolute Terror, or What Do You See 
Behind the Masks?”
VLAK: Contemporary Poetics & the Arts, 5 (2015),
http://people.brunel.ac.uk/dap/AbsoluteTerror.pdf

Johannes Birringer  



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Saturday, November 14, 2015 6:03 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] bodies of evidence, and the long reach

I don't think drones are wonderful; I think they're a horror. And I also
think that ISIS is a horror, that negotiations fail with them, that
brutality is impossible to contain when brutalizers also go willingly to
their death. Absolutist religion is a disease aid dis/ease to others; the
result is rectification on one side, the torsion of anguish on the other;
we shouldn't forget that anguish is always of the differend, lives within
it. What we dealt with last November (and what we continue to deal with in
our own work) has only increasingly hardened, corroded, and spread as a
holy subaltern whose speech is noise and subterranean communiques. So at
least for me, this work goes on, work which is always already an
impediment and remains an impediment; the core of the work is impediment
as if there were, literally no tomorrow. That's what emerged, at least for
me, from the empyre discussion, and continues to in-form me. Johannes and
I talked about doing another but very related book, asking for empyre
participants and others to write as they wrote on or around the list, and
gathering this material - for me it would be a necessary phenomenology of
anguish (I'm thinking of the anguish underlying, say, Adorno among others
which forms almost a contamination of the philosophical). So there it is,
and after Johannes wrote the below, Paris happened again - as if stating
that a city "happens" somehow is already and brutally understood. I'm
curious to know if anyone would be interested in working on such a book,
now, forgetting even publishers, thinking of a gathering, of what happens
at a certain and very problematic/brutal limit - not in terms of the
politics themselves (but none of this can be separated or disassociated
from the politics), but of the interiority of being human, cultural, the
interiority of belonging as well. I'm not being clear here, but anyone
contributing of course could contradict this, point to other witnessings -
everywhere now selves are at stake, as they have always been.

This is an comment in relation to what Johannes below wrote, and perhaps
something would come out of what might be seen as our good wishes.

- Alan


On Fri, 13 Nov 2015, Johannes Birringer wrote:

>
> Some of you probably remember that last winter Alan Sondheim and I moderate

Re: [NetBehaviour] bodies of evidence, and the long reach

[Johannes Birringer]

Some of you probably remember that last winter Alan Sondheim and I moderated an 
online discussion on ISIS and terror & performance,
(empyre list), and some of it may have spilled over here or you were of course 
aware of the worsening of the situation in Syria and Iraq.
The discussion, I think, also of course also hit closer to home when we ponder 
what terror means to us, or how we think it and what our
histories and political affiliations or stands are, or have been. 

I remember after the debate last November, Alan and I tried to find a publisher 
to see whether the raw, emotional, intense yet diversely positioned and often 
poetic articulations of the participants
could be published, but we had no luck. Earlier this year I tried to write 
again about terror, ISIS, masks,  and also confront what may be my own 
phantasms or prejudices towards militant Islam and also towards
Western states and their necropolitics, and I grappled  to understand a little 
bit better what state formation might mean for those fighting on the ground in 
the middle east.

Driving on the motorway today, listening to BBC2, i was baffled when a 
fundraiser for "Children in Need" was interrupted by the DJ who brought news 
from US killing, by drone, of presumably 
one of the men on the videos released by ISIS, the presumed "Jihadi John"; the 
person assumed to be this man pulverized by the drone rocket (including all 
those in the car). Strangely, I then had to listen
to the british prime minister praising the US commando strike and also saying - 
referring to the Islamic State as an “evil terrorist death cult" – that "Mr 
Emwazi is a barbaric murderer. This "will be a strike at the heart of ISIL, 
and it will demonstrate to those who would do Britain, our people and our 
allies harm we have a long reach, we have unwavering determination and we never 
forget about our citizens.”

After returning to Children in Need, then the radio host comes back with a 
brief interview with a fellow worker and friend of one of the kidnapped victims 
of ISIS, who argued that he would have prefered the british
government to help when they could've sought to press for the hostage's 
release, as other countries had done; that the prime minister's hypocrisy is 
repulsive, and that he also would "have prefered Mr Emwazi to have been brought 
to justice."
I was relieved to hear a worker bring up this idea of justice, and the 
political processes of negotiations that may precede drone strikes. In any 
case, I was feeling sick when all this surfaced on the radio. I wonder how this
played out in the US or in the Middle East, in Raqqa, or other towns in the 
region. (A commentator on the radio, and there always are 'experts' to be found 
quickly, it seems, claimed to be a professor at the "Institute of Radicalization
&  Political Violence," Kings College, and thought the strike was great, and 
the drones are wonderful as their permanent presence over the heads of peoples 
there instills fear)

Johannes


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[NetBehaviour] Interdisciplinary Research Seminar at Brunel, Oct. 28

[Johannes Birringer]

dear all

Please join us next Wednesday for our next special event, featuring two 
distinguished visting artists:

28 October 2015, 4 PM - 6:00 PM
Drama Studio, Gaskell Building 048, Brunel University London, Cleveland Rd.

Olu Taiwo (University of Winchester): ““Expanded Politics of Street Performance”

Jaime del Val (Madrid) – “Metabody: embodied media and the wars of 
indeterminacy and control"

+++

Olu Taiwo, Senior lecturer at the University of Winchester, teaches in Street 
Arts, Visual Development, Dance and Performing Arts in a combination of real 
and digital formats. He has a background in Fine Art, Street Dance, African 
percussion, physical theatre and the martial arts including Tai Chi Chuan and 
Animal spirit movement. He has performed in national and international contexts 
pioneering concepts surrounding practice as research. This includes how 
practice as a research strategy can explore the nature of performance and the 
relationships between "effort", "performance" and "performative actions" as 
they occur in different arenas. Consequently, his aim is through the use of 
practice, to propagate 21st century issues concerning the interaction between 
the body, identity, audience, street and technology in an age of Globalisation. 
He is well published and interests include: Practice as Research, Visual 
design, Movement, Theatre, Street Arts, New technology, Trans-cultural studies, 
Geometry, Philosophy and Religious studies. In his presentation he addresses 
the performance politics & educational dimensions of his effort to help develop 
a trans-European Federation of Education and Training in Street Arts.

Jaime del Val presents his performance work and addresses the question how in 
the Big Data Era a new ontological threshold is crossed in the longstanding 
tradition of perceptual colonisations through reduction of movement to 
patterns. While disciplinary society was about repetition of totalising 
patterns, cybernetic and postcybernetic control is about prediction, 
anticipation and constant modulation of movement patterns. In this framework 
the Metabody EU project seeks to redefine the body as movement and embodied 
media as embracing the creative force of indeterminacy. Jaime del Val is 
meta-media artist, metaformer, metahumanist philosopher and activist, director 
of Reverso Institute of Metahuman Technologies (www.reverso.org) and 
coordinator of the METABODY Project (www.metabody.eu). Jaime del Val develops 
transdisciplinary projects in the convergence of arts, technologies, critical 
theory and activism, proposing redefinitions of embodiment, perception and 
affects that challenge the ontological foundations of contemporary control 
society as well as challenging traditional conception of the human, of binary 
gender-sex conceptions and of perceptual colonialism

*   **

ALL WELCOME   /  contact:  +44  (0)1895 267 343

Performance Research Seminar Coordinator:  johannes.birrin...@brunel.ac.uk
+++
INTERDISCIPLINARY PERFORMANCE RESEARCH SEMINAR SERIES 2015-16
BRUNEL UNIVERSITY
Dept. of Arts & Humanities

THEME:
Precarity and the Politics of Art:  Performative and Critical Empowerment after 
Democracy

This Research Series aims to probe troubling interpretations of the increasing 
unrestrainment of capital, and its impact on all social-economic, cultural, 
creative, and educational sectors in the developed world; the sustainability of 
democracy is an urgent emerging research theme for those of us in the 
performing arts/creative field becoming intensely aware of the multiplication 
of realities (virtualization; networked infrastructures) and the growing 
depoliticization of culture and art. The main objective of the Series is to 
articulate various perspectives on politics and performance (within the context 
of precarization, the current refugee crisis, and the operations of unknowable 
information technologies).


Forthcoming Events:  http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html

+  +  +  +


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Re: [NetBehaviour] Communication in Online Communities

[Johannes Birringer]

I understand well and am in support of everything Alan has just written
and said about Netbehavior, I hope this list continues and grows as
it must have over the past.  (And apologies for my 'stone fence' post
the other day as it must have been a distraction, but I had meant
to respond to something that John had written).

regards
Johannes Birringer



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Monday, October 05, 2015 3:05 PM

Netbehaviour has been one of my mainstays for discovering new work, new
artists, new ideas; the urls serve me and I can easily follow through from
them. And I can't imagine having even this discussion, say, on Wordpress
or Fb; one of the advantages of email is that it arrives without its own
platform, or with minimalized platforms or with self-designed platforms;
it's as close to discussion we can have if we include, obviously,
buffering and communality (Skype isn't good at either for example). Fb
discussions trail out and disperse as well; G+ was, if I remember
correctly, supposed to be a discussion platform, but again that seemed to
collapse, just as newsgroups did. To bring an antique acronym back for a
second, email is wysiwyg; it's platform independent. I'd say a potentially
simple solution would be to have a Furtherfield studio for open
presentations, projects, etc., running on a separate server. As far as
changing the demographics of the list - that's another problem and an
important one, and it seems to me that people who are teaching in
university or say k 9-12 (in the U.S.) might be able to bring students in;
I used to do that with other lists when I had a position. For myself, I
find a kind of skittering underlying the discussion and I worry about
that; philosophy, new media aesthetics, etc., are difficult topics, there
are a lot of exploratory/explanatory sites out there, and the value of
this list, like empyre, is that it creates a focus; I take what I learn
here and it becomes part of my day in a way that Fb posts don't, Wired.com
doesn't, etc. The commons like the stoa are a place of discussion and
hopefully a kind of quietude that provides the grounds for discussion - as
an example, I learned far more about anguish on the extended presentations
on empyre (when Johannes and I co-moderated a discussion on absolute
terror, ISIS, and performance), than I did on all the fast-forward and
intermittent talk/presentations elsewhere. I was able to follow through
with the buffering, url extensions, and even chat/skype that came out of
it. I'm on Fb, blogs, G+, news, etc. daily, but here I can contemplate in
an entirely different way, one close, in fact, to nature, to what's left
of the natural environment (and there are a number of studies indicating
that such is good for your health, not only mentally, but also physically)
- so I would argue that we keep this core as it is, extend the demography,
as much as possible, and build elsewhere. (As a final note, I tend to read
most of my email in a linux terminal; the advantage is even less graphics,
no advertising, and a kind of textual presentation that approaches
Vygotsky's inner speech. I remember more, think more, etc., but of course
this isn't for everyone and I use gmail, Fb messaging as well.) - Alan,
thanks for a great discussion -

On Mon, 5 Oct 2015, Randall Packer wrote:

> I want to express a note of thanks to all those who have been participating
> in this interesting conversation. I have also adjusted the topic because we
> abandoned Geert?s interview long ago.
>
> I think this is a fascinating and relevant discussion for NetBehaviour and I
> too hope it will lead to a more focused discussion that could potentially
> lead to action. But in the meantime, it is an important conversation,
> because there are many here and elsewhere who are grappling with information
> flows among online communities: grappling with the conservation of
> knowledge, 

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Re: [NetBehaviour] stone fence

[Johannes Birringer]

Dear all

the conversation, now just having seen John's reply to Ruth, moves me but I 
doubt what I would say now resonates with much; 
except that I feel I understand and much appreciate John's argument, and it is 
so well put, this image of the sliding scale
and the ageing.  

I also follow Annie, and thus would answer Randall in the same way, I like the 
(old) maillist, and though as subscribers we receive too
many mails, I try to read when I have time and follow, and like Ruth I much 
appreciate the networking and the sustainability of a certain
continuation of exchange, between friends or people interested in the things we 
are interested in discussing here. Many if you here
I don;t know personally, some I do.

But John points to something that (in my own melancholic way) I feel is being 
lost more and more, those "relationships that are the most proximal to us. From 
there it
procedes outwards, ripples on water: the praxis of intimate momentary life 
--mediated only by the body"  which may very well be also those
that we built or committed to when younger and moving about more, or those we 
cling to in our teams (say, my performance ensemble). I do fight
for my ensemble, for sure.

Ashamed to say, Furtherfield can't be far away (when I am in London and at 
work), 45 minutes, an hour?  but i have little time, teaching
and working with my lab company, the projects, and their management, the 
private commitments, the house repairs, maintenances,
and all manners of things one still tries to do and cannot; I am less and less 
capable of sustaining energy, and I also had (expressed here 
last month) less and less hope. 

So John defended me last month when I commented on the refugee crisis in Europe 
and on my 
feelings of despair that my good intentions were meaningless; Randall had 
requested that artists must stand up for change and
feel that art or meda art can make a difference, against the "erosion of the 
basis for empowered living."   I had only spoken
of my inability to tear down the fences in Calais.  And going to the village 
next to mine to donate food, it didn't make anything
better, rather (loooking at what happened a week later in Budapest when 
refugees were c oncentrated in the train station, when
talk of concentration camps reopening for refugees begins, when the camps at 
Calais were bulldozed, when borders are drawn up again
(let's not have borders someone said here), rather it seemed to be compensatory 
of guilt.  Then I wonder how tiny our radius becomes.
Guilt should grow proportionately.  Yes I should offer help to Ruth and Mark
and come over to Finsbury. And protocols, John, we are facing so many  many 
when working still in institutions and they slowly destroy
our idealism or knowledge, the ruins of schools. 
 You moved to the hills I hope.  When we move out, does the proximal then also 
slide?  or have you found it stronger now?

respectfully
Johannes Birringer
DAP-Lab


From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of John Hopkins 
[chaz...@gmail.com]
Sent: Friday, October 02, 2015 7:00 PM
To: netbehaviour@netbehaviour.org
Subject: Re: [NetBehaviour] An interview with Geert Lovink

Hi Ruth!

some musings...

> I do not agree John,
> With you argument we would refuse to read books too, because they don't spring
> from someone we can see and touch.
> for better or for worse the human drive to communicate always has us reaching 
> out.

This was a more general critique (or maybe simply a reminder) of where we are,
where we've been, and that these protocols exist on a sliding scale. Books are
definitely on the scale, (Imagine a life with human contact only via reading
text on paper?) So it is not an absolute, as we are already, at birth, on that
sliding scale that (some would say) started with the transition from oral to
written language.

It is only such that evolving techno-social protocols (text-based communication,
telephones, SMS, mobiles, etc) become norms that often never get questioned once
a large fraction of the population have adopted (or been coopted to adopt) the
protocols. Maybe I'm being ultimately retro and showing my age, but I want to
keep questioning any/all evolving protocols (while also including ones that were
normative to me and pre-dated my arrival on the planet as well...) For example,
as someone who was heavily invested in the mail-art network back into the early
80s, I used the postal network protocol as a means for cross-linking and
participating in a sizeable international network of folks.

> My relationships with the people who I meet in the flesh are enhanced and
> enriched by those maintained across digital networks and vice versa.

Of course, you are quite right ... that is where we are in the present moment --
distributed selves having established distributed lives because of the ease of
quite phenomenal (and energy-

Re: [NetBehaviour] An interview with Geert Lovink

[Johannes Birringer]

thank you all for this conversation, most thought inspiring!
best
Johannes Birringer




From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Randall Packer 
[rpac...@zakros.com]
Sent: Thursday, October 01, 2015 1:42 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] An interview with Geert Lovink

Ruth, that’s the first time I have heard you articulate the high-importance of 
the relationship and intersection between the physical Furtherfield venues with 
the virtual networked spaces of the list, etc. This cross-pollination between 
the local and the remote seems to always be the great challenge of networked 
projects and their communities, but also one of the most interesting. The 
question and solutions you raise are compelling: to create a dialogue across 
this divide, creating third space social engagement between the two. How do to 
this with a text-based email list is an even greater challenge, so I think 
having those who are on the ground in the park, or at least actively involved 
in what is happening there, should be hosting conversations on the list: 
reportage from the Furtherfield gallery. I wonder also if it is possible for 
visitors in the gallery to participate here, though that seems more appropriate 
for social media. When we created multiple channels for NetArtizens, that 
presented a good distribution solution, especially when there was 
cross-referencing between Twitter and NetBehaviour. Personally, I think it is 
interesting to think about all the various channels we use as a wholistic 
activity, because in a sense, they all seem to blend together with a lot of the 
same participants, for example Marc’s Facebook postings with this list. You 
bring up some crucial networked issues in terms of engaging virtual 
communities, the key question being how to bridge those virtual communities 
with physical social spaces.

From: 
<netbehaviour-boun...@netbehaviour.org<mailto:netbehaviour-boun...@netbehaviour.org>>
 on behalf of ruth catlow
Reply-To: NetBehaviour for networked distributed creativity
Date: Thursday, October 1, 2015 at 5:21 AM
To: <netbehaviour@netbehaviour.org<mailto:netbehaviour@netbehaviour.org>>, 
<bram@gmail.com<mailto:bram@gmail.com>>
Subject: Re: [NetBehaviour] An interview with Geert Lovink

Dear Annie,

You have thrown the cat amongst the pigeons of my mind!

Of course!

All the time I think - what makes Furtherfield/Netbehaviour super-special is 
this link between what happens in the experiments and conversations between us 
all here on the list, and in the physical places in the Furtherfield park 
venues (and on tour).

The work done by our avant-art-tech networks and communities prompts wonderful 
(I find them wonderful) encounters, activities and conversations with park 
users, local residents (from every country- perhaps- in the world) and 
exhibition visitors (local and international).

But I too have had a feeling of un-ease about a disconnect with the 
conversations that happen here on the list. This list is one of my favourite 
places, and yet I find it hard to advocate for it, to people who are not 
already here. Perhaps because email has now acquired toxic associations for 
many people because of the demands it places on 'immaterial labourers'.

I have a couple of thoughts about what we might do.

Firstly- a Netbehaviour subscriber could volunteer to host, here on the list, 
any of the following people

  *   artists in our upcoming show,
  *   a recent student placement student,
  *   any member of our regular (overworked) staff-team.

I would invite them to join us as our guest, to talk about their work, 
contribution and experience with Furtherfield. As a host you would be 
responsible for making them feel welcome here and helping them (by mailing with 
them in private) to negotiate conversations if they were to get spikey: )

Secondly

If there is an appetite amongst netbehaviourists for more sharing of 
Furtherfield process, it would be easy (and pleasurable, and useful, and 
actually quite a relief) to open up and share some of the things happening 'on 
the ground'. As long as people could tolerate incompleteness (we have to take 
care not invade the privacy of collaborators and partners), contradiction (I 
have an unruly mind), and the occasional indefensible statement (we work it out 
as we go) along the way.

To give you a taste of what kinds of topics these might touch on let me start 
with a brain dump of the possible [Netbehaviour] Subject Headers about 
Furtherfield process.


  *   DAOWO preparation excitement!
 *   see here http://www.furtherfield.org/artdatamoney/debate/

  *   Reflections on attempting to maintain critical and politically astute art 
processes - without being po-faced and elitist.

  *   Installing work by [insert the names here of every artist in 
Furtherf

Re: [NetBehaviour] Digital Movement

[Johannes Birringer]

dear all

a new book has been published, and perhaps is of interest to you; it includes a 
number of authors you will know.


edited by Nicolás Salazar Sutil & Sita Popat,  Basingstoke: Palgrave Macmillan, 
2015)


http://www.palgrave.com/page/detail/digital-movement-nicolas-salazar-sutil/?isb=9781137430403


Digital Movement addresses the evolving ways in which movement and its 
technological mediation can inform creative thinking and embodied practices. In 
order to identify unique cross-disciplinary links within human movement 
research this book brings together experts from a number of creative 
disciplines including dance, theatre, sculpture, as well as computer and 
mathematical art, whilst offering an integration of scholarly perspectives from 
cultural, media and performance studies. Drawing also on historical and 
contemporary perspectives, the book argues that technology has become central 
to the way we understand and utilize movement material across a number of 
industries. Computer tools afford, amongst other things, customized ways to 
capture, sample, notate, animate, choreograph, visualize and sculpt movement. 
More importantly, computers also transform how we think about motion, or 
rather, how we think in motion—inviting us to do so collaboratively and 
holistically. Digital Movement shows that the technologization of human 
movement is a phenomenon that has the potential to have both enhancing and 
disturbing effects on our lives. This is an important study for all scholars 
and upper-level students of contemporary movement practice and performance.




regards

johannes birringer
dap-lab


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Re: [NetBehaviour] dismal news

[Johannes Birringer]

dear all

I hesitated before responding and yet perhaps one can just let thoughts flow 
here, I'm just embarrassed
and feel I have now nothing to add, except a certain disgust or despair at 
inabilities. I feel the discussion 
proves helpless, and maybe that is what it is.  

I saw listmembers here propose opening all borders, managing the flood of 
refugees as there is enough money in northern europe (US? Australia, Canada, 
New Zealand?, Japan?), helping (a blog was cited where people 'speak out' or 
say they are upset),  getting rid of politicians, putting bankers in prison, 
offering food and house spaces; and now there's suggestions of intervention, of 
taking command of social and political spaces?   But you can't abolish banks or 
elected politician nor stop propaganda and fear or xenophobia/racism, nor do I 
see media artist virtually/symbolically or physically
having an inch of a chance.;

A friend of mine, Maria Kastrinou, reports how dire the situation is in Greece 
– having become unmanageable; the reports from there include
volunteer groups, yes, something really admirable stuff, as seen in germany and 
other places (now noted by the BBC and interviewed)

>>a nonprofit organization (founded by Tirikos-Ergas) called Angalia is one of 
>>the initiatives helping the country cope with a massive wave of migrants to 
>>Greek islands, tens of thousands, most of them refugees escaping conflict and 
>>violence in Syria and Afghanistan. The run-up to elections set for next month 
>>has further paralyzed Greece’s response to the migration crisis as 
>>authorities are already struggling to cope with the skyrocketing number of 
>>arrivals amid the country’s debt woes and near-empty public coffers.  
>>Volunteers such as Mr. Tirikos-Ergas are often all that prevents complete 
>>chaos on the islands bearing the brunt of the migration, fueled this summer 
>>by the worsening war in Syria.
These helpers warn that they have their limits.  “We are under enormous 
pressure, especially from the people that we can’t help. At the same time, we 
are juggling all of our other responsibilities.”
The migrants are crossing into Greece from Turkey before heading to Northern 
Europe by way of the so-called Balkan corridor through Macedonia and Serbia and 
on into Hungary & then Austria. Nearly 142,000 migrants have arrived by sea in 
Greece since June 1, according to the International Organization for 
Migration.>>


As to acting my media artist role trying to film and speak to refugees when on 
Tuesday i passed through Calais en  route to Dover (UK), not so good, not a 
chance, there was barbed wire fences all around travelers trying to reach ferry 
port, armed French police and UK border guards with dogs searching cars just as 
they do in Texas when i cross from Mexico into the US. The barbed wirefence 
allowed travelers like me to see hundreds of refugees with plastic bags 
stumbling along the fences, a devastating scene right out of "Blindness" (the 
film adaptation of Saramago's text that deals with state terror and 
incarceration after an unknown disease breaks out), I don;t want to tell what I 
felt or saw nor does a reference to literature help, I was safe and after long 
queues and questioning allowed to pass through customs, but the physical 
experience of such crossing right through a refugee camp was utterly new to me. 
No one on the ferry spoke out about it when I asked, but some guy from the 
British Tourist Ministry showed up requesting me to answer questionnaire about 
my frequent travels and how much I spend on them, business or pleasure?

Blindnesses here generate thanatopolitics, and terror and war (in the 
decolonized zones/recolonized interest spheres) their spiral effects, migration 
(that, historically reflected,  the old empires [e.g. Rome] should not survive, 
they should collapse) will force more death politics, erosion of community 
(even as we see the volunteers and the speakers-out momentarily), immunology 
having to do with disorder, and immunity will creep forward as the core issue, 
how the developed countries and proprietary classes used to comfort zones can 
keep the latter by any means necessary (borders will be reappear soon and are 
already in operation, police controls, movement controls) --   and relational 
aesthetics and mediation, interventionist art & good intentions, well. well.

regards
Johannes Birringer




From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Randall Packer 
[rpac...@zakros.com]
Sent: Thursday, September 03, 2015 4:57 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Not quite so dismal

Alan, great question and I welcome anyone who wants to reflect on the idea of 
the artist as mediator or interventionist. There is a history of artists and 
activists tak

Re: [NetBehaviour] dismal news: After the Last Sky

[Johannes Birringer]

dear all

this could be a complex conversation, if opened up to those, especially, who 
are concerned in fact, 
but cannot access this  network  No refugees are posting here. yes?


so what are we discussing?   I am sorry i brought it up,  as we are fumbling, 
obviously.  

The refugee question, I think, for most of us here is not autobiographical as 
such. 


The feelgood reports, Ruth, are marginal, and disorienting. I do not really 
think they meet the reality. The  Jasmina Tesanovic blog, Ana, I think, is 
sentimental, sorry, we are not all refugees and ex-prisoners.  
some are, like yourself, but I am not sure we can claim the slogan, 'nosotros 
somos the 70 dead people in the truck in Austria.'   We cannot,  and thus we 
should not pretend. And we quiet.


it would be silly. too many have died, and drowned.

The refugees and migrants, expected to arrive, for example, in the Federal 
Republic of Germany this year  in  2015, are 800,000.   Eight hundred thousand. 
 

You speak of 65 in Uruguay? 


Already, at the small village next to mine, in the southwest of Germany 
(Saarland), the camp for the arrived migrants has spilled over, the situation 
may soon become unmanageable;  there is lack of food, medicine, hospitality 
funds, toilets, clothes, and psychological care, etc.  How do you care for 
people who have fled wars?   displacement, rape and all kinds of violence, 
aggression, humiliation?
  
There is no unrest, or violence, as in other areas, in Lebach, the village next 
door , and I am relieved about about that,  but volunteer help is stretched,  
and there are only 1865 migrants,  in that small village.  
the village as 12, 500 inhabitants,

In Germany, the political opinion tends to suggest that migration (the hundreds 
of thousands) can be managed.  Why does the Uk not think the same, or France?  
Hungary? Austria?   Greece has many refugees arrive on their islands!  and you 
recall that Greece was in the news all  through the summer. Their citizens try 
to help. I applaud that. 
and also my neighborhood village. They are courageous.

so how will we discuss the great migration, the new racism and resentment 
towards foreigners, the political debates, the closing of borders, tunnels?  

how do we discuss (what the financial newspaper columns report) the trade of 
human refugees, the coyotes apparently charging 12,000 Euros if you flee from 
Syria  to Germany or Belgium,:

 the 16 billion euros of human body smuggle that coyotes earned in 2014-15: 
1,2  million refugees, they pay for their transport, and average charge for  
being smuggled through to Northern Europe is 12,000 Euros?  so the economics of 
human trade is 1,2 billion? (that was the figure quoted in FAZ, 29 August page 
19,  economics section (Die gefaehrlichste Reiseroute der Welt). 

how do yoi think about these figures?


regards
Johannes Birringer



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Ana Valdés 
[agora...@gmail.com]
Sent: Saturday, August 29, 2015 4:42 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] dismal news

Thanks Ruth! Actually Uruguay has taken 65 Syrian refugees and six former 
prisoners from Guantanamo, in a country with 3 million inhabitants they make a 
difference.
Ana

On Sat, Aug 29, 2015 at 7:35 AM, ruth catlow 
ruth.cat...@furtherfield.orgmailto:ruth.cat...@furtherfield.org wrote:
Thank you Ana and Michael for your testimonies and observations.

I just saw this 
http://globalvoicesonline.org/2015/08/25/everyday-people-put-solidarity-into-action-helping-refugees-in-greece/
about action on the ground in response to the refugees.

We desperately need political solutions AND it's very valuable to have evidence 
of the many different ways that people find to act in dignity and in 
straightforward solidarity with each other.

cheers
Ruth


On 28/08/15 18:07, Michael Szpakowski wrote:
Absolutely - I  don't think it's a male female thing though. Racist 
scapegoating is a very convenient way of distracting people and dividing them.
I hope it's clear, Ana, that my first e mail meant exactly what it said - we 
should open the borders -there is enough money to wage imperialist wars, enough 
money for obscene bonuses for bankers, so there is enough money to feed, clothe 
house , educate and keep healthy both established inhabitants and newcomers...
cheers
michael




From: Ana Valdés agora...@gmail.commailto:agora...@gmail.com
To: Michael Szpakowski szp...@yahoo.commailto:szp...@yahoo.com; 
NetBehaviour for networked distributed creativity 
netbehaviour@netbehaviour.orgmailto:netbehaviour@netbehaviour.org
Sent: Friday, August 28, 2015 5:44 PM
Subject: Re: [NetBehaviour] dismal news

I has been a refugee for many years. I spent four years in jail for political 
reasons (was member of a gerilla group, Tupamaros) and was deported to Sweden 
in 1978

Re: [NetBehaviour] dismal news

[Johannes Birringer]

hello

different news corridor where I am at the moment in Europe;

last week we were told UK government wants to close euro tunnel and
block any and all refugees from entering the UK.  Thousands are currently 
in camps at Calais.

then we heard two days ago of the destiny of archaeologist Khaled Asaad.


Islamischer Staat Ein bestialischer Mord
Die Dschihadisten des IS haben in Palmyra den syrischen Archäologen Khaled 
Asaad ermordet. Der 82-Jährige hatte ein halbes Jahrhundert lang die 
Ruinenstadt erforscht. 

 [  
http://www.faz.net/aktuell/politik/ausland/islamischer-staat-ein-bestialischer-mord-13758844.html
  ]

the refugee and migration dilemma are on everyone's mind, and I wonder what 
others here think?  have you heard the predictions for the great migration?
how do you think the administrations of countries and communities will respond?

regards
Johannes Birringer




++



From: dave miller dave.miller...@gmail.commailto:dave.miller...@gmail.com
Reply-To: NetBehaviour for networked distributed creativity 
netbehaviour@netbehaviour.orgmailto:netbehaviour@netbehaviour.org
Date: Saturday, August 22, 2015 at 3:24 PM
To: NetBehaviour for networked distributed creativity 
netbehaviour@netbehaviour.orgmailto:netbehaviour@netbehaviour.org
Subject: Re: [NetBehaviour] banksy dismaland


I've only read the guardian article but I like the idea. A ghastly theme park 
to suit the age of austerity and misery and Tory rule. I must try to go.
An entry to anarchism? I hope it is. I dont understand why damien hirst and his 
bunch are involved though.

On 22 Aug 2015 21:15, Alan Sondheim 
sondh...@panix.commailto:sondh...@panix.com wrote:

it sounds terrific and perfect and J.G.Ballard - would love to see it. I 
imagine it's something like Rhode Island -

On Sat, 22 Aug 2015, James Morris wrote:

any thoughts?
good? a good thing? bad? bad in a good way? or just indifferent.

saw on ch4 news one of the artists had never been an artist before, this 
alongside such giants as everyone's favourite: damien hirst.

if damien's there, maybe tracy should be too, but i would like to offer another 
solutionm, tracy could come back to her home town and collect rubbish off the 
streets - discarded matresses, crt monitors, sofas - that people can't be 
bothered to take to the tip - and perhaps rejuvinate these items into works of 
art?

oh sorry. back to dismaland, i would be tempted to visit if it was less 
inconvenient, ie, it was just down the road so i didn't have to venture out of 
thanet. it's only open for 5 weeks.

there you are then, that's the sum total of my dismal thoughts toward dismaland.
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email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
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current text http://www.alansondheim.org/ti.txt
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Re: [NetBehaviour] international Metabody Forum, workshops/conference/performance in Madrid (Spain)

[Johannes Birringer]

In an apparent future that could be the present a planetary cyberorganism, or 
hypercyborg, called Big Data Brother, traces, quantifies and modulates every 
movement of every human and non-human body and space.


METATOPIA is the architectural, kinetic and perceptual
laboratory of the Metabody agents, who develop dynamic, intra-active spaces, 
illegible behaviors and unquantifiable affects that exceed reduction to data.


You'll get to know it between 22 and 25 of July in Medialab Prado auditorium, 
in a experience across 15 installations-performances-disconcerts-metaformance:


 http://metabody.eu/subprojects/


+++


Most of us arrived last week and we are working now in the space;  as things 
progress, I will try to collect some impressions
and post them in the coming days,

johannes birringer

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Re: [NetBehaviour] book launch: 'manifesto' on interactional art / next Monday in Saarbrücken, Germany

[Johannes Birringer]

i n v i t a t i o n:

please join us for the official book launch of Manifesto of Interactive Art 
(2014),
 the new book released by the International Interaktionslabor, Göttelborn 
(Germany),
held on Monday July 13th at the Saarbrücken Künstlerhaus (the art house in the 
regional state capital, Saarbrücken).

Along with my collaborators on the organizing team, I shall be showing films, 
slides, and audio recordings from 10 years of artistic experimentation at the 
former coal mine
where we initiated the media-performance lab in 2003. These last 10 years 
comprise an amazing history of international experimentation in media arts
conducted on a radical poetic philosophy of independence, and site-specific 
re-transformation
(old industrial technology to new media/digital arts and interactional methods).


regards
Johannes Birringer

director
Interaktionslabor
http://interaktionslabor.de



EINLADUNG

Sehr geehrte Damen und Herren,
liebe Freundinnen und Freunde das Saarländischen Künstlerhauses,

zur Buchvorstellung mit Johannes Birringer am Montag, 13. Juli, 20 Uhr laden
wir Sie und Ihre Freunde herzlich ein.

Buchvorstellung

Johannes Birringer, Klaus Behringer (Hg.):
„Manifest der Interaktionskunst“
Internationales Interaktionslabor Göttelborn

Eine Bilanz nach 10 Jahren
Das Internationale Interaktionslabor auf dem Gelände der ehemaligen Grube
Göttelborn gehörte zu den überregional wirksamen Kulturereignissen des
Saarlandes. Seit 2003 lockte der Choreograph und Hochschullehrer Johannes
Birringer in fast jedem Sommer KünstlerInnen, Techniker und Informatiker aus
der halben Welt an, die sich für jeweils zwei Wochen mit der Erforschung des
künstlerischen Potentials der neuen interaktiven Medien beschäftigten. Sie
experimentierten komponierend, filmend, tanzend, lötend mit neuester
Software und Sensoren und grübelten über ihrem Manifest. Dieses Buch zieht
Bilanz nicht nur der interaktiven Experimente, sondern auch der
programmatischen und poetologischen Diskussionen. Mit Johannes Birringer,
Uschi und Andreas Schmidt-Lenhard, Klaus Behringer.


Saarländisches Künstlerhaus
Karlstr. 1
66111 Saarbrücken
www.kuenstlerhaus-saar.dehttp://www.kuenstlerhaus-saar.de/
www.facebook.com/khsaarhttp://www.facebook.com/khsaar
i...@kuenstlerhaus-saar.demailto:i...@kuenstlerhaus-saar.de
Tel. 06 81-37 24 85




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Re: [NetBehaviour] Women's soccer - protest the playing conditions!

[Johannes Birringer]

agreed, its disgraceful and awful. I watched some games and enjoyed them, but 
not
the forcing of players to play on artificial turf. Injury risks are much 
higher. Certainly FIFA would not ask men to play on 
the surface. The german goalkeeper, Angerer,  tried to sue them but without 
success. The whole world
organizations and national sports agencies in many sports seem corrupt to me. 
awful. 

JB



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Monday, June 29, 2015 3:11 PM
To: netbehaviour@netbehaviour.org
Subject: [NetBehaviour] Women's soccer - protest the playing conditions!

(Apologies for off-subject)


Does anyone else feel a sense of outrage at Canada's decision to have the
Women's Soccer World Cup (FIFA) on a turf surface covered with rubber 'gravel'?
This might seem minor - but shoes are melting, women are being injured. Men
don't have to do this - and there have been numerous protests by the players -
but FIFA continues its discrimination against women. Not only are the women
subjected to literally bleeding bruises, but they're breathing in the rubber,
which also gets embedded in the skin. If you have a chance, watch some slomo
and see the rubber kicked up into the players' faces. It's horrible, wrenching,
and no one outside of soccer seems to care. It's an outrage to treat anyone
like this!



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Re: [NetBehaviour] synaesthesia, performance, immersive atmosphere (the docs)

[Johannes Birringer]

dear all


some colleagues asked, a few weeks ago, about our Synaesthesia event and 
whether we would live-stream it -
sorry we ended up not, but we recorded it (video camera, not special sound 
mics). and for those of you interested,
we now have a few excerpts from the concert and the symposium, if you go here 

http://people.brunel.ac.uk/dap/synaesthesie.html

there are three excerpts, the first one a bit longer,
the two other ones quite short. they seem to play fine on Macs
(wait 5 secs for them to load)

thanks

Johannes Birringer


++
May 26th, 2015


  “Synaesthesia, Performance, Immersive Atmospheres”

A conversation between Noam Sagiv, Sérgio Basbaum, Oded Ben-Tal, Diana Salazar, 
Maria Salgado, Gordana Novakovic, and Arthur I. Miller (author of Colliding 
Worlds),
moderated by Johannes Birringer, and focusing on new interdisciplinary research 
perspectives that link psychology, sci-art, architecture  the performing arts


19:oo- 21:30  Concert

Mitslalim (video) by Oded Ben-Tal, Rees Archibald, Caroline Wilkins
14AB2   (audiovisual composition) by Phil Maguire

PANTHAREI Live Cinema Combo
(Sérgio Basbaum + Johannes Birringer)
Pantharei, our special guests from São Paulo (Brasil), creates synesthetic 
performance work on sound and image, as well as theoretical work related to 
their creative process, concerning poetic, aesthetic, conceptual and technical 
issues.


Metaphors of Space and of Time: (i) Points (ii) Surface (iii) Lines (iv) volume
Composer: Oded Ben-Tal
Performer: Torbjorn Hultmark, soprano trombone  electronics

Becoming Human
Composed and performed by Pernille Rübner-Petersen

Corporeal Inscription
Maria Salgado (choreographer/performer) and Diana Salazar (composer)


http://www.dance-tech.net/events/synaesthesia-performance-immersive-atmospheres
Admission: Open to All

regards
Johannes Birringer
@DAP_Lab
https://www.facebook.com/duopantharei




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[NetBehaviour] concert/seminar event May 26, “Synaesthesia, Performance, Immersive Atmospheres”

[Johannes Birringer]

dear all
on behalf of the DAP-Lab and the Center for Contemporary and Digital 
Performance,
I like  to invite you to a special research-concert:


Tuesday, May 26,  2015
Artaud Performance Ctr, Brunel University London

16:oo – 18:oo  Seminar
  “Synaesthesia, Performance, Immersive Atmospheres”

A conversation between Noam Sagiv, Sérgio Basbaum, Oded Ben-Tal, Diana Salazar, 
Maria Salgado, Gordana Novakovic, and Arthur I. Miller (author of Colliding 
Worlds),
moderated by Johannes Birringer, and focusing on new interdisciplinary research 
perspectives that link psychology, sci-art, architecture  the performing arts


19:oo- 21:30  Concert

Mitslalim (video) by Oded Ben-Tal, Rees Archibald, Caroline Wilkins
14AB2   (audiovisual composition) by Phil Maguire

PANTHAREI Live Cinema Combo
(Sérgio Basbaum + guests)
Pantharei, our special guests from São Paulo (Brasil), creates synesthetic 
performance work on sound and image, as well as theoretical work related to 
their creative process, concerning poetic, aesthetic, conceptual and technical 
issues.


Metaphors of Space and of Time: (i) Points (ii) Surface (iii) Lines (iv) volume
Composer: Oded Ben-Tal
Performer: Torbjorn Hultmark, soprano trombone  electronics

Becoming Human
Composed and performed by Pernille Ruebner-Petersen

Corporeal Inscription
Maria Salgado (choreographer/performer) and Diana Salazar (composer)


http://www.dance-tech.net/events/synaesthesia-performance-immersive-atmospheres
Admission: Open to All

regards
Johannes Birringer
@DAP_Lab
https://www.facebook.com/duopantharei
https://www.facebook.com/johannes.birringer/posts/713337198789714?pnref=story
https://www.facebook.com/johannes.birringer/posts/717309928392441?pnref=story


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Re: [NetBehaviour] concert/seminar event May 26, “Synaesthesia, Performance, Immersive Atmospheres”

[Johannes Birringer]

we will try to record/document the concert and then upload to 
DAPLab.TV:  http://dance-tech.tv/videos/daplabtv/

warm regards
Johannes


From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of John Hopkins 
[chaz...@gmail.com]
Sent: Thursday, May 21, 2015 5:32 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] concert/seminar event May 26, “Synaesthesia, 
Performance, Immersive Atmospheres”

 on behalf of the DAP-Lab and the Center for Contemporary and Digital 
 Performance,
 I like  to invite you to a special research-concert:

Streamed? Or otherwise accessible online?

JH

--
++
Dr. John Hopkins, BSc, MFA, PhD
grounded on a granite batholith
twitter: @neoscenes
http://tech-no-mad.net/blog/
++
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This message has been scanned for viruses and
dangerous content by MailScanner, and is
believed to be clean.



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Re: [NetBehaviour] Untitled ongoing performance (Alan Sondheim, final documentation))

[Johannes Birringer]

 was an avatar that
appeared more as an emanation from the performers, than as an
embodiment of them.

These are techniques I've used close to a decade, in order to
create avatar distortions that represent avant-dance, wounding,
death throes, hysteria, desire, pain, and political issues. The
videos that were made at NYU (just a few weeks earlier) were
linked together in a half-hour piece that was played at times,
as a marker or punctum of what was occurring in the virtual
worlds.

The second main source of the video feeds was a series of texts
I would write into the virtual worlds themselves; these appeared
as chats on the side of the image. The texts were improvised and
related to the ongoing mise en scene in-world.

The virtual world imagery was always, always complex and
difficult to navigate in-world; for the spectator, it was also
difficult to disentangle. This was deliberate; the result, and
one of the main contents of the imagery, was the representation
of extreme states of mind, which related to the ongoing crises
of violence in the U.S., Africa, the Mid-East, and so on. The
primary source for me, for all of this, was the special topic
Johannes Birringer and I co-moderated for the empyre email list
in November, 2014, ISIS, Absolute Terror, Performance - a
topic which considered issues of torture, beheading, violence,
anguish, and fear, for the month. The distorted avatars I work
with - distorted because of the distorted movement - go all the
way back to 2011, a 2nd topic for the same, this time with Sandy
Baldwin, on Pain, Desire, and Death, in the real and virtual
(I'm not sure of the exact title). Both of these and my mocap
lab work resulted in over 100 bvh files - these are files that
represent real-life performer movement - that could then be fed
into a virtual world, to animate an avatar or avatars. The
process is difficult but the result are these distortions.

So the most recent distortions, from NYU, would be projected;
other in-world projections were live and in-world, and could be
viewed in-world by another avatar; this is an important element
of interactivity I work with. The in-world projections, then,
resulted in the avatars moving wildly on the screen, creating
particle emanations in the form of nude human warriors and
charred bodies, and dancing with symbols made to represent
ISIS and other forms of terror. All of this is at fairly
high-speed.

The revrev was heard from three sources - Avatar's voice itself;
the revrev fed through either the projector speakers or the Cave
speakers; and the revrev fed through the virtual worlds, as if
it were emanating within them.

All of this created a mobile and fluid sonic architecture, one
that, for me, defined or modified the fixity of the Cave itself;
room resonances and speaker interactions, beat frequencies,
etc., all came into play. The sound was a hollowed organic body
tied to, yet not tied to, the Cave pieces and the ongoing
transformations visible in the projected images. I imaged a
sonic bubble, almost a galactic bubble, in which there were
occurrences both alien and domestic; texts would appear and
disappear in the space, always grounded by the Cave pieces which
were purely textual. Most of my time in the Cave was used for
either working within the virtual worlds, or tuning the space
itself - and the latter began to fascinate me. The sounds and
images resonated with each other; the four sound streams had
their own internal resonances; the darkness or brightness in the
room affected the texture mapping and readability of the
in-world texts, and so forth. Conditions were constantly
changing. The room itself was always on the edge of feedback; I
had to keep the revrev sounding full, but not overloading the
in-world sounds, and not screeching. We used a lavalier mic to
correct this in parts.

The tuning of the room relates to the tuning of the body itself;
much of my work deals with the labor involved in production,
especially dance or music production (and the performers for the
original mocap were almost all dancers); in this residency,
labor was represented by voice and instrument, but also by the
sheer weight of the production, which involved constantly
adjusting the equipment and its position in the room. So even
though the body was close to invisible (except for the video
textures from Bambuser) on the screen, it was present in the
sense of sonic architecture, the body of the piece, the galactic
bubble, and so forth.

Artists:

Kathleen Ottinger
Azure Carter
Alan Sondheim
Luke Damrosch

Thanks to John Cayley for the opportunity.

Thanks also to:

Mark Skwarek, Johannes Birringer, Foofwa d'Imobilite, Sandy
Baldwin, Kira Sedlock, Frances van Scoy, Patrick Lichty,
Columbia College, West Virginia University, NYU, Brown
University


Audio-Visuals:

http://www.alansondheim.org/theforge.png
http://www.alansondheim.org/irq3day24.jpg
http://www.alansondheim.org/irq3day50.JPG
http://www.alansondheim.org/irq3day51.jpg
http://www.alansondheim.org

Re: [NetBehaviour] Archives and Energies / Savage Shapeshifting

[Johannes Birringer]

thanks to Alan for responding in such intensified manner to Bishop's 
commentaries
and earlier questions, and I am with Alan here, and feel down also now
when reflecting, these past days, on how biological matter has entered
the discourse in reference to human remains (they cannot find any whole bodies
after the suicided airplane crash of germanwings in the french alps, and a 
friend
of mine flew from Geneva to London at the same time when it happened); the
issue of biological matter haunts me after the
disappearance of the 43 young Ayotzinapa students we discussed in our
conversations on terror, last November; they were never found, only
body dust located near some river  (and not savage beauty)( I was inexcusably 
punning
on Bishop's reference to fashion designer van Dongen; as I had just received
notice that Alexander McQueen's show at the V  A had opened; the fashion 
designer
hanged himself, so the savage beauty of his designs are retrospectival). And
pushing through, Alan, I was thinking about what you said regarding your playing
instruments, 

Accompanied by comments on the physicality of playing
intruments; afterwards, I had split nails, blisters, blood.
For me, this was about pushing - not against, but through -
the aural landscapes

and yes, the body has to be insisted upon, and the more
one ponders its endless vulnerability and force, its energies
and the kind of perverse, magnificent metaphysical incantations or poetics
that Artaud evoked in his delirium, the more one could regret the
fashionable D/G desiring machines and how they infested the
theoretical discourses. Those are driven of course, as are
the policies of racialized states and corporate capitalism, 
by economic power interests, and yes, the meat is being destroyed.

regards
Johannes 




[Alan Sondheim schreibt]


There's a difference between secrets and bodies, and people aren't
becoming disembodied at all; I think that's a troubling political position
- one might argue that people are having their bodies stolen from them
(organ mining in China for example, or prisons in the U.S.) and
transformed - but as Carolee Schneeman or Michael McClure would have
pointed out - it's the meat of the body, it's bushmeat as well of other
species and bodies - that's being destroyed. There's a difference between
our secrets - which, to the extent they exist in an arhivable/digital
form, no longer belong to us - and our situation within our own minds -
it's your personality, for example, your poetics (which are brilliant)
that comes through to me, even here in the midst of lower ASCII, all that
interconnectivity. I've often felt that if a machine writes a brilliant
poem, I wouldn't be interested in it - or interested in it only under the
aegis of New Crtiticism (I.A. Richards etc. back in the 40s), which
separates the text from the body, from the habitus. For me a poem is
intimately tied, inherently tied, to the writer in the way that song or
music is. Well, this is off the point, but there's increasingly Queer
politics in new media (judging by Interrupt), as well as a radical
politics of race, etc. etc. - and for me this flies in the face of
technophilia, the absent body - at Interrupt, the body was insisted upon,
over and over again; if anything, it was the contested body in the midst
of all those screens/projections. Downtown here in Providence we see the
fallout as well, with so many disenfranchised people on the streets.

It's this phrase - desire machines, driven by autonomous
 social viruses like capitalism, wont drive humans, particularly those
 in crisis, to do 'what must be done'. - that worries me; capitalism is
not an autonomous social virus - look at mining in West Virginia and the
decisions made by people, by bodies, crippling the state, and the people
who are being driven are by and large the poor who produce machines in the
first places. But this is a contestation among people and bodies, as ISIS
and Yemen and Boko Haram and Ferguson and so many other places, show... So
the question for me isn't about desiring machine (so many phrases of D/G
are just _cool_), but whose desire? And by that I don't mean tchnology,
techne, capital, etc. - I'd mean (for myself, I mean, I'd mean), Who?

Thanks, Alan

On Thu, 26 Mar 2015, BishopZ wrote:

 You all bring up some great points. It has taken some time for me to
 think thru them. I really appreciate everyones responses, and I really
 like the perpendicular dimensions suggested by savage shapeshifting
 - the biological and virtual, performance and archive, mutilation and
 desecration.

 There is no research that shows that a mind would be such, without a
 body. Consciousness is highly defined by personality which depends on
 identity derived from our bodies: their movement, adornments,
 eccentricities.

 While I agree that to 'fire and forget' the body would be an
e desire machines, driven by autonomous
 social viruses like capitalism, wont drive humans, particularly those
 in crisis, to do 

Re: [NetBehaviour] The Archives of Alan Sondheim !

[Johannes Birringer]

that was a bit of a shock, Randall, you worked on an index of Alan's published 
online stuff -- 
and you came up with half a million files?I knew Alan was prolific, but 
this is nothing
but unbelievable.  Are all the works still available / alive online?

regards
Johannes



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Randall Packer 
[rpac...@zakros.com]
Sent: Saturday, March 21, 2015 4:01 AM
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour]  The Archives of Alan Sondheim

Net Behavior: the prolific artist immersed in the FEED:
Index of / Alan Sondheim

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Re: [NetBehaviour] forced musical participation of alan sondheim

[Johannes Birringer]

yes, I must commend this experiment, Michael, and
I feel like going downstairs to the music room
and playing over the two of you,  it was inspiring to listen
to the imaginary duet,  with Alan's instrument.

thanks, Johannes

___
From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Thursday, March 19, 2015 6:31 PM
To: Michael Szpakowski
Cc: NetBehaviour for Networked Distributed Creativity; Alan Sondheim
Subject: Re: [NetBehaviour] forced musical participation of alan sondheim

This is really beautiful; I can't remember if I was playing Boehm or
Albert system! The combination works well; now I'm playing alto, hope
you'll do something with that (alto clarinet, not sax) -

- Alan, thanks!


On Thu, 19 Mar 2015, Michael Szpakowski wrote:

 I took a beautiful low clarinet improvisation by Alan and improvised a
 duet/accompaniment to it live, recording the performance.
 I then overdubbed his original ( just to make sure it was clear enough) .
 For me it feels like it works...I'm not sure
 It felt great to do :)
 http://www.michaelszpakowski.org/netartizens/chalumeau_duet.mp3
 michael





==
email archive http://sondheim.rupamsunyata.org/
web http://www.alansondheim.org / cell 718-813-3285
music: http://www.espdisk.com/alansondheim/
current text http://www.alansondheim.org/tc.txt
==
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Re: [NetBehaviour] tarzen 'e isn't : johannes birringer

[Johannes Birringer]

I appreciate that you did it, Michael, 
without knowing me. And you may have caught
something in this my not so good year of the goat
when i feel parts of me are falling off, or fleshing off
but not like in shedding the skin, snake-like,
but more like pieces torn off, dwindling off,  now sort
of missing, and blurred frayed gaps where they were formerly. 
this is all strange, pas deux,
thank you

Johannes


From: michael szpakowski [mich...@dvblog.org]
Sent: Tuesday, March 10, 2015 1:42 PM
To: Johannes Birringer
Subject: Re: tarzen 'e isn't : johannes birringer

hope you like it :)
warmest wishes
michael

+ + +

Michael!
well, now you surprise me.  thanks.

warm regards
Johannes

From: michael szpakowski [mich...@dvblog.org]
Sent: Monday, March 09, 2015 10:33 PM
To: NetBehaviour for Networked Distributed Creativity
Cc: Johannes Birringer
Subject: tarzen 'e isn't : johannes birringer

https://www.flickr.com/photos/szpako/16146731324/https://www.flickr.com/photos/szpako/16146731324/in/photostream/

oil on canvas //12X9 //painted from google search // posted to Flickr

series so far:

https://www.flickr.com/photos/szpako/sets/72157651122579216

cheers
michael



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Re: [NetBehaviour] The NetArtizens Project / invisible spaces, trailing off

[Johannes Birringer]

, and this nothingness leads nowhere to enlightenment, but
to those invisibilities which are always hammered into position
by others, but which always resist positionality as well; this
is the state of marooning, defined by the receding of that
instrumental past which at one point, close by, has seemed to be
heritage, but in fact was a social construct - the social
construct of time which, fast-forward, takes no time at all. It
is not that this too shall pass, but that this too has always
already passed, and where once the I-(pod) might have been,
there shall no longer be absence, but an absence of absence,
mute, ontological, nowhere and everywhere at all. There is no
answer because there is no time, and no evolution of our, or any
other species; there is only the time of slow cessation, on this
and other worlds, and the endpoint of invisibility is this -
that one is invisible because there is nothing to be seen. This
is no longer brilliant weather, but fabrication bending under
the weight of its own collapse, as popular culture demonstrates
over and over again, and we all succumb to its charms, just as
news, here in Providence, flails out with the slogan 'news you
can trust,' and advertisements hawk replacements and necessities
with the slogan 'just for you.' No one drives these, no one
receives them; events as well are marooned always already some-
where else, to someone else, to the displacement of populations,
from nothing to nothing. (Of course there is the trope that
'this essay, too, is invisible,' but how would one know, and
where is one? And immediately that one can see tendency towards
that absolutism that also participates in the annihilation of
the world, as if that were not an occurrence. What is foregone,
is foregone by virtue of invisibility; what is present, is
unaccountable, uncountable, and unaccounted-for. Such are the
shoals of ontology, such is the unseen, within and without the
parenthetical.)

http://www.alansondheim.org/cairn011.jpg


regards
Johannes Birringer





[Ruth schreibt]

Hi Edward

The artisans evocation is not an accident: ) And I share your feeling of 
fellowship, commonness and community.

There are all sorts of problems associated with taking the Net as a 
'place'...however, billions of people now spend a lot of time 'here', 
inventing, socialising, working, playing, committing criminal acts and so it 
feels necessary to start thinking of the net as a place (and it is actually 
emplaced in the cables and computers that constitute it), and working out who 
and how the rights and obligations of its users and creators could be 
negotiated.

Thanks Rob for the prompts and pointers at people and projects that are 
starting out in this direction.

cheers,
Ruth

On 05/03/15 01:44, Rob Myers wrote:
On Wed, 4 Mar, 2015 at 7:52 AM, Randall Packer 
rpac...@zakros.commailto:rpac...@zakros.com wrote:
 “I'm not sure I feel like a citizen of the net. …. it (citizen) [also}] 
 means 'A person who is legally recognized as a 
 memberhttp://en.wiktionary.org/wiki/member of a 
 statehttp://en.wiktionary.org/wiki/state, with associated rights and 
 obligations’… and I'm not sure I feel any of those things about the Net.

All true @Edward, all true… but, I leave with you with the following Tweet I 
sent out yesterday (with some embellishment) :

#netartizenshttps://twitter.com/hashtag/netartizens?src=hash: the 
#Internethttps://twitter.com/hashtag/Internet?src=hash as our own 
self-proclaimed #nationhttps://twitter.com/hashtag/nation?src=hash not 
requiring hierarchical authority from above to be [granted the rights of] 
citizenship [of our own domain].

http://tracks.unhcr.org/2015/02/stateless-in-west-africa/

Ten million people around the world have no nationality. 



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Re: [NetBehaviour] */can't sleep, corrected text, how did I let two errors pass?/* - apologies -

[Johannes Birringer]

did not notice any errors and
enjoyed, with flickering eyes, reading your sleepnessness in R.I.
and yes, these kinds of thinkings cross my mind too, i imagine
being in a small place slowly snowed in, how I envy the mountain
dwellers amongst us, how much I would like the noise and the bad
thoughts to stop, and the stuff to rise outside muffling the 
errors and fears. It rained all day yesterday in Houston,
a kind of monsoon, so i tried to focus my regrets on the sun
and the missing broken rainbows. The tropical plants,
overgrown outside, dripping with heavy water. 
You write and make music when the bad thoughts come like small terrors of the 
night, 
I see your writing against the desolation you/we imagine, as necessary, 
I owe you; so your material, these outpourings, on these lists
of virtual readers, they are defenders and distractors,
small voices in our blighted birdman ears.

regards
Johannes Birringer



[from Alan]

*/can't sleep, corrected text, how did I let two errors pass?/*

Bad Thoughts

http://www.alansondheim.org/badthoughts.png
http://www.alansondheim.org/badfragment.mp4

When I wake up in the morning, does this happen to you, please
add comments, if I lie in bed, which I do, having had troubled
or chopped sleep, which I have, the bad thoughts begin; I try to
banish them, think of other things, attempt breathing meditation
but nothing helps. There are thoughts of my aging, of dying, of
leaving Azure behind (which is the worst); there are memories
salvaged from my high-school years, or Soho years in the 70s;
memories as well of Nova Scotia, California, driving cross-
country, on and on. I try to avoid these, then there are
memories of my parents, or growing up in the home in Kingston,
Pennsylvania, or further memories of my daughter and our broken
relationship. I try to avoid these. Then there are violent
feelings of regret, feelings of loss with friends who have died,
feelings of abject loneliness (living in Rhode Island), feelings
of abandonment (so many of our friends are in NY or out West),
feelings of self-pity, of a life badly lived, of work which will
disappear when I die. When I count breaths, thoughts intrude; my
mind refuses to leave me alone, my mind splits, one part begs
the other, it's no use. The bad thoughts are there and will
remain until I rise, think of other things. I worry whether or
not I'll see my friends again, whether I'll be able to visit my
brother's or sister's families, whether I'll be able to work
again, even for a pittance, just for community, just to be part
of something. I worry about leaving things unsaid, unfinished, I
try to avoid such things. I want to think of other things. I
think of getting up to avoid such things, it's in the middle of
the night, should I take trazodone and more melatonin, should I
read or rise for the moment, work on a project, do grunt work,
will that get me back to sleep. I worry that my depression will
last the rest of my life and contaminate everyone around me,
that I'll have a stroke, that I'll be incapacitated, that I will
no longer be able to play music. My mind wanders back to
childhood, to promises of forthcoming books that will remain
stillborn, to recordings I'd like to do, choreography and video
and sound I'd want to work on with Foofwa or other dancers,
music I'd like to play with Stephen, I worry about car accidents
and growing increasingly despondent over the 'world situation.'
I try to avoid reading about pain and suffering and death, my
reading incapacitates, haunts me in the middle of the night, I
shudder in horror over pain and death imagined. My bad thoughts
include dying before I want to die, I never want to, I think all
the time of suicide as a way of avoiding bad thoughts, I'd never
kill myself. I think of pets I've had, of moments driving
through the Appalachians, of listening to Scottish music in Nova
Scotia, of playing on the banks of the Seine in Paris, about
failing to become a scientist, of disappointing everyone who was
sure I'd have a stellar career in art or music or literature, of
constantly disappointing my father, who said to me recently in a
dream, 'you've always been annoying.' Everywhere I turn there
are thick curtains, dark ones, behind them there's nothing, not
even more of them, the curtains murmur the onslaught of
emptiness. I think of missed opportunities, never learning
Japanese, never visiting China, no more gallery shows, no more
university affiliations. I think of friends who have been cast
adrift as well, everyone dealing with misery, depression, death,
of friends and relatives, of their own illnesses. I think of the
return of slavery by violent states, war and torture everywhere,
the darkness setting over humanity. I attempt to wake, I lie in
bed sometimes for hours with these thoughts, I can't banish
them, sooner or later I get up, work for a bit, exhaust myself,
collapse back into deep sleep for a half hour to two hours at a
time, wake

Re: [NetBehaviour] No Patent Pending, self-made performative media.

[Johannes Birringer]

dear all

just returned from Amsterdam where a member, Dieter Vandoren, of the iii gave 
me the book mentioned below,
and it is truly beautifully conceived and released, as a special print of 
(random order) cards of strong writing and images
- well worth looking at, I recommend it,.

best
Johannes Birringer
London/Houston


To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] No Patent Pending, self-made performative media.

No Patent Pending, self-made performative media.

Contributors:

Ewen Chardronnet
Evelina Domnitch  Dmitry Gelfand
Lars Kynde
Alessandro Ludovico
Matteo Marangoni
Jonathan Reus
Joel Ryan  Kristina Andersen
Dieter Vandoren
Anne Wellmer
Godfried-Willem Raes
Yolanda Uriz

How to convey ephemeral, performative practices based around unique and
inventive media within the fixed and standardized format of a book?

This publication by iii presents itself as a large pack of cards that
the reader is invited to explore. The cards are shuffled at random,
forcing intruders to reverse engineer its sorting algorithm.  Each
individual copy of the book was manually assembled following a
procedural score composed by Lars Kynde and performed by iii.

Contributions range from theoretical essays to poetic exercises with
text and image reflecting a wide range of practices seeking radically
subjective approaches to media in performance. DIY media technologies,
avant-garde music rituals, artistic-scientific hybrids, idiosyncratic
new instruments, speculative business approaches, phenomenological
investigations, open-source and feminist perspectives on digital culture
are all present here as part of a cut-up treatise on media less traveled.

http://iiinitiative.org/no-patent-pending-publication/
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[NetBehaviour] Brunel Performance Research Seminar: Performance/Philosophy Symposium on Wedn. Nov. 19

[Johannes Birringer]

The Center for Contemporary  Digital Performance at Brunel University is 
excited  to announce the following highlight of our season:


PERFORMANCE RESEARCH SEMINAR - ROUNDTABLE



Wednesday, November 19, 2014
Gaskell Bldg 048-Drama Studio, Brunel University, Uxbridge, Cleveland Rd, UB8 
3PH  (UK)

16:oo- 17:30

How Does Theatre Do Theory?   Methodologies of Performance Philosophy

Featuring: Laura Cull (University of Surrey), Kélina Gotman (King’s College)  
Tony Fisher (Royal Central
School of Speech and Drama); Chair: Broderick Chow (Brunel University)


In celebration of the new Palgrave Macmillan series 'Performance Philosophy.'   
  A reception will be held to honor the book launch.


The contribution of philosophy to theatre and performance studies has been 
considerable. Theatre and performance scholars draw on the works of 
philosophers (especially those in the continental tradition) in order to ‘read’ 
a specific example, and often, simply to provide critical ballast for our 
arguments. However, this relationship between philosophy and theatre often 
seems to be entirely one-way; theatre scholars apply theory, rather than doing 
theory. In his Handbook of Inaesthetics, philosopher Alain Badiou begins from 
the axiom that the event of theatre is ‘an event of thought’, and furthermore, 
that theatre itself thinks. But how does theatre think? In this roundtable 
discussion we therefore ask how the methods of theatre and performance practice 
might be seen as philosophical methods. How can acting, directing, dramaturgy, 
composition, scenography, or improvisation philosophize? Can taxonomies of 
theatre and performance such as comedy, tragedy, or farce provide new methods 
of doing philosophy? And if theatre and performance itself thinks, what are the 
implications for hierarchies of knowledge in the academy and beyond?


ALL WELCOME

Performance   Research Seminar Coordinator: Johannes Birringer

All Research Seminars are co-produced with dance-tech live TV and streamed 
online as well as archived.:  DAPLab.TV:  http://dance-tech.tv/videos/daplabtv/

check our whole series at:  http://people.brunel.ac.uk/dap/boiler15.html


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Re: [NetBehaviour] Viola and Reverberant Space

[Johannes Birringer]

Being skeptical, I would venture to argue that it won't work, at least not the 
part
that I was particularly interested in: the reverberation.  You mention your
colleague Foofwa dancing, in that environment, and you played in it and
your microphone picked up the sound, the tremors and oscillations. 

My interest lies in following through this experience of the resonation 
(tactile/haptic/kinetic
and aural) and going deeper than skin, beneath the surface of the event as 
performance
artist Victoria Gray calls it writing about a silent dance she performed
crawling backwards on the floor for a long time 

She remembers how she wove in and out of the negative space between bodies in 
the room (picture). 
The ground became a surface with which to detect the movement of spectators as 
each shift in the room 
was sensed through my skin via my bare torso. At times, it felt that my bones 
were conducting and 
amplifying the minutest sound of people’s movements. As such, these movements 
were sensed through my body as vibrations, rather
than as visual information. My spine became a powerful aerial, conducting my 
peripheral senses. It
was my primary orienteering device; an interface that processed not visual but 
kinesthetic data. Put
simply it was as though each of the thirty three vertebrae in my spine became 
eyes, whilst the
31 pairs of spinal nerves acted as highly sensitized fingertips.

She of course argues that her performance called the primacy of visual senses
into question. 

In some of our own work with the DAP-Lab, and our constructions of
audiophonic wearables (costumes and costume-instruments), we were particularly 
interested
in how the garments, and the sound they make or enable to be generated ( 
amplified
or processed) shift attention and awareness to aural and tactile registers; we 
had scenes
also performed in near or complete darkness, and when we used 
light/electricity, in one
scene on the generation of the electric, we work with heavy pure noise. 

And we continue to experiment with noise dance, further limiting or 
restraining the projected worlds (screens)
we used to work with for a long time (film, video, photography, animation, 3d 
virtual worlds).
The resonant analog-audio dialogues between costume instruments hold out 
attention, we study those now,
and how the performers internalize their own sense of movement (if no external 
displacement 
across space is physically possible, if digital projections were de-placed or 
shrunk) and
feel affect .

that is why I raised also my questions about affect. How do others make sense 
of the affective?


And so bye bye, Oculus Riff and Google Glasses and so on, their visualizations, 
i would have thought,
cannot cope with the reverberations, in fact have to eliminate them.


regards
Johannes Birringer
DAP-Lab
http://people.brunel.ac.uk/dap/forthetimebeing.html

(pic: Victoria Gray, Pressure Points (2011) (c) V Gray/Roshana Rubin-Mayhew.
reference:
Victoria Gray, Beneath the Surface of the Event: Immanent Movement and the 
Politics of affective registers,  Choreographic Practices 4:2 (2013), 173-87.


{Alan schreibt}

The question of Cave audience is critical in a way. It's possible for five
or six people to watch/participate at the same time, and larger caves have
the potential for larger audiences of course. That will come. There are
people working on exporting the whole environment using software that will
permit viewers to use tablets, laptops, etc. If viewers use Oculus Rift or
some such, they'd experience the 3d environment, only in front of them;
there are people doing this already with virtual worlds. I can imagine a
time shortly when augmented reality technology will permit a full-blown
projection into the 'real world' as well. All of this, like virtual worlds
themselves, are on the cusp of new development.

Foofwa danced in the Cave with Azure, and it was amazing. Soon. Whether or
not I'll have access depends on 'the kindness of strangers,' since I'm not
formally connected anywhere.

- Alan

On Wed, 8 Oct 2014, Johannes Birringer wrote:


 Dear Alan thanks for your replies. After reading you I realize that my
 questions about vibration were too much influenced by working in dance
 and theatre, forgetting how important, as you suggest, vibration and
 oscillation has been in music and sound art; 

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Re: [NetBehaviour] Viola and Reverberant Space

[Johannes Birringer]

Hi - now you raise some important issues too,
and thanks for alerting us to those conditions or contingencies
(and by the way, i remember seeing the video you lent me from the Aletsch 
Glacier
-- it was a performance which i saw only on film, true, not in the Alps, but it 
had
a very visceral effect on me, and of course with video one tends to have to 
watch, and
sense/listen. My bye bye to Oculus Riff and Goggle Glass is before the fact, i 
can't afford
them either not am I interested in them, I saw the glasses at a radio (radio- 
theatre)
show we were part of at BBC last February, on wearables (yes, we discussed 
wearables on the radio)
and thoroughly disliked them. Not sure now how to answer the question whether 
we can
experience work if we can't (travel there). We can't. 

warm regards
Johannes




You're absolutely right here, of course, and it's why we do as much live
as possible; at least for ourselves in the Cave, the tactile is critical.
But I also work in virtual worlds and am interested in mixed reality
performance online, just as I'm interested in film and video for example,
or these email lists for that matter. So for me, it's bye-bye to you
perhaps for Oculus Rift and probably AR (which is what Google Glass
produces), but for me, they're critical although unaffordable; there's an
economics at work. But of course to see your performance/production, I
would also have to travel, and there's an economics in that as well. (We
tend to do as much as possible for free of course, but there's still the
getting there.) As examples, the Alps work we did with Foofwa, which
involved dancing with the very low frequency (VLF) radio antennas near the
Aletsch Glacier - the experience was amazing, but on another level so was
the video. Perhaps the holodeck will eventually produce tactility as well,
but that's not currently available. So what you're talking about, for me,
slides into issues of economics, sponsorship, travel opportunities, and so
forth, and I have to deal with, as do you and everyone, with what's
available to us; being outside the institution (I don't want to make too
much of this), I do what I can, which may not be enough of course.

- Alan

On Thu, 9 Oct 2014, Johannes Birringer wrote:


 Being skeptical, I would venture to argue that it won't work, at least not 
 the part
 that I was particularly interested in: the reverberation.  You mention your
 colleague Foofwa dancing, in that environment, and you played in it and
 your microphone picked up the sound, the tremors and oscillations.

 My interest lies in following through this experience of the resonation 
 (tactile/haptic/kinetic
 and aural) and going deeper than skin, beneath the surface of the event as 
 performance
 artist Victoria Gray calls it writing about a silent dance she performed
 crawling backwards on the floor for a long time

 She remembers how she wove in and out of the negative space between bodies 
 in the room (picture).
 The ground became a surface with which to detect the movement of spectators 
 as each shift in the room
 was sensed through my skin via my bare torso. At times, it felt that my bones 
 were conducting and
 amplifying the minutest sound of people?s movements. As such, these movements 
 were sensed through my body as vibrations, rather
 than as visual information. My spine became a powerful aerial, conducting my 
 peripheral senses. It
 was my primary orienteering device; an interface that processed not visual 
 but kinesthetic data. Put
 simply it was as though each of the thirty three vertebrae in my spine became 
 eyes, whilst the
 31 pairs of spinal nerves acted as highly sensitized fingertips.

 She of course argues that her performance called the primacy of visual senses
 into question.

 In some of our own work with the DAP-Lab, and our constructions of
 audiophonic wearables (costumes and costume-instruments), we were 
 particularly interested
 in how the garments, and the sound they make or enable to be generated ( 
 amplified
 or processed) shift attention and awareness to aural and tactile registers; 
 we had scenes
 also performed in near or complete darkness, and when we used 
 light/electricity, in one
 scene on the generation of the electric, we work with heavy pure noise.

 And we continue to experiment with noise dance, further limiting or 
 restraining the projected worlds (screens)
 we used to work with for a long time (film, video, photography, animation, 3d 
 virtual worlds).
 The resonant analog-audio dialogues between costume instruments hold out 
 attention, we study those now,
 and how the performers internalize their own sense of movement (if no 
 external displacement
 across space is physically possible, if digital projections were de-placed or 
 shrunk) and
 feel affect .

 that is why I raised also my questions about affect. How do others make sense 
 of the affective?


 And so bye bye, Oculus Riff and Google Glasses and so

Re: [NetBehaviour] Viola, Stockhausen, Infinite Space

[Johannes Birringer]

Dear Alan
thanks for your replies.
After reading you I realize that my questions about vibration were too much 
influenced by working in dance and theatre,
forgetting how important, as you suggest, vibration  and oscillation has been 
in music and sound art; I suppose I got
confused initially when I was trying to imagine your experiene performing in 
the cave space (immersed in the moving
graphic projections too), and the vibrations you recorded, and which I received 
as a hum on my left channel (headphone),
thus were no longer the vibrations you felt resonating in space and your body. 
I remember now when Phill Niblock
came here to London and did a long drone concert, many of us were lying on the 
floor to experience the sound as fully
as possible, and now (after we discussed Stockhausen, early and later work, 
such as Oktophonie) one could wonder
about the immersive experience of your playing and whether one could imagine 
lying on and rolling into the virtual
space of the projections.
I showed your slide of you playing the viola in the cave to one of our sonic 
arts students who is investigating 
participatory art, and she thought that the Cave looked large enough perhaps 
for one-on-one performances,
where you invite audience inside (finite or infinite, cosmic or not, never 
mind; the cosmic one might guess is
a romantic delusion; heard an expression last night, which i liked - you're 
wired to the moon - though probably
meant as an insult to say, you're a bit crazy.  Apologies also for chicano use 
of spanish inside english). 

with regards
Johannes Birringer


+++

I'll intersperse comments re: below, but I'm not sure anyone else is
interested
On Sun, 5 Oct 2014, Johannes Birringer wrote:

[...]
 I wonder whether we could have a longer discussion, here, and whether
 that might interest others as well?  I am particularly curious about
 three aspects, and just mention them here.

- the sonic:

I'm not sure re: above, but musicians I know have been interested for
years in vibration, which also connects to video feedbacks - not just
audio. People have performed in silos, etc. and there are a great number
of people working with natural phenomena in natural circumstances. Anyone
by the way playing a qin or performing noh - two examples - works with
resonant surfaces - the qin table or noh stage for examples; there are
also people claiming that paleolithic sites exhibit sonic characteristics
that were deliberately cultivated. Guitar feedback is another example. My
own work with the synthesizer we built in 1968 explored reonant harmonics
produced by overdriving oscillators. The current work is based on an
awareness of the resonance / vibrations in the Cave, and I've worked with
recording building vibrations for years. Even VLF lightning signals are
based on resonance within 'tubes' in the ionosphere connected antipodean
points on the earth. So it's not new to me at least, nor to a number of
people I admire, for example the environmental artist Geoff Dugan.

- the graphic


If I knew what the transcendent was, I might believe in it; we were
talking with a friend about the numinous yesterday. I'd say I was seated
within the graphics, and you're right of course, that can't be transmitted
which is a huge problem with the cave. I do think that Oculus Rift or some
such will clear that up - I know people who are using the developer's Rift
in Second Life - objects in fact are clearly recognizable and you can
walk about your own creations. But I haven't pursued this - partly because
of lack of money, and partly because of the privacy of the experience -
others would have to purchase the same equipment to see the same things.
In fact if people went 'around' my structures, now, in MacGrid or on
Second Life's Odyssey Sim, they _would_ be in the immersive 3d objects;
all the information is there!

Of course music is easier, and one can use binaural headphones - I've
worked with binaural recording / playback at times and it's amazing.

I believe btw in the cosmos - how could one not - but again, I'm not sure
what the 'cosmic' is - I've certainly had mystical experiences, but I
don't ascribe any ontological or epistemological status to them. I feel
I'm lucky enough to see the amazing variety and beauty of our own planet,
even while it disappears -

 - the metaphysics 

I also want to mention Jackson Moore, whom I've worked with, who did a
sonic cube with twelve channels - he was creating 'sonic objects' within
it, in a pitch-black environment; they were amazing, and a kind of
parallel to the cave. (we also did some performances in the cube, but
that's another story). And even back in the 70s I think, at UCSD, there
were similar things going on with 12-channel compositions fully occupying
a space.

 do you think the cosmic sensation is multiple effects of light,
 abstract motion graphics, vibration, hum, drone, and high freqency
 squirms (as an acoustic range of phenomena, with the visual a necessary
 vertigo arouser

Re: [NetBehaviour] Viola, Stockhausen, Infinite Space

[Johannes Birringer]

Thanks for the reply, Alan, 
on your performance, on your instrumental technique, the cave environment (and 
3D graphics projections),
the sound, the context for it or for what you were exploring, and also your 
comments on the sound or space vibration.

I wonder whether we could have a longer discussion, here, and whether that 
might interest others as well?  I am particularly
curious about three aspects, and just mention them here.

- the sonic:  

you speak of the world as being resonant, reverberant, and draw particular 
attention to the viola recording and the vibration (low hz) reccording, thus 
also on what is audible and how, and what 
affect the lower (drone) resonances might have.  I then became interested as 
well in the associations you made (Stockhausen), and went back to what you 
refered me to (Gesang der Jünglinge, an early piece
and we have a 1956 recording of it 
[https://www.youtube.com/watch?v=3XfeWp2y1Lk] --   speech sounds, edited and 
combined with electronic sounds, at one point we find out that the percolating 
sounds are layered in such a way that: each speech sound is regarded as one 
permutational manifestation of the elements contained in it   ---  which now 
makes very interesting listening after I heard your viola); then again my 
interest is in why vibration is such a hot topic at the moment, it seems; why 
has the tactile/kinesthetic, and haptic and the vibrational  (bodyradio, 
sensortized sound, physological signal transmission, etc) feedback aroused the 
interest of sound artists, theatre artists, performers and designers, and why 
such a recent increase in studes of affect (and affect design)? 

 I just received a copy of a book, Reading/Feeling, published in Holland by 
If I Can't Dance I Don't Want to Be Part of Your Revolution,   issued after a 
two year research study of theories of affect and their implications for 
contemporary cultural practice; and also remember hearing quite a few people at 
a recent theatre conference in the UK speak about affordance of the affective...

- the 3D visual cave environment:  
you speak of an immersive world, and spaces opening up under you (you are 
seated on visual graphics), and also wonder how this could be conveyed to 
anyone else.
yes. it probably can't, as we knew with powerful VR worlds such a Osmose (by 
Char Davies) that were for single wearer (goggles, strap around chest with 
sensor). And in my memory, being inside a cave, the projected
virtual worlds seeemed too close for me to recognize/perceive anything in 
particular, except, say, color and motion, vertigo.  Now how do relate that to 
the music, is it perhaps consonant with the sonic the way you
sense transcendence of place and time?  do you even believe in transcendence or 
the cosmic? what evokes in you those resonances?

- the metaphysics 
so I go back to the reference to infinity and worry that the ref to Stockhausen 
is peligroso.  I am not taken by the Licht cycle and its bombastic 
transendentalism, though earlier work is fabulous and inspiring, and I do enjoy
listening to Oktophonie, which I think went into part of Dienstag aus Licht. 
Why Stockhausen's heptalogy, the seven days of the week composition, is titled 
Light is of course strange too. For the 19th century painters of the sublime, 
light probably was crucial; for 20th century german composers, at the time of 
Kraftwerk and Einstürzende Neubauten,  I wonder where Stockhausen thought he 
was lifting off to, Romanticism having been thorough discredited, and terror 
and the sublime (now that you refer to ISIS) a dangerous ground. 

The Octophony is available on line as an audio-video, appearing around the 
time a concert of this dense piece was done at the vast and enormous Park Ave 
Armory in New York, March 2013  - a concert spatially designed in white 
concentric seating (audience given white ponchos to wear) arrangement by 
Rirkrit Tiravanija, lighting design by Brian Scott.  Pic attached.  Listen here:
http://www.youtube.com/watch?v=qcvTUNWYtW8

what I found very intriguing, of course, in both instances, yours and 
Oktophonie's, was the emphasis on spatialized 'total' sound experience (and, 
given the lighting and projection designs), perhaps also something one could 
call synaesthetic experience or transformational kinetic/tactile experience of 
sound (I became aware of Brasilian musician and sound researcher Sergío 
Basbaum's interest in synaesthesia effects of his chromossonium a few years 
ago when Sergío wanted to do a project with me -  but we have not yet worked 
together for me to find out how the chromossonium works)(see his Pantharei 
performances (2014): https://www.youtube.com/watch?v=KUwskBoO6H4)

do you think the cosmic sensation is multiple effects of light, abstract 
motion graphics, vibration, hum, drone, and high freqency squirms (as an 
acoustic range of phenomena, with the visual a necessary vertigo arouser)?

regards
Johannes Birringer

Re: [NetBehaviour] Viola, Stockhausen, Infinite Space

[Johannes Birringer]

Hi Alan, 
am listening to it a second time, thanks for sharing, unusual 
performance/concert in a Cave (what were the visuals?), and
you played the viola like a cello? when you say you imagine bow-coupled-to-the 
viola, what would that be? is the playing of
bow on strings not already coupling? the sound on my headphone seems to differ 
(right clean, left channel compounded by
a room hum or would that be the vibration meter? - what does that do for you 
during the playing? and
lastly (great photo, you would be so good as a musician with Noh and Kabuki, I 
already see you there, seated on the left side
of the stage; now, what has all this to do with channeling Stockhausen? which 
day? Samstag aus Licht? Freitag?). 
warm regards
Johannes


++
Viola, Stockhausen, Infinite Space

http://www.alansondheim.org/caveviola44.jpg
http://www.alansondheim.org/violastarcave.mp3

The viola was coupled to the floor, fed through a standard
instrument mic and vibration meter; the latter's track was
amplified; my movements were coupled to the three-dimensional
tunneling surrounding me in the Cave. Thanks to Kathleen
Ottinger for stunning visuals, Azure Carter for videography,
and the Brown University Cave. I channeled Stockhausen, I
channeled cries and whispers, everything through the viola in
this one take. The sound, the music, is something I haven't
heard before; I've taken the right track, which was stunning
and I dreamed of the bow coupled to the viola, replete with
cries and whispers. We worked for hours, produced new video,
audio, and stills; we used radio, Alpine zither, and viola;
we recorded everything, even the secret transmissions of the
equipment itself.


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Re: [NetBehaviour] new manifesto/book on interactional art

[Johannes Birringer]

[ from press release / September, 2014 ]


International Interaction Laboratory publishes new Manifesto of interactive 
art ::



Interaktionslabor, the media lab founded by Johannes Birringer, celebrated its 
10th anniversary last year on the grounds of the former coal mine Göttelborn 
(Germany). This summer the lab completed its third book publication: “Manifesto 
of interactive art.”

Edited by Klaus Behringer and Johannes Birringer (for PoCul Publishers), the 
book describes the history of the interaction laboratory and its gradual 
evolution into one of the most unusual cultural phenomena of the Saarland 
region. Since 2003, this autonomous media lab has attracted artists, engineers 
and computer scientists from around the world, offering two-week residencices 
every summer for the exploration of the artistic potential of new interactive 
media. The participants experimented with software and sensors, performance, 
sound and film compositions, conducting research into interactive architectures 
and real time processes. They also developed prototypes for productions (later 
presented on stages or in galleries) while debating the possible outlines of a 
manifesto.  This book takes stock not only of the interactive experiments, 
but also of these programmatic and poetic discussions that took place over the 
past years. 

After a historical review of the laboratory by its founding director 
(introductory chapter),  the book presents two versions of the manifesto in 
German and English, followed by seven further chapters written by members of 
last year's laboratory, including a video essay by Turkish artist Hayriye Koç 
Basara, a critical essay on interactive dance by Italian choreographer Vanessa 
Michielon, and a detailed analysis of interactive wearables by British designer 
Michèle Danjoux who had prototyped several of her remarkable costumes in 
Göttelborn. The American dancer Anna Kroll reflects the phenomenon of 
temporality in art, while curator Vanessa Vozzo writes about interfaces in 
interactive installations. Local authors Uschi and Andreas Schmidt-Lenhard 
enrich the book with humorous meditations on the problem of interaction, while 
co-editor Klaus Behringer offers a moving account of his  outsider 
perspective as a photographer and longtime observer of the working methods of 
the laboratory. The longest chapter in the book transcribes the Göttelborner 
Debates” on the apparent impossibilty of a “manifesto” for interactive art, 
illuminating contentious issues, technical and philosophical implications, and 
the social and political significance of contemporary media practices.
 

The book is available in bookstores or can be ordered at 
http://www.pocul.de/html/buecher/manifest.html

An overview of all projects can be found on the website: 
http://interaktionslabor.de 




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Re: [NetBehaviour] Cross-Reality and the winds

[Johannes Birringer]

Hi Roger

interesting commentary now, expanding on what you do and are interested in,
and I am just wondering how a (physical) body performance, such a Stelarc's, 
that transposes data to avatar motion/behavior in Second Life (or other 3d 
immersive environment) compares to external (environment, nature, urban space, 
light, forces etc) environmental data used to influence and actuate sound and 
object motion in a dislocated / networked space? and how you work with music 
or sound in this way? 
Your comment brought back a memory, it's over 10 years ago now,  and I was in 
Toronto at Subtle Technologies, witnessing a beautiful and most curious 
installation, Wind Array Cascade Machine, by Canadian sound artist Steve 
Heimbecker. 

We were in gallery and watched a delicate field of slender rods, swaying 
lightly, like a corn field would, and they were luminous or light-moving (light 
emitting diodes were placed on long vertical rods in the exhibition space),
and I did not know what made them move or sound so (and have forgotten the 
sound). 

what slowly dawned on us was  (we were informed) that the light movement and 
the slight movement was caused by data of wind movement captured in another 
city in Canada –  the sensing device was placed on the roof of the Méduse 
complex in Quebec City, and the data were transmitted by the network and used 
to control a series of corresponding lights in the Toronto gallery space..   it 
was quite magical and impressed me.

see:  http://www.fondation-langlois.org/html/e/page.php?NumPage=369
see: http://subtletechnologiesarchive.com/2003/heimbecker.html 

with regards
Johannes Birringer



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Roger Mills 
[ro...@eartrumpet.org]
Sent: Sunday, August 31, 2014 1:30 AM
To: netbehaviour@netbehaviour.org
Subject: [NetBehaviour] Cross-Reality

Thanks for you response and links Aharon, I will have a look at these.

Cross-reality, sometimes seen as x-reality is a fusion of 3D immersive 
environments typically seen in gaming, and networked virtual environments such 
as Second Life augmented by sensor/actuators that bring data from the 
real-world into a networked virtual environment in some way. A kind of 
augmented virtual reality i guess.

Here are some MIT articles  
http://ieeexplore.ieee.org/xpl/articleDetails.jsp?arnumber=516 in IEEE 
Pervasive computing going back to 2009 that outline the way that I am using the 
term, although they are primarily talking about technological projects as 
opposed to creative or performative interaction within them, which is my 
interest.

Many of the descriptions you provide suggest elements of these in various ways, 
although for what I am researching I am primarily interested in this mix of 
bringing data generated by dispersed light, temperature, humidity and movement 
sensors into networked virtual environments. Data from dispersed locations 
might be used to trigger as light, colour or sound ect..or guide musicians 
through a virtual environment.

Stellarc has touched on some of this with distributed movement sensors moving 
him in a located space..

I am looking at this from a networked music perspective and the ways in which 
data from these elements might contribute to increased awareness of presence 
and perception in tele-musical interaction based on a recent collaboration i 
was involved in http://eartrumpet.org/projects.html#Seeschwalbe

Thanks
Roger

--
Roger Mills
http://www.eartrumpet.org
http://roger.netpraxis.net

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







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Re: [NetBehaviour] ISIS-is: the signal

[Johannes Birringer]

 Hi Alan

I found the book a few weeks ago in a bookstore
Bernhard-Henri Lévy,  Gefährliche Reinheit, Wien: Passagen Verlag, 1995,
the french original was written during the war in Bosnia (Sarajevo),
93, and published as La pureté dangereuse. I have not come across
an english translation; Random House later in 2009 published Levy's
Left in Dark Times: A Stand Against the New Barbarism, which is not
the same text but probably an expansion, of his critique of all
totalitarianisms, the will to purity (that you have also addressed
in your poetic-critical texts), the invention of the other, our (western)
confusion, our weak democracies and left politics, etc. He also asks: 
Does anti-Semitism have a future, and, if so, what will it look like?
 what is this unthinking loathing of Israel; combined with an obsessive 
anti-Americanism; and
an idea of “tolerance” that, in its justification of Islamic fanaticism, for 
example, 
could become what he calls the  “cemetery of democracies”.
This I suspect could be French philosophy at its best, or most intellectually
febrile. He recommends giving up all ideas of integration (united europe),
embracing the tragic, welcoming all atheisms. Hmm, the idea of the tragic
without the transcendental. 


regards
Johannes
-- 




Johannes, thank you, where is the Henri-Levy reference, would greatly
appreciate it. I keep thinking about the 'they' and that blankness of
terror, taking the nightmare in, transforming it. it's not only this, it's
what is human, there is too much of it, Israeli war machine, Libya, _our_
cancers are everywhere

- yours, Alan

On Mon, 25 Aug 2014, Johannes Birringer wrote:



 Dear Alan
 you are very brave to take on the ISISmachine;
 I am trying to grapple with your texts
 the images are startling (your images), I gather the silence response
 is due to the unspekableness of the images relayed from/by IS, and the
 relentless expansion of their anarchist destruction war on all others not
 believing; thus we reach from a distance, moving closer, a new dimension
 that defies our logic but nor theirs; somewhere I read, this is the real 
 islamic
 spring, forget the arab spring. your texts dissolve with this unspeakableness
 that western philosophies (Bernard Henri Levy had written on the dangerous 
 purity a while back)
 won't easily manage to integrate because it can't be.

 
 From: netbehaviour-boun...@netbehaviour.org 
 [netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
 [sondh...@panix.com]
 Sent: Monday, August 25, 2014 2:23 AM
 To: netbehaviour@netbehaviour.org
 Subject: [NetBehaviour] ISIS-is: the signal

 isis-is: the signal

 http://www.alansondheim.org/thesignal1.png
 http://www.alansondheim.org/thesignal.mp4
 http://www.alansondheim.org/thesignal2.png
 http://www.alansondheim.org/thesignal3.png

 Alan Sondheim trying to come to grips with annihilation when for
 example beheading occurs, not only to foment terror, but as an
 act of piety, as part of the natural order of things -

 Alan Sondheim a signal is sent, becomes furious, begins to
 dissolve, the dance is violent and sexual like a machine gun

 Alan Sondheim amounting to firing a gun but now up close, the
 taste of the gristle, trophy of the severed head, chopped
 hands, gouged eyes

 Alan Sondheim anything that can be removed

 Alan Sondheim what does this, what is a response, what is this?

 =

 [for all]X{not X -- 0}
 Therefore not X is taken to 0 (null set)
 Therefore not X is always already processed to 0
 Therefore not X is equivalent to 0
 Therefore not x is identical to 0
 Therefore X -- V (universal set)
 Therefore X is always already processed to V
 Therefore X is equivalent to V
 Therefore X is identical to V

 Alan Sondheim this came on the heels of a first post I wrote
 thinking about ISIS and the idea of exclusion - from for all x
 not x tends towards zero - to x is identical with the universal
 set, not x is identical with the null set. I'm playing off ideas
 of purity and exclusion - things like the Pale etc. or the
 theory in Kristeva's Powers of Horror or the earlier Mary
 Douglas' (sp?) Purity and Danger. that which is not for me, in
 other words, is against me, and must be annihilated, and
 annihilation must be carried out to the limit. so for me the
 movement is from 'sending' or projecting not-x into the null
 set, to making it equivalent, to making it identical - a
 movement maybe from epistemology to ontology - the not-x become
 - _are_ inherently non-being, eliminated. -

 Alan Sondheim X doesn't equal not-X. The world divides and
 hardens between X and not-X; it's a classical division so that
 the intersection of X and not-X is the null set. What I'm trying
 to present is the idea of an expulsion and an annihilation of
 what's expelled. ISIS wants a purified caliphate with only
 believers; non-believers are expelled or murdered. Could you
 elaborate on the rest of your post? I'm trying to say then that
 the annihilation

Re: [NetBehaviour] ISIS-is: the signal

[Johannes Birringer]

Dear Alan
you are very brave to take on the ISISmachine;
I am trying to grapple with your texts
the images are startling (your images), I gather the silence response
is due to the unspekableness of the images relayed from/by IS, and the
relentless expansion of their anarchist destruction war on all others not
believing; thus we reach from a distance, moving closer, a new dimension
that defies our logic but nor theirs; somewhere I read, this is the real islamic
spring, forget the arab spring. your texts dissolve with this unspeakableness
that western philosophies (Bernard Henri Levy had written on the dangerous 
purity a while back)
won't easily manage to integrate because it can't be.


From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Monday, August 25, 2014 2:23 AM
To: netbehaviour@netbehaviour.org
Subject: [NetBehaviour] ISIS-is: the signal

isis-is: the signal

http://www.alansondheim.org/thesignal1.png
http://www.alansondheim.org/thesignal.mp4
http://www.alansondheim.org/thesignal2.png
http://www.alansondheim.org/thesignal3.png

Alan Sondheim trying to come to grips with annihilation when for
example beheading occurs, not only to foment terror, but as an
act of piety, as part of the natural order of things -

Alan Sondheim a signal is sent, becomes furious, begins to
dissolve, the dance is violent and sexual like a machine gun

Alan Sondheim amounting to firing a gun but now up close, the
taste of the gristle, trophy of the severed head, chopped
hands, gouged eyes

Alan Sondheim anything that can be removed

Alan Sondheim what does this, what is a response, what is this?

=

[for all]X{not X -- 0}
Therefore not X is taken to 0 (null set)
Therefore not X is always already processed to 0
Therefore not X is equivalent to 0
Therefore not x is identical to 0
Therefore X -- V (universal set)
Therefore X is always already processed to V
Therefore X is equivalent to V
Therefore X is identical to V

Alan Sondheim this came on the heels of a first post I wrote
thinking about ISIS and the idea of exclusion - from for all x
not x tends towards zero - to x is identical with the universal
set, not x is identical with the null set. I'm playing off ideas
of purity and exclusion - things like the Pale etc. or the
theory in Kristeva's Powers of Horror or the earlier Mary
Douglas' (sp?) Purity and Danger. that which is not for me, in
other words, is against me, and must be annihilated, and
annihilation must be carried out to the limit. so for me the
movement is from 'sending' or projecting not-x into the null
set, to making it equivalent, to making it identical - a
movement maybe from epistemology to ontology - the not-x become
- _are_ inherently non-being, eliminated. -

Alan Sondheim X doesn't equal not-X. The world divides and
hardens between X and not-X; it's a classical division so that
the intersection of X and not-X is the null set. What I'm trying
to present is the idea of an expulsion and an annihilation of
what's expelled. ISIS wants a purified caliphate with only
believers; non-believers are expelled or murdered. Could you
elaborate on the rest of your post? I'm trying to say then that
the annihilation is that of the Other - the Other isn't
permitted to survive, and with the death of the Other, the Other
becomes identified with 0.

Alan Sondheim because it's about ISIS and this is the second in
the series -

Alan Sondheim trying to come to grips with annihilation when for
example beheading occurs, not only to foment terror, but as an
act of piety, as part of the natural order of things -

Alan Sondheim in the above, a signal is sent, becomes furious,
begins to dissolve, the dance is violent and sexual like a
machine gun

Alan Sondheim amounting to firing a gun but now up close, the
taste of the gristle, trophy of the severed head, or there were
hands chopped, eyes gouged

Alan Sondheim at times anything that can be removed

Alan Sondheim what does this, where is a response, what is this?

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Re: [NetBehaviour] Abramovic 512 Hours

[Johannes Birringer]

dear all
somewhat surprising to see the relative heat of the discussion on a performance 
artist and her 512 Hours exhibition at the Serpentine,
and thus I wonder really what provoked the sustained critique of her practice 
here, in these pages; maybe Annie's abhorrence?
I went to see the performance in July, and was prepared to be critical and 
ended up have my own critical thoughts, even wrote some notes
down somewhere, and probably I had become all too apprehensive of the hype 
surrounding her MoMA show, back a while, and the high handedness
of the film then released about her. 
The thing with the dog i find tasteless and silly, and bad satire if that at 
all; and rather than arguing about
satire, or the power systems in place to make history happen  (and I do read 
Patrick as stating his respect for her work of the 70s and 80s and
90s, and three decades of live art, often on the edges, for me gained her 
nothing but admiration, even if I may have reservations about the spiritual
or metaphysical path she engineered around 2002 --- I remember walking over to 
her House with the Ocean View installation, and that was not long after 
the events of 9/11 in New York and noted a shift, and she must have noted it 
too and probably realized she could do Rothko Chapel stuff -- 
and then turned into the odd self-presencing durational rituals etc), I really 
wondered, Annie, whether what we are reading now
is a strange twist where (gender politics?) bashing a successful female artist 
whose work definitely will have had resonance, who was able to show work in 
major museums, is becoming de rigueur  
(I guess Carolee Schneemann,  Cindy Sherman, Kara Walker, Adrian Piper next?).

Johannes Birringer





On Fri, Aug 22, 2014 at 7:28 AM, marc garrett 
marc.garr...@furtherfield.orgmailto:marc.garr...@furtherfield.org wrote:
Well, Marina Abramović’s work will survive — however, not because of quality 
but because of the power systems in place to make history happen for artists 
who adhere to the role and myth of genius, it is all part of the inside joke 
for those who rule the ‘propriety based’ art world.

Or her work will survive in its cultural resonance because even in the smallest 
intervention, before fame made her an icon, there was sufficient strength and 
luminosity to her work to affect people. Such resonance by no means implies a 
pile of handsome coffee table books or a sheaf of academic papers—it only 
suggests that art changes people, in some measure, directly, in their lives.

-- Paul



On Fri, Aug 22, 2014 at 7:28 AM, marc garrett 
marc.garr...@furtherfield.orgmailto:marc.garr...@furtherfield.org wrote:
Hi Michael  Annie,


 your kindness does you credit but I do think there absolutely has to be
space for humour, even sharply parodic or satirical humour in art. If the
work is solid it will survive it.

Well, Marina Abramović’s work will survive — however, not because of quality 
but because of the power systems in place to make history happen for artists 
who adhere to the role and myth of genius, it is all part of the inside joke 
for those who rule the ‘propriety based’ art world.


Ironically the various satirical japes she has engendered help to
confirm her in this role.

Sadly, this may be true ;-(

wishing you well.

marc


 HI Annie
 your kindness does you credit but I do think there absolutely has to be space 
 for humour, even sharply parodic or satirical humour in art. If the work is 
 solid it will survive it.
 An interesting question is why MA and not you. I would venture:
 (1) You are deeply serious about your work but you don't give off the aroma 
 of pious smugness which I'm afraid for me MA does.
 (2) Although you set up rigorous structures in your work you are open to 
 surprise, to human frailty and intervention ( indeed I'd argue that it is one 
 of your central themes) - you *trust* people - MA shuts out the intervention 
 of others in her Serpentine piece - people have to give up phones, cameras, 
 whatever at the door. This particular response ( the pug piece) comes as no 
 surprise to me. I had given some thought to how one might assert the rights 
 of the audience ( including those of other artists -the right to record, to 
 think contrary thoguhts and act upon them c)  vis a vis the Sepentine 
 performance but couldn't think of anything that either wouldn't involve me 
 getting arrested or would cost too much.
 (3) MA is an art superstar/celebrity. My starting point is that someone in 
 this extraordinarily unnatural  privileged position has to repeatedly prove 
 that they are worth it. Ironically the various satirical japes she has 
 engendered help to confirm her in this role.
 cheers
 michael
 From: Annie Abrahams bram@gmail.commailto:bram@gmail.com
 To: NetBehaviour for networked distributed creativity 
 netbehaviour@netbehaviour.orgmailto:netbehaviour@netbehaviour.org
 Sent: Thursday, August 21, 2014 2:22 PM
 Subject: Re: [NetBehaviour] MARINA ABRAMOPUG the genius

Re: [NetBehaviour] Abramovic 512 Hours

[Johannes Birringer]

p.s.
ah, about next.  Tracy Emin's self portrait from 1998, My Bed, did it not go 
to auction this summer for £ 1.2 million?   
Any satire?



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Johannes Birringer 
[johannes.birrin...@brunel.ac.uk]
Sent: Friday, August 22, 2014 4:04 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Abramovic 512 Hours

dear all
somewhat surprising to see the relative heat of the discussion on a performance 
artist and her 512 Hours exhibition at the Serpentine,
and thus I wonder really what provoked the sustained critique of her practice 
here, in these pages; maybe Annie's abhorrence?
I went to see the performance in July, and was prepared to be critical and 
ended up have my own critical thoughts, even wrote some notes
down somewhere, and probably I had become all too apprehensive of the hype 
surrounding her MoMA show, back a while, and the high handedness
of the film then released about her.
The thing with the dog i find tasteless and silly, and bad satire if that at 
all; and rather than arguing about
satire, or the power systems in place to make history happen  (and I do read 
Patrick as stating his respect for her work of the 70s and 80s and
90s, and three decades of live art, often on the edges, for me gained her 
nothing but admiration, even if I may have reservations about the spiritual
or metaphysical path she engineered around 2002 --- I remember walking over to 
her House with the Ocean View installation, and that was not long after
the events of 9/11 in New York and noted a shift, and she must have noted it 
too and probably realized she could do Rothko Chapel stuff --
and then turned into the odd self-presencing durational rituals etc), I really 
wondered, Annie, whether what we are reading now
is a strange twist where (gender politics?) bashing a successful female artist 
whose work definitely will have had resonance, who was able to show work in 
major museums, is becoming de rigueur
(I guess Carolee Schneemann,  Cindy Sherman, Kara Walker, Adrian Piper next?).

Johannes Birringer





On Fri, Aug 22, 2014 at 7:28 AM, marc garrett 
marc.garr...@furtherfield.orgmailto:marc.garr...@furtherfield.org wrote:
Well, Marina Abramović’s work will survive — however, not because of quality 
but because of the power systems in place to make history happen for artists 
who adhere to the role and myth of genius, it is all part of the inside joke 
for those who rule the ‘propriety based’ art world.

Or her work will survive in its cultural resonance because even in the smallest 
intervention, before fame made her an icon, there was sufficient strength and 
luminosity to her work to affect people. Such resonance by no means implies a 
pile of handsome coffee table books or a sheaf of academic papers—it only 
suggests that art changes people, in some measure, directly, in their lives.

-- Paul



On Fri, Aug 22, 2014 at 7:28 AM, marc garrett 
marc.garr...@furtherfield.orgmailto:marc.garr...@furtherfield.org wrote:
Hi Michael  Annie,


 your kindness does you credit but I do think there absolutely has to be
space for humour, even sharply parodic or satirical humour in art. If the
work is solid it will survive it.

Well, Marina Abramović’s work will survive — however, not because of quality 
but because of the power systems in place to make history happen for artists 
who adhere to the role and myth of genius, it is all part of the inside joke 
for those who rule the ‘propriety based’ art world.


Ironically the various satirical japes she has engendered help to
confirm her in this role.

Sadly, this may be true ;-(

wishing you well.

marc


 HI Annie
 your kindness does you credit but I do think there absolutely has to be space 
 for humour, even sharply parodic or satirical humour in art. If the work is 
 solid it will survive it.
 An interesting question is why MA and not you. I would venture:
 (1) You are deeply serious about your work but you don't give off the aroma 
 of pious smugness which I'm afraid for me MA does.
 (2) Although you set up rigorous structures in your work you are open to 
 surprise, to human frailty and intervention ( indeed I'd argue that it is one 
 of your central themes) - you *trust* people - MA shuts out the intervention 
 of others in her Serpentine piece - people have to give up phones, cameras, 
 whatever at the door. This particular response ( the pug piece) comes as no 
 surprise to me. I had given some thought to how one might assert the rights 
 of the audience ( including those of other artists -the right to record, to 
 think contrary thoguhts and act upon them c)  vis a vis the Sepentine 
 performance but couldn't think of anything that either wouldn't involve me 
 getting arrested or would cost too much.
 (3) MA is an art superstar/celebrity. My starting point is that someone in 
 this extraordinarily unnatural

Re: [NetBehaviour] FKA Twigs

[Johannes Birringer]

Interesting, am currently off shore  have not seen the Guardian (I guess Twigs 
is the Weekend Guide cover girl)
but watched the Kleist-puppet Water me 
(https://www.youtube.com/watch?v=kFtMl-uipA8list=PLx_NcAUcAg96a0MLmduo9vD75D1KJab8L)
and now the digitally animated How's That – and it would indeed be lovely and 
amusing if Alan Sondheim's avatars had influenced current pop culture/music 
videos

regards
Johannes


I was checking out the work of FKA Twigs,  on the basis of the Guardian's 
current mission to
publicize her work (as they so often they do with all sorts of salty  
unrestrained language; and as usual the work turns out to be ..um..ok-ish)
and I came across this video. Well! - *someone* clearly knows their Sondheim, 
especially the second life pieces of 2 or 3 years ago...
https://www.youtube.com/watch?v=a7CTo2-bAA8


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Re: [NetBehaviour] Please help me with Wikipedia!!

[Johannes Birringer]

dear all

I was curious about the metaphor of tending one's own garden
and how that was related (to an encyclopedia). as i do
enjoy gardening in the summer (forthcoming), I want to know ):
(Also because am working on a possible dance/digital installation
on Linnaeus.) 

regards
Johannes Birringer




From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of arn [i...@x-arn.org]
Sent: Monday, May 26, 2014 2:17 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Please help me with Wikipedia!!

All that is (a bit) wrong, the only (let's say the main) thing is that:
once you're name is on WP, the www page belong to WP (as a community),
and you can't delete it. You're allowed (and encouraged) to modify it
and are maybe the best one to do this.

http://fr.wikipedia.org/wiki/Yann_Le_Guennec


On 26/05/2014 03:02, Pall Thayer wrote:
 It goes without saying that an article about oneself, written by oneself is
 not an authoritative article. Yes, you can be an authority on yourself but
 only for yourself. Your commentary will be inherently introspective. You
 cant be an authority for others.
 On May 25, 2014 8:52 PM, Rob Myers r...@robmyers.org wrote:

 Randall Packer:

 I consider writing one¹s own bio on Wikipedia not
 only critical to making sure the information is accurate, but it is
 actually
 empowering for the artist to take control of this platform to communicate
 precisely who they are. Too often artists are at the mercy of curators,
 editors, and dealers, etc., who think they know the true meaning and
 spirit
 of an artist¹s work and identity. In Wikipedia, the artist can say
 (almost)
 exactly what needs to be said and how to say it. Not that Wikipedia
 doesn¹t
 have rules: it is crucial to cite references, including links to other
 relevant Wikipedia articles, etc.

 The Wikipedian viewpoint is that editing one's own article is likely to
 lead to a conflict of interest or to a non-neutral point of view:

 https://en.wikipedia.org/wiki/Wikipedia:Conflict_of_interest

 https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view

 A solution that I chose, was to
 appropriate the biography of another artist, and use it as a structural
 framework. But from the point on, I keep up my Wikipedia biography as I
 would a carefully tended garden.

 If an artist can¹t maintain their own bio on Wikipedia, then the Web is
 dead.

 Wikipedia strongly recommend against creating or maintaining one's own
 article:

 https://en.wikipedia.org/wiki/Wikipedia:Autobiography

 If for no other reason than it can be annoying to deal with
 wikilawyering deletionists when some n00b doesn't bother doing the five
 seconds of Googling it would take to establish notability for you.

 Your article is well written and has strong citations. I've added it to
 my watchlist.

 - Rob.

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Re: [NetBehaviour] source file, dropping off

[Johannes Birringer]

Source file:

terra firma
corporeal leakage
tierra del fuego
against signs of planetary body
dripping off
terlingua ghost town lodging
also on south side
hokitika over on the west
where gold was mined
in the imagination

then, at the juncture, 
all the tracks were on individual channels
ready to be mixed plotlessly, jason,
as no one got the lyrics

the drums were fine
along the faultlines
of all the atrocity exhibitions




regards
johannes birringer
dap-lab
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Re: [NetBehaviour] The Book ‘Beyond New Media Art’ reviewed by Joseph Nechvatal.

[Johannes Birringer]

dear all

new media/digital art as outsider art?
This book reviews that issue in depth, as it explores some of the historical, 
sociological and conceptual reasons for the weirdly under-recognized, even 
marginalized, position of the digital within recent art history
... unwarranted tactical minorization of art and technology within a 
technological society has been the dominant trend...



must admit this is all news to me, and probably to most of you? 
in my book, new media arts had been doing just fine in the these past years, not
something one would need to worry too much about, as it is everywhere. 

I wonder what the Quaranta book is trying to stake out, or what windmills 
its Quixote approach is riding against. Not clear to me.


regards
Johannes Birringer




On 2 May 2014 11:50, marc garrett 
marc.garr...@furtherfield.orgmailto:marc.garr...@furtherfield.org wrote:
The Book ‘Beyond New Media Art’ reviewed by Joseph Nechvatal.

Domenico Quaranta, a curator and art critic who regularly writes for Flash Art 
and Artpulse, has just released a new book Beyond New Media Art that is 
particularly topical and noteworthy, as it is very much in the current 
inclination to formally re-evaluate contemporary art in terms of a developing 
post-media understanding. In it Quaranta deftly juxtaposes Peter Weibel’s 
notions of post-media against those of Rosalind Krauss (who dismisses the 
post-medium condition) and Félix Guattari (who embraced a critical and 
political post-medium condition), questioning their distinctions in a 
post-media world in which perhaps it no longer makes sense to distinguish 
between art that uses computers and art which doesn’t. (page 212)

But perhaps it still does. Possibly there is something strangely cognitively 
dissonant in the medium-specificity of computers themselves, as Alan Kay and 
Adele Goldberg already in a 1977 essay suggest, with their understanding that 
the Dynabook (an early multimedia computing system) should be viewed as a 
medium in and of itself while simultaneously containing the powers of most 
other media put together. Hence already proposing the idea of the computer as 
metamedium.

But the focus of this book is tighter than that and begins by telling the 
history of the gap between the mainstream curatorial contemporary art world and 
the so-called new media art world. This little known history is the crux of 
this pertinently revised, updated version of an earlier 2010 book Quaranta 
published in Italian, with the title Media, New Media, Postmedia (Postmedia 
Books, Milan). Through the circulation of interviews around that book, Quaranta 
contributed a bit to the heated debate outside of Italy concerning the majority 
of powerful contemporary art historians and curators’ ignoring (in what seemed 
like a blanket rejection) of new media and digital art per say, and their 
enforced taboo against artists who address our era of digital technology 
head-on.

more…
http://www.on-verge.org/reviews/book-review-beyond-new-media-art/
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Re: [NetBehaviour] DAP-Lab's new dance opera

[Johannes Birringer]

Dear all -

A few tickets are still left, do join us at our new show





The forthcoming premiere of DAP-Lab's new dance opera, for the time being 
[Victory over the Sun]

will take place at Lilian Baylis Theatre/Sadlers Wells, London,  on April 3 and 
4.





for the time being  [Victory over the Sun]



a choreosonic dance work

by  DAP LAB



directed by Johannes Birringer  Michèle Danjoux



Thursday  Friday, April 3 - 4, 2014

7:45  pm

Lilian Baylis Studio, Sadler's Wells

Tickets: £ 13.00 / £ 11.00 (concession)



How to book:

Online: www.brunel.ac.uk/daphttp://www.brunel.ac.uk/dap

In person:  Sadlers WellsRosebery Ave, EC1R 4TN

Ticket office:   0844 412 4300

https://tickets.sadlerswells.com/performances.asp?SHOid=1320





DAP-Lab ensemble returns to Sadler's Wells with for the time being, a 
choreosonic dance work which  explores the sound of movement  in a performance 
inspired by the Russian Futurist opera Victory over the Sun (1913) and its 
fantastical visual designs.  Taking a contemporary slant on the 'Futurian' 
world imagined by this astonishing multimedia work of the early twentieth 
century, the maverick ensemble of the DAP-Lab performs its unique blend of 
design, choreography and live music in an intimate chamber work that looks at 
the fragmented  home of our precarious existence in a world full of outworn 
clichés of revolutions.



Stage direction by Johannes Birringer

Fashion design concepts and art design by Michèle Danjoux



Featuring:  Yiorgos Bakalos, Rosella Galindo, Manaskarn Insang, Yoko Ishiguro,  
Ross Jennings,  Aggeliki Margeti, Vanessa Michielon,  Helenna Ren, Caroline 
Wilkins  (performers)

Live sound processing and music by Oliver Doyle  Caroline Wilkins; 
Audiophonics design by Michèle Danjoux, Graphics/Kinect interface design by 
Cameron McKirdy, Electronics and sound by John Richards, Videography by 
Johannes Birringer, Lighting by Maria Alves; Technical operations by Elliott 
O'Brart, Special Light/Sound Effects by Aleksandar Tomic.





This project is supported by a grant for METABODY: Media Embodiment Tekhne and 
Bridges of Diversity (EU Culture Program)  and The Centre for Contemporary and 
Digital Performance at Brunel University, London.


Website:
http://people.brunel.ac.uk/dap/
http://www.dance-tech.net/events/for-the-time-being-victory-over-the-sun
For further information or photos, call +44 (0)1895 267 343
Email:  johannes.birrin...@brunel.ac.ukmailto:johannes.birrin...@brunel.ac.uk



https://www.facebook.com/johannes.birringer

Twitter:  @DAP_Lab




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Re: [NetBehaviour] DAP-Lab invites

[Johannes Birringer]

Dear friends:



The Design and Performance Lab (DAP) is pleased to announce that its wearable 
designs, created by Michèle Danjoux,  have been featured on BBC World Service, 
in a special edition of the programme 'Click from the BBC's radio theatre at 
7pm (live) on 25 February.  This is an hour long programme looking at aspects 
of wearable technology, including DAP-Lab, Atau Tanaka, Cute Circuit, Google, 
etc. ...podcast is here:   http://www.bbc.co.uk/podcasts/series/digitalp



Then we will have films exhibited at



JAMarrama,  28th February 2014. 7pm-11pm

MCA (Museum of Contemporary Art Australia),

140 George Street

The Rocks, SidneyNSW 2000, Australia

curated by Chicks on Speed



and our dance film Lung Pulmo Pneumo  in an installation at



Cinedans // Dance on Screen Festival,  12-16 March, 2014

The Eye,

Amsterdam

The Netherlands

http://cinedans.nl/home





The forthcoming premiere of our new dance opera, for the time being [Victory 
over the Sun] will take place at Lilian Baylis Theatre/Sadlers Wells on April 3 
and 4.

Please, come and join us for one of the performances in the upcoming period:





for the time being  [Victory over the Sun]



a choreosonic dance work

by  DAP LAB



directed by Johannes Birringer  Michèle Danjoux



Thursday  Friday, April 3 - 4, 2014

7:45  pm

Lilian Baylis Studio, Sadler's Wells

Tickets: £ 13.00 / £ 11.00 (concession)



How to book:

Online: www.brunel.ac.uk/daphttp://www.brunel.ac.uk/dap

In person:  Sadlers WellsRosebery Ave, EC1R 4TN

Ticket office:   0844 412 4300

https://tickets.sadlerswells.com/performances.asp?SHOid=1320





DAP-Lab ensemble returns to Sadler's Wells with for the time being, a 
choreosonic dance work which  explores the sound of movement  in a performance 
inspired by the Russian Futurist opera Victory over the Sun (1913) and its 
fantastical visual designs.  Taking a contemporary slant on the 'Futurian' 
world imagined by this astonishing multimedia work of the early twentieth 
century, the maverick ensemble of the DAP-Lab performs its unique blend of 
design, choreography and live music in an intimate chamber work that looks at 
the fragmented  home of our precarious existence in a world full of outworn 
clichés of revolutions.



Stage direction by Johannes Birringer

Fashion design concepts and art design by Michèle Danjoux

Featuring:  Yiorgos Bakalos,  Manaskarn Insang, Yoko Ishiguro,  Ross Jennings,  
Aggeliki Margeti, Vanessa Michielon,  Helenna Ren, Caroline Wilkins  
(performers)

Live sound processing and music by Oliver Doyle  Caroline Wilkins; 
Audiophonics design by Michèle Danjoux, Graphics/Kinect interface design by 
Cameron McKirdy, Electronics and sound by John Richards, Videography by 
Johannes Birringer, Lighting by Maria Alves; Technical operations by Elliott 
O'Brart, Special Light/Sound Effects by Aleksandar Tomic.





This project is supported by a grant for METABODY: Media Embodiment Tekhne and 
Bridges of Diversity (EU Culture Program)  and The Centre for Contemporary and 
Digital Performance at Brunel University, London.



Website:  http://people.brunel.ac.uk/dap/

http://www.dance-tech.net/events/for-the-time-being-victory-over-the-sun

For further information or photos, call +44 (0)1895 267 343



we would be happy to welcome you on one of the occasions.

Warm regards

jb
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Re: [NetBehaviour] Visceral circuitry emergent body

[Johannes Birringer]

Hi
fascinating work Marco, and enjoyed seeing you demonstrate it at CYNETarts
and in London when we met; 

here the work you posted (called sound sculpture)
again raises interesting questions for me that I am not sure how to formulate;
 performance wise and presentationally (lighting) the focus is placed on hands, 
but it's the
muscles and arms that also are factors (c an' t see the sensors/wiring), perhaps
hands are at outer perimeter of the flexed muscles of whole arms / lower arms 
your sensors sense,
and perhaps you do perform with a whole circuitry / Visceral circuitry 
emergent body
as you say, or not?  but how does the whole become performed-embodied into 
the sound (and our
image of hands clasping)?
-- I also felt there was a range of sound that obviously flows changes flowing 
through your patch
(software) and not through your body/only from body, i.e. how does your sound 
emerge
from body except metaphorically? or is what we hear coming from Xth Sense”  
amplified muscle contractions -- 
how does Xth Sense do that? I think  asked you this before, so maybe accept it 
please as a naive audience questions raised
in one's mind, how do you choose what sounds we hear (how is interactivity 
per-formed?) and
how do the soundfiles n your laptop get processed/affected by your muscular 
activity? are
there no soundfiles until the XttSense sends signals?

regards
Johannes 


++

On Mon, 17 Feb 2014 15:11:52 +
Marco Donnarumma li...@marcodonnarumma.com wrote:


 An incarnated sound sculpture
 https://vimeo.com/86766860

 comments, critic, ideas are very welcome,
  best wishes,

Just curious if it's also possible to get the noise of fluids moving
around the body, such as blood and joint fluids? Also bone vibration
pickup? (ie when wearing ear-plugs one becomes quite aware
of how much noise (ie footsteps) is transmitted through bone, though
perhaps you don't want to turn it into a Stomp)...

And curious as to whether the range of sound - new sounds (tone) come in
roughly half way or more through, is this a software parameter changing
or caused by the flexing of muscle not flexed until then? How many
muscles are being sensed?

James.
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Re: [NetBehaviour] Prelude

[Johannes Birringer]

a beautiful orphanprelude, thank you Alan


regards
Johannes Birringer



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] on behalf of Alan Sondheim 
[sondh...@panix.com]
Sent: Thursday, January 09, 2014 5:02 AM
To: netbehaviour@netbehaviour.org
Subject: [NetBehaviour] Prelude

Prelude

http://www.alansondheim.org/prelude.mp3

this is a prelude to a song
or it is an accompaniment to a song
or a prelude to an unwritten song
or an accompaniment to an unwritten song
or a prelude to an unfinished song
or an accompaniment to an unfinished song
or a maquette or a structure for a song
or a tune or a background for a song
or a foreground for which a song is a background
or a duet with a song that is yet unwritten
or a duet with a song that is unfinished
or a prelude to an accompaniment for a song
this is almost an unfinished song
and almost a prelude to a song
or rather it is a prelude without a song
or rather it is an accompaniment without a song
this is an orphan prelude and a song
or this is a prelude and an orphan song
or this is a prelude and an orphan
and this is none and none of the above
or more of the below, yes, i believe, this
  is more of the below







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Re: [NetBehaviour] CYNETart 2013 festival and MetaBody

[Johannes Birringer]

hi everyone,

I should have sent this out last week before the CYNETart 2013 festival in 
Dresden/Hellerau [Germany] got under way,
but perhaps you heard about it already, and know about this annual exhibition, 
performance, and music event.

Together with Michèle Danjoux (DAP-Lab), we tried out a film-and-live-demo of 
some of the audiophonic garments and our concepts for sonic choreography for 
DAP's new production 
for the time being/Victory over the Sun.  It was pretty interesting to show 
some film excerpts from the larger work at that festival:

https://www.facebook.com/photo.php?fbid=10151793880167339set=a.10151793877512339.1073741829.168095582338type=1permPage=1

https://www.facebook.com/photo.php?fbid=10151793880057339set=np.35303006.13403212468type=1

and in the particular  Metabody context  (the costumes were shown on 
mannequin and one was also demo'ed by a Canadian dancer who volunteered to wear 
RedMicroDress (the second mannequin broke its wooden foot))...
The METABODY project is led by Jaime del Val/Reverso (Madrid) who along with us 
scripted  its philosophy and working method (we are about 12 associate 
partners, so the team is quite large, differentiated, and the organisation is 
complex,  stretching over 5 years): See:  http://www.metabody.eu/   and for 
Dresden see:  http://metabody.eu/conference2.htm

regards
Johannes Birringer
DAP-Lab
http://www.brunel.ac.uk/dap
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Re: [NetBehaviour] Turning Social Media into Creative Media

[Johannes Birringer]

i n v i t a t i o n ::

PERFORMANCE RESEARCH SEMINAR/WORKSHOP 
Wednesday, October 23, 2013 , 16:oo – 18:oo
Gaskell Bldg 048Drama Studio Brunel University, London, UB* 3PH
(off Cleveland Rd

featuring

 Joumana Mourad
(IJAD Dance Co.)

“Physical Theatre  Network: Turning Social Media into Creative Media”


This workshop/seminar explores connecting places and people with creative 
expression and asks: How can the digital world help the arts break physical 
boundaries? Digital technologies have changed the way we interact with the 
world in ways not thought possible ten years ago. We want to change it again by 
using social media as a tool to interpret and share artistic content as part of 
a creative process which produces a performance. Our workshop there is “Open 
space” (Bring: Smartphone, tablet, camera, laptop and loose clothes to move in. 
There will be movement involved from a contemporary dance angle, however there 
are other ways to participate if you don’t want to do so physically. We will be 
experimenting with Facebook, Twitter, Qr codes, Google maps, cameras and camera 
phones, and any other platforms you feel comfortable using.

Joumana Mourad is a dancer, choreographer and the artistic director at IJAD 
Dance Company.
Joumana is of Lebanese and Argentinean origins and both cultural 
influences have informed her work: her
movement language, which is a hybrid of 
a range of styles such as Raqs Sharqui, physical theatre, contemporary and 
neo-classical but the outcome is essentially contemporary. She is drawn towards 
immersive forms for engaging her audience. Her early dance training began in 
Beirut and continued at the Laban Centre, London. Following the completion of 
her MA in Dance and Choreography at Middlesex University Mourad has created 
productions for IJAD as well as choreographing for a diverse spectrum of 
organisations that include; Jumeira Productions, Piedo Dance Company USA, 
Polite Company, the National Youth Music Theatre Company and US Advertising 
Agency Big Photographic  
IJAD:   www.ijaddancecompany.com

Entry: Open to All

Performance   Research Seminar Coordinator: Johannes Birringer
All Research Seminars are co-produced with dance tech live TV and streamed 
online as well as archived. In collaboration with 
http://www.livestream.com/dancetechttvlive
DAPLab.TV:  http://dance-tech.tv/videos/daplabtv/


Please visit our website:  http://people.brunel.ac.uk/dap/boiler13.html

+
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Re: [NetBehaviour] Cocteau Piaf died on the same day + the list of Pair Disappearing Act +Munro

[Johannes Birringer]

“Je peux mourir aussi?


yes, must agree with Ana, Fung-Lin is our obituarian,
mordently attentive, with posture pensive and picturesque. Like a raven 
charming our tombs.

thanks
Johannes


Ana Valdés [schreiibt]


Fung I love your site, nostalgia and wit.
Ana





 11 okt 2013 kl. 18:14 skrev Fung-Lin Hall h...@mutanteggplant.com:

 Jean Cocteau and Edith Piaf died on the same day..
 http://www.mutanteggplant.com/vitro-nasu/2013/10/11/cocteau-piaf-died-on-the-same-day-the-list-of-pair-disappearing-act/
 See the list of other pairs who died on the same day..

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[NetBehaviour] Digital Transformations in Music for Dance

[Johannes Birringer]

Friday, October 11, 2013, 2:15 – 3:45 pm   (EST)

//Conversations on 21st Century Technologies and the state of a global identity 
in Dance and Music //---
Choreographer Johannes Birringer and Dance Musician Manjunan Gnanaratnam

as part of
International Guild of Musicians in Dance:
SUNY Brockport Music for Dance Conference:
Digital Transformations in Music for Dance,
October 10-13, 2013

Johannes Birringer and Manjunan Gnanaratnam will discuss a wide range of topics 
related to today’s technologies in dance and music. Specifically, they will 
discuss Johannes Birringer’s  current work and also discuss the topic in 
general terms in relation to performance, collaborations, education, research, 
theory, philosophy, identity; both local and global and current state.  
Audience will have the opportunity to pose questions in the last half hour.


http://igomid.camp9.org/Default.aspx?pageId=1676494


Tamara Wilcox, assistant professor/music director in the Department of Dance, 
chairs this conference on the SUNY Brockport campus October 10-13 featuring 
international dialogues and presentations by some of the world's most esteemed 
musicians in the field of music for dance. Digital technology has evolved at a 
rapid pace. In music for dance, there are new ways to generate sound in 
performance and in the studio, new ways to connect remotely for collaborative 
projects, and new ways to preserve and present research. Therefore, it is 
important for scholars in the field to have critical dialogues about these 
changes.


Please check the website for announcement of livestream



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Re: [NetBehaviour] cerebral organoids

[Johannes Birringer]

 their 
usual method. But the resulting organoid was not the same as those made with 
skin cells from healthy patients. The microcephaly organoids had progenitor 
cells that divided strangely and generated neurons too early. The result was 
fewer neural progenitor cells, which could explain the smaller brain sizes seen 
in people with the condition, Lancaster said.
Yoshiki Sasai of the RIKEN Center for Developmental Biology in Kobe, Japan, a 
leader in the field who was not involved in the study, called the work with the 
microcephaly cells an important advancement that showed why self-organizing 
cultures are preferable to traditional, two-dimensional cells in a dish.
Organoids could also be used to test drugs that might mitigate symptoms of 
microcephaly and other diseases, Wynshaw-Boris said.
Wynshaw-Boris said he would like to use organoids in his own research, which 
seeks to unravel the mechanisms behind autism and lissencephaly, a 
developmental disorder in which the surface of the brain never develops its 
characteristic folds and grooves. It is caused when neurons don't migrate far 
enough through the layers of the cortex, though scientists aren't sure exactly 
why they remain deeper in the brain than normal.
Knoblich and Lancaster said they hoped to figure out ways to improve the 
layering in the dorsal cortex tissues in their organoids to make a more 
realistic model.
The group has no plans to try to generate a functional brain. That would be 
extremely difficult because the organoids don't have vascular systems to 
deliver nutrients to the cells, or circuitry to transmit any sensory 
information, among other practical barriers.
He also said he thought such a pursuit would be unethical.






On Thu, Aug 29, 2013 at 12:16 PM, Johannes Birringer 
johannes.birrin...@brunel.ac.ukmailto:johannes.birrin...@brunel.ac.uk wrote:

Found an article today, in the Frankfurter Allgemeine Zeitung  (photo of brain 
embryo attached)

Zerebrale Organoide:  Was macht man mit so wenig Hirn? [cerebral organoids: 
 what to do with so little brain?]

http://www.faz.net/aktuell/feuilleton/zerebrale-organoide-was-macht-man-mit-so-wenig-hirn-12550596.html

The in vitro creation of a human brain from embryonic stem cells is the 
culmination of a biotechnical chain reaction:
The breeding planning and bioengineering control of the body advances over a 
new threshold.

The experiment was done in Austria (Wiener Institut für Molekulare 
Biotechnologie).

Looked at the picture for a long time. This cell culture is very tiny, it 
appears;  the stunned reactions by readers of the article
are enlarging it already.


regards
Johannes Birringer
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Re: [NetBehaviour] cloud chambers and Delusion of the Fury

[Johannes Birringer]

dear all

on another note, and just having corresponded with Alan Sondheim on various 
instruments he is playing, I want to report on a premiere that happened in the 
Bochum Jahrhunderthalle last week, during this year's Ruhrtriennial Festival.  
It was the performance of a most unusual music theatre piece,  Harry Partch's 
Delusion of the Fury (from 1969) --  a massive production directed by Heiner 
Goebbels and performed by the Ensemble musicFabrik.

I saw a summary report on the performance on ARTE, our cultural tv channel, and 
then also tracked a review in DIE ZEIT which will interest musicians and 
percussionists amongst you as the review, titled Töne im Bergwerk (by Wolfram 
Goertz)

http://www.zeit.de/2013/36/komponist-harry-partch-ruhrtriennale   [  
http://www.youtube.com/watch?v=U6Ef2C-jgQw  ]

has an embedded v i d e o  in it, in english and german, which shows how 
musicians from Ensemble musicFabrik took great care to rebuild, painstakingly, 
the instruments that Partch had originally designed and built according to his 
own tone system.  Some of these instruments are quite large and bulbous, 
strangely mysterious as well; I tried to take notes, listening to the musicians 
talk about the instruments and demonstrating them, 
particularly engaging is flutist Helen Bledsoe who is sampling and measuring 
pitches;  at the end you can also hear the ensemble perform.  Here are some of 
the instruments -- and i'm not even sure whether these names refer only to 
instruments or also to compositions and sections from Delusion of the Fury

-  Glass bowls  (Thomas Meixner, percussionist, introduces  them and how 
they are cut)
- “Cloud chamber bowls”

- Spoils of war  (percussion instruments:  (marimba, blue spoils of war,  
güiro, wood block, bamboo marimba instruments, glass bowls, high and low, tins 
(with foot pedal)

- Kithara (sequence of sideways guitars, strings, with resonsant body (wood), 
the musician says basically 12 guitars in a row (with 6 strings, tuned in a 
particular way), pyrex-bars to slide along
strings to produce the slide guitar like sound, with metal bars, resonators, 
using also old cello strings, piano strings,  something out of brass, small 
holes for the strings , bridge, etc)

- Adapted Guitar

-Eucal Blossom

-Gourd Tree and Cone Gongs

-Harmonic Canon

-Crychord

-Mazda Marimba

-Quadrangularis Reversum

- Marimba Eroica

-Castor and Pollux

-Zymo-Xyl



Enjoy. Ah, the pleasures of being an instrument builder!

with regards
Johannes Birringer
Interaktonslabor
http://interaktionslabor.de
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[NetBehaviour] herbert blau +

[Johannes Birringer]

with sadness I learn that
a great theatre director, intellectual and mentor 
- Herbert Blau - died last weekend.

http://theater.nytimes.com/2013/05/08/theater/herbert-blau-iconoclastic-theater-director-dies-at-87.html

he was working on a second volume of his memoirs, the last time i heard from 
him, and now he may not
have been able to complete it, and all the remembrances. 

johannes birringer
dap-lab, london
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Re: [NetBehaviour] Artaud Forum 3 in London

[Johannes Birringer]

ARTAUD FORUM 3: Theatre and Resonant Politics 

International Conference-Workshop on Theatre Praxis 

Saturday March 23 - Sunday March 24 2013


http://artaudforum3.eventbrite.com

A two-day conference on theatre, the body, and politics, held at Brunel 
University’s Antonin Artaud Performance Centre.

 ‘Theatre and Resonant Politics’ examines theatre as a site of disciplining 
bodies towards participation in political regimes – as well as a site in which 
bodies, resonating with each other, might resist. Recent political events 
including the ‘Arab Spring’ and the Occupy movement around the world 
demonstrate the power and relevance of resonant politics. The sympathetic 
reverberations of these movements show a sense of commonality that does not 
rely on identification Jochem Naafswith political parties, leaders or 
ideologies. Rather, such events are instances of large-scale corporeal 
resonance — a sympathetic vibration between the bodies amassed in the public 
square, the park, the occupied lecture room, across networks. 
 Through the lens of corporeal/bodily resonance this symposium-workshop opens 
up questions of performance training, spectatorship and affect. The event 
features practical workshops, performances, paper panels, roundtable 
discussions, and keynote presentations. It brings together international 
theatre, dance, performance and sound artists, musicians, digital artists, 
theorists and researchers engaged in creative practices that reflect on major 
innovative performance traditions of the past century and their impact on 
current performance knowledge  physical techniques.

 Curated and organised by Johannes Birringer and Broderick Chow

Keynote Speeches from:
 Jon McKenzie (University of Wisconsin): ‘Remediating Performances’
 
 Sophie Nield (Royal Holloway, University of London): 'Resonance and 
Representation: Playing the People in the Public Sphere'
 Physical Theatre Labs with:
The Dangerologists (Broderick Chow  Tom Wells): Wrestling and Corporeal 
Resonance – Politics Between Bodies
 
 Joumana Mourad / IJAD Dance Company: Turning Social Media into Creative Media

Performances and Installations by:
Luis C. Sotelo-Castro: A Citizenship Ceremony with a difference... performative 
archaeology of Colombian migration into London
The Dangerologists: Untitled (Work-in-progress)
 Jon McKenzie: The Revelations of Dr. Kx4l3ndj3r (Video)
Joumana Mourad/IJAD Dance Company: In-Finite (Video)

Paper Presentations by:  Ava Ansari/Vasilios Arabos/Yvon Bonenfant/Stephen 
Bottoms/Marios Chatziprokopiou/Victoria Gray/Anwen Jones/Eve Katsouraki/Carl 
Lavery/Lynne McCarthy/Jochem Naafs/Andrew Quitmeyer
See full schedule on: http://people.brunel.ac.uk/dap/artaudforum.html

This event is sponsored by the Centre for Contemporary and Digital Performance 
and supported by the Brunel School of Arts and Brunel University Graduate 
School.
Prices above include catered lunches and dinner buffet on 23 March. Concessions 
available.

+
prices are:

£70 Two-Day (Waged)
£35 Two-Day (Students/Unwaged)
£35 One-Day (Waged)
£20 One-Day (Students/Unwaged)

And the fee includes lunch/buffet dinner on 23 March and coffee/tea. 



Prof. Johannes Birringer
Director, Center for Contemporary and Digital Performance
School of Arts 
Brunel University
West London 
UB8 3PH   UK
+44  (0)1895 267 343  (office)
http://people.brunel.ac.uk/dap/condip.html
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Re: [NetBehaviour] Would like comments in relation to an upcoming talk -

[Johannes Birringer]

dear Alan, and all

interesting idea (not 'back channel' now) to ask in public, here,  how you
might prepare thoughts on the question of 'What is to be done' or 
'What's next'?, and it would interest me how you began to plan your 
notes, for example the way you seem to want to address species extinction
and 'biodiversity loss',  and how you felt inspired to go to Toronto --

not having heard of HASTAC before, i had to track that, and found their
call for thoughts titled: 

The Storm of Progress: New Horizons, New Narratives, New Codes
April 25-28, 2013 York University, Toronto, Canada

[underneath this:

What’s next? 2013 marks the 10th anniversary of HASTAC’s founding. 
In that spirit we invite work that is either reflective or prescient, that 
evaluates our history and seeks to construct our future(s). 
We invite you to take this opportunity to look back, theorize and archive. 
We invite you to engage in the creative, if impossible, attempt 
to glimpse the digital future. We challenge you to shape it. 
We invite you to share how you, your team, your research lab, your classroom, 
or your students are 
building the technologies and subjects of the future right now or imagining new 
horizons of possibility 
for the ways in which we will make, teach, learn and find community in the 
coming decade(s).




So it seems to me one thing in that announcement which made me curious is the 
subliminal reference
to Walter Benjamin's angel of history (at the end of his ninth thesis in the 
essay “Theses on the Philosophy of History)
and that angel, like you Alan (well, it was Paul Klee's painting that triggered 
Benjamin's comment), is looking 
on in despair on the increasing ruination of the civilizations, an angel in 
ruins with an angle on slaughter.  

is this what you have in mind too, to think on such a reflection of
consequences of technological progress ( your last thesis: How many artists, 
driven by teleology, are
always already on the hunt for new forms of mappings, new modes of data
analytics.  How we abjure responsibility, disconnect radically. How we
favor the human over other species)?  are you mocking the idea of us, humans, 
to shape
any future in the building the technologies of such future?


with regards
Johannes Birringer
 





From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] On Behalf Of dave miller 
[dave.miller...@gmail.com]
Sent: Saturday, March 16, 2013 11:56 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] Would like comments in relation to an upcoming talk 
-

Certainly the digital, even augmented reality or Google Glass, creates
distance between ourselves and the world around us; what's added are bits.
This distancing, which is both clever and fast-forward technology-driven,
may be more part of the problem than the solution

Hi Alan, your thoughts on AR are really great - I'd never considered
this - with AR we are augmenting with bits, but AR is also creating
distance between ourselves and reality. I think you're right,
especially when we think of the experience of headsets and goggles.

dave

On 16 March 2013 01:09, Alan Sondheim sondh...@panix.com wrote:


 Hi - Need help! I'm giving a panel talk at the Hastac Conference in
 Toronto, at the end of April; my proposal was as follows -

 I'd like to do a full talk, dealing with What is to be Done, with issues
 of animal and plant extinctions, with degrees of hopelessness, with the
 mass Permian extinction, with images of escape in Second Life and
 elsewhere, with the damnation of technophilia and Google Glasses. I would
 talk from notes and project, not read a paper (I never write papers to
 read), but could turn the notes in later of course. This is a theme I've
 been harping on more and more - how to deal with absolute despair and the
 despair of the absolute.

 I've written out (most of) an outline below, and would appreciate any
 comments you might have. I realize my naivete in relation to the subject,
 and I'm trying to get away from just gut feelings and say something
 useful, with some sort of clarity. Please send me any thoughts; you can
 write me back-channel (what an old expression!) and thanks,

 - Alan

 =

 a. I am no expert in plant and animal extinctions; things seem complex on
 the level of the species, and here I deeply find myself at a loss; there
 are too many contradictory statistics for a layperson to disentangle, not
 the least of which is the definition of 'species' (for example, there are
 subspecies, morphs, etc.), and species' interrelationships.

 a.1. I am also no expert in bio-ethics or ethics in general. I do believe
 that the habitus, biome, communality, are more important than individual
 saves which take on symbolic status and often lead nowhere. I don't
 believe in instrumentalist arguments, that the natural should be saved by
 virtue of its use-value (say

Re: [NetBehaviour] Año 55 de la Revolución!

[Johannes Birringer]

Año 55 de la Revolución!

it has been that long, can you imagine?
here a text the 'Casa' sent me from La Habana
peace xx
Johannes



Declaración de la Casa de las Américas

Ante la muerte, este martes 5 de marzo, del presidente venezolano Hugo Chávez


La muerte del gran conductor Hugo Rafael Chávez Frías priva a Venezuela de su 
máximo líder, y a toda nuestra América del extraordinario artífice de su 
unidad. Pero lo que Chávez logró hacer desde finales del siglo pasado, y en 
especial en este siglo XXI, permite asegurar que su desaparición física no 
implica, en forma alguna, la de su enorme contribución.

Venezuela mantendrá, gracias a su pueblo, a su gobierno y a sus fuerzas armadas 
inquebrantablemente fieles a su legado, el camino abierto por él. Y las 
realizaciones de carácter continental que auspició (baste mencionar algunas 
como el Alba, la Unasur y la Celac) constituyen hitos vivientes donde perdurará 
su obra.

La Casa de las Américas ha expresado en reiteradas ocasiones su admiración y su 
gratitud por la excepcional faena integradora del ser humano mayor que fue, que 
es. Desde la labor que es nuestra razón de ser, acercar culturalmente a la 
América Latina y el Caribe, no nos cansamos de exaltar y agradecer lo que 
Chávez ha hecho para que ese acercamiento incluya lo esencial de nuestros 
países. Con total coherencia él llamo al suyo República Bolivariana de 
Venezuela.

En su «Canto a Bolívar» Pablo Neruda le hizo decir al Libertador que despertaba 
cada cien años, cuando despierta el pueblo. Con el gran compañero Chávez, 
Bolívar volvió a despertar. La acción de ambos no está solo en el pasado, sino 
en el presente creador y en el porvenir, en el mundo mejor que es posible y 
necesario. Chávez pervivirá en ese mundo, el cual conservará con orgullo el 
nombre de quien luchó sin cansancio, hasta su último aliento, por traerlo a la 
vida.

Hasta la victoria siempre, invicto comandante.

5 de marzo de 2013.
Año 55 de la Revolución.
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[NetBehaviour] Brunel Performance Research Seminar - March 13 - on curating performance and new media art

[Johannes Birringer]

i n v i t a t i o n  ::


CENTER FOR CONTEMPORARY AND DIGITAL PERFORMANCE 

invites you to:

PERFORMANCE RESEARCH SEMINAR

Wednesday, March 13, 2013

Gaskell Bldg 048Drama Studio, Cleveland Rd,  West London
16:oo


Irini Papadimitriou  /Mark Garrett
[Watermans Art Centre]   [Furtherfield]


Curating Performance and New Media Art 


The guests will discuss curating new media practices as ways of creating 
/opening up new 'spaces' (platforms) of collaboration and encounter, exchange 
of ideas with audiences. Work at the intersections of art, science, technology 
challenge institutions and curators, so can we invent new ways or develop 
existing models or presenting new media wor , and this of course also includes 
digital performance. 

Irini Papadimitriou is part of the Digital Programmes Team at the VA, mainly 
responsible for the monthly Digital Futures and Digital Drop-in programmes 
where artists/designers/technologists are invited to share work and research 
with fellow professionals and the public with a particular focus on processes 
and work in progress rather than finished work. She also curates the annual 
Digital Design Weekend, a weekend of events during the London Design Festival 
at the VA, including interactive installations, talks and performances, 
hacking and tinkering projects, workshops and more. Irini is also the Head of 
New Media Arts Development at Watermans Arts Centre 
[http://www.watermans.org.uk/], a space with a long history and commitment to 
presenting innovative work as well as supporting artists working with 
technology. 

Marc Garrett is an artist, writer, curator and activist. Co-founder of 
Furtherfield with artist, writer and curator Ruth Catlow , an online community 
for art, technology and social change since 1997; now also a public gallery in 
the heart of Finsbury Park, London. Garrett has Co- curated many contemporary 
Media Arts exhibitions, projects nationally and internationally. Co-editor of 
Artists Re :Thinking Games (2010) and co-curator for Collaboration and Freedom 
- The World of Free and Open Source Art (2011) a collection for Arts Council 
England and the P2P Foundation. Was main editor and host of Furtherfield's 
critically acclaimed weekly broadcasts on UK's Resonance FM Radio, a series of 
hour long live interviews with people working at the edge of contemporary 
practices in art, technology  social change (2010-11). Main editor of 
Furtherfield for reviews, articles and interviews. Currently researching a 
Media Art history Phd at the University of London, Birkbeck College. 
[http://www.furtherfield.org/]




Performance  Research Seminar Coordinator: Johannes Birringer

+++

All Research Seminars are co-produced with dance tech live TV and streamed 
online as well as archived.
In collaboration with http://www.livestream.com/dancetechttvlive
DAP-lab.TV: http://dance-tech.tv/videos/daplabtv


Please visit our website:  http://people.brunel.ac.uk/dap/boiler13.html
 for further descriptions of the topics and the visiting artists.
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Re: [NetBehaviour] for the time being at KINETIKA

[Johannes Birringer]

dear all

if you are in London this weekend, please join:


DAP-Lab is proud to present:

a demo performance from the Prolog of  for the time being - --
audiophonic wearables /Tatlin Tower

Johannes Birringer/Michèle Danjoux (DAP-Lab, art/design directors)
with Helenna Ren (dance) and Sandy Finlayson (sound)

KINETIKA ART FAIR 2013

Sunday, March 3,  15:oo - 15:45
Performance Space

http://www.kinetica-artfair.com/?programme/sun-3rd-march.html
Ambika, P335, Marylebone Road, NW1 5LS (opposite Madame Tussauds – nearest tube 
is Baker Street)


This demonstration-performance features the construction principles of the 
DAP-Lab costumes/wearables for dance and music theatre. The choreographic 
object “TatlinTower” is worn by a dancer in the overture and first scene of 
for the time being, a choreosonic performance created by the DAP-Lab ensemble 
premiered at Watermans in 2012 [http:youtu.be/WeAIYCnsDe4]  The performance 
explores the sound of movement in a stage work inspired by the Russian Futurist 
opera Victory over the Sun (1913) and its fantastical visual designs (by 
Malevich and Lissitzky [1920-21]). 


---

regards
Johannes Birringer
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Re: [NetBehaviour] scent of them / consonances

[Johannes Birringer]

hello Alan and all


since we are in retrospective mode, although also looking forward to changes,
moving, moving out, moving back [?]), and looking at a larger resonance
of conversation, why don;t you please try and find the intimacy.txt
and repost it.  

I would be very interested, after all, the performance
festival is only five years ago, and that book is fresh, and we can
also perhaps address here the question of how others engage
in conversation that can be sustained or opened perhaps (regarding 
music performance or durational time-space in collective improvisation
and instrumentation... the function of the instrument interests me lately,
and i just came back from Croatia where at a dance workshop and
symposium on new technologies, one of the artists, Goran Sergej Pristas,
spoke very eloquently about camera/film capture technology and choreography
and the instrumentalization of  bodies


The opening interests me, if artistic or media or theoretical or political or 
existential
issues come up, here ( and intimacy I think is rather a poignant question, 
also
diversely defined in that book, not just as closeness  or proximity or 
erotic/physical but also as
something that can be threatening, damaging, deceiving, delusive), 
and it would help me to hear from others whether they enjoyed
the thoughts, or found them lacking?

best
Johannes Birringer



[Alan schreibt]

Hi Johannes, I do wish others would post on these topics as well; I always
feel an odd distance on the Netbehaviour list, which I love, because I'm
not in England, can't go and hear Marc for example. Oddly, I was in that
Intimacy show myself and was asked for a text or the text in a sense, but
what I had was a transcription, which I worked on, on the theoretical
issues that formed part of the performance Sandy Baldwin and I did; that
wasn't included in the volume and so I didn't get a copy. Somewhere I
still have the intimacy.txt which is what I'd submitted.
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Re: [NetBehaviour] scent of them / consonances

[Johannes Birringer]

dear Alan and all

fascinating response, thanks for this and the reference to the Morris dancers 
traveling-performing, what an interesting historical reference this is.

But you text vis much richer and probably need careful untuning.
I understand what you about time and duration, and shifts and 
acoustic/amplified music,
and from a physical performance point of view i am very interested in what you 
say about
the work of the muscles or the different techniques needed for bowed and 
plucked
instruments  (in the concert i described the other day, i was watching the 
violonist
during the Klezmer passages, and he did both, that section of the concert, the 
KAFKA,
lasted about 45 minutes, so i guess it can be sustained to play the violin (and 
santur, too, plucked
and touched percussively) in any way.  but durations are a different 
matter, and the traveling
is one aspect we can discuss, the other would be the 'dwelling' (yes, Heidegger 
and i think he speaks
about in-habiting space and a location as home or shelter, place of return, 
which must sound
aggravating to you when you tell us about your troubles with real estate 
speculators/investors in New York
who take away your neighborhood and home.),  and then the time/space or 
beyond of the trance
in the shamanic ritual you mention (Oppitz's film from his ethnographic 
fieldwork in Nepal,  Shamas in the Blind
Country,  5 and 1/2 hour film, for those of you not aware of this masterful 
work) 

i would like to see this film again as i cannot recall the sound now.


with regards
Johannes Birringer



++[Alan schreibt]

with the 96 hour improvisation, shifts were important, people signed up
for certain periods and it was constantly evolving; sometimes people would
come in on their own off-shift, so there was an organicism to it. i was
ill at the time (i've been feeling ill a lot, but nothing serious) and so
i didn't stay into the evenings, which i would have liked to. i think at
night the more jazz-oriented musicians played for some reason, and perhaps
louder; they had the building to themselves, whereas in the day there were
other people around as well. i would have been drowned out; playing
acoustic instruments these days might cut it musically, but not in terms
of amplitude. we're still waiting to hear the board recordings; there were
difficulties when a hard-drive gave out, but the data has been saved. so
we'll have a 96-hour recording which seems wonderful to me, maybe more so
if names aren't assigned to sounds. i'd like to explore more of these
things - not as conceptual/duration events, but as dwelling (was it
Heidegger who made the distinction between dwelling and building - forget
the text, what it means to deeply inhabit a space? - i think of this in
terms of the instruments and books here where i live - we're surrounded by
these, as well as technology of all sorts from 1915-era radios to gaming
laptops) - which carries a sense of the indefinite with it. Foofwa did
long duration pieces, not in time but in space, with the Danceruns that
went maybe 15 kilometers of dance/motion at a time, through cities such as
New York, Cairo, Geneve, Paris etc. - and for me there's also William
Kemp's Kemp's Nine Days' Wonder Performed in a Dance from London to
Norwich Written by Himself to Satisfy His Friends - this from 1600! - he
danced the famous morrisse unto Norwich stopping overnights, accompanied
by pipe and tabor - certainly the first long-duration piece i know of and
it did indeed create a sense of communality along the route; he was
entertained by town mayors and various people would join him along the
way. fantastic! the title is from a pamphlet he wrote describing the
experience.

sustaining such experiences, except for Foofwa's which was continuous,
usually does involve stopping and garnering energy at times; i know -
think i wrote about this - that i have to switch between bowed and plucked
instruments before my muscles freeze up...

i was thinking in fact about the Asian performances you mention, and their
often days-long lengths - if you remember there was also Michael Oppitz'
Shamans of the Blind Country, with the 15-year-old woman on the pole
undergoing trance/initiation - I wish I had that film now! -

it might be just the opposite, maybe these longer forms were common early
on, maybe we're almost literally stepping on time now, as if there were
new lines to cross, new cleverness and salvations just around the corner,
Google Glasses -

- Alan

On Fri, 22 Feb 2013, Johannes Birringer wrote:


 I wonder whether there is such a process as collective improvisation
 in a musical or movement/performative sense, and how long one indeed
 could sustain it.

 It seems, Alan,  you were experiencing the 96 hour concert as such a strong
 continuum, where musicians would arrive, at any given time of that day, those 
 days,
 and start playing with others, and this went on and around,  and I imagine it 
 to
 have been an amazing experience if one

Re: [NetBehaviour] aesthetics / ethics, and can you have a good life?

[Johannes Birringer]

well, dear all
it's over now, just walked away from it, by for the record of
this recording radio, we had a lecture/discussion event tonight of the third 
kind, not sure how to describe it, a symposium complete with clickers (for 
audience vote , pro or con, a first in my life)



Brunel Public Lecture Series 2013
London, UK

Eastern Gateway Building, Main Auditorium

Monday 25 Feb at 7pm
THE GOOD LIFE IS A MATTER OF AESTHETICS RATHER THAN ETHICS

Joseph Giacomin, Johannes Birringer, Peter Wiegold, Peter Beresford

(Chair: Christina Victor)

Can we have a good life without being good people? Can good art be produced by 
bad people? Can we separate the aesthetic from the ethical? Joseph Giacomin 
(focusing on human centred design), Johannes Birringer (theatre) and Peter 
Wiegold (music) will each discuss these contested notions from their 
disciplinary perspective. Peter Beresford will focus upon the need to engage 
all of us in formulating and understanding aesthetics.


Starting from the broad overarching theme of Disputed Territories: Challenging 
Convictions—Contemporary Concerns we have formulated a number of controversial 
‘motions’, which are likely to divide public opinion. During each of the six 
evenings, four renowned Brunel speakers will present their views for or against 
the motion, and the audience will be invited to participate in the debate via 
an electronic voting system and an extended question-and-answer session.
Attendance at all lectures is free and no booking is required. The speakers 
will present their views and ideas in a lively and accessible style, without 
assuming any prior knowledge on the side of the audience. They are guaranteed 
to spark new insights, challenge your beliefs and provide high quality 
‘edu-tainment’, so don’t hesitate to come along!


(Organising Group: Dany Nobus, Thomas Ryan, Akram Khan, Teresa Waller, Andrew 
Ward. Administrator: Caroline Kenealy)


relayed from press info.
++
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Re: [NetBehaviour] scent of them / consonances

[Johannes Birringer]

dear Alan

oh, not at all, i think it was a small language misunderstanding.
I used the term barely in a temporal sense, reflecting on how and whether this
radio, this netbehavior list, can be used for sustainable conversation, and it 
obviously can, but I find it harder.
For me it felt that you had posted a very interesting and thoughtful response 
to my comment
in the middle of the night, and even though I was writing back barely 14 hours 
later
and a few times zones apart, it seemed as if our conversation about durational
performance and music, detuning and détourning, and collective or communal 
playing duration,
had already passed/past its time, its due, it was gone, it seemed ages ago that 
we met, we talked, and 
that you regretted the lack of feedback on the radio,  the network, the 
audiences. 

(It would interest me what others here think about reception, feedback, time, 
reflection and critique, or do we often post our stuff
and hurry on to the next stuff we do, without pausing?)

Alan you had already moved on to post the scent of them text, and your 
comments on the sung lisu.
Aharon then added a personal detail, regarding Edinburgh,  and that interested 
me ––  the moments when our biographies
come into the picture for a tiny moment, and when you then mentioned your 
sleeplessness, and that
this Palgrave book (£55, Amazon has it for £ 47) is too expensive, i had to 
reflect for a moment on that
one too.

Yes, that book (hardback) is too expensive, and I only have it because i am in 
it and the publisher sent me a complimentary copy,
and after reading your text on dead music, i noted that you are cited 
frequently in some chapters (regarding your dead avatars).
The book goes back to a festival,  Intimacy: Across Visceral and Digital 
Performance, held in London in 2007, at which my company showed a dance work
and my design collaborator and I conducted a workshop on sensing/sensortizing, 
and after the 2007 festival, the curators decided it would be a nice
idea to do a book. Well, it just came out and so it only took 4 years.

Now that is a strange time frame, four years, compared to how we post and move 
on here, and that is why i enjoyed your reflections
on other times, your ride across the desert in 1987 after we all left Dallas, 
and i agree with you (and then you contradict yourself), the desert is never 
empty,
and oil cities (like Texarkana) don't rise out of nothing and descent into 
nothing.  Probably you were addressing a sense of history
and sedimentation, other purposes, within/against a sense of the wilding of 
rich deserts. 
(yes, Baudrillard's speculations are quite poor ideological smoke signals; 
there is no Paris, Texas)

In my next posting i will try and comment on a musical experience i had last 
night,
and an instrument i saw in action that I enjoyed a lot, the santur.

best
Johannes Birringer





[Alan schreibt]

Johannes, I'm glad you mentioned the Texas experience because I've seen
nothing else like it. I think the cities are around 400 miles apart, and
the rest is unbelievably emptied. But then I remember reading Baudrillard
on the emptiness of America and finding myself angry, since he assumed
that the desert is blank or void, ignoring the fact it's been home to
Native Americans and wildlife, that it was cultural, responds culturally,
just as much as 'comforting' cities might. It reminds me also of Herzog's
notion of the jungle which was also home and inhabited and cultural /
political, not a brutal or 'seething' nature. My words. Texas is
disruptive too because of the nature of the cities - I remember Marlis
Schmidt who was from Midland, an odd oil city rising out of nothing,
descending into nothing. I wonder if the Sahara is like that.

I did read Sandy's essay in Chatzichristodoulou's book which I could never
afford, but Sandy sent me a copy, and Yes!

So I just wrote John Cayley about seeing him in Providence and the news
came on about another John Cayley who just got charged for reckless
truck driving which killed a police officer. Strange.

Anyway. If I barely replied, I probably did so under a stress medication -
I've been trying to go to sleep around midnight because of our current
stress of things, and Azure has to get up at 6:15 to get to work as a
part-time teaching assistant (there's a hiring freeze for full-tine
teachers here). So at 4:15 I may not have been all there, I probably woke
out of a nightmare (today's was about the Vietnam War).

- Alan, 
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Re: [NetBehaviour] scent of them / consonances

[Johannes Birringer]

I wonder whether there is such a process as collective improvisation
in a musical or movement/performative sense, and how long one indeed
could sustain it.

It seems, Alan,  you were experiencing the 96 hour concert as such a strong
continuum, where musicians would arrive, at any given time of that day, those 
days,
and start playing with others, and this went on and around,  and I imagine it to
have been an amazing experience if one could dedicate time
and enjoyment of time into it. Did performers play right into the small hours of
the morning, and then the morning 'shift arrived?  did some play continuously?
would it make sense to play so long?  in dance terms (raves notwithstanding), it
is not possible of course, nor desirable, to dance continuously, not even
the whirling dervishes do it that long (within the sama ritual) even if, 
thinking of the Indian traditions
of sanskrit drama, kutiyattam, and Kathakali, some of those performance lasted
for a week or more, audience were participating, eating, sleeping, listening.   
 

The communal affect of music (and dance) is powerful and we know this -
i was reminded also of a need for concentration, last night, and I gave it my 
very
best, trying to listen to each instrument of the 'notes inégales ensemble,
performing last night at London's Club Inégales, conducted by Peter Wiegold
(instruments were: violin, clarinet, piano, electric guitar, santur  accordion,
bass, percussion and electric piano) - and also to the words, and the 
historical resonances of the music which was taking off from and returning
to Jewish Klezmer. 

The words came from a recital, by writer Will Self, of Kafka's short story
A Country Doctor,  which was intertwined with the music in a breath-taking
manner i had not imagined possible. It seemed the concert was
improvised almost completely, at least with the writer – the musicians
had a structure and some of the scores available (composed by Wiegold)
as they had already recorded a suite of these Klezmer variations (on CD now)
for the KAFKA'S WOUND project I mentioned here a few months ago 
(http://thespace.lrb.co.uk/ )

it was mesmerizing to listen to the santur, touched lightly with two brushes,
the softness and disappearance of melodic fragments, the faint trickle of bass 
and piano, while the voice
told a story of the doctor's journey into wintry landscape and distant village
where the young man, suffering on his wound, awaits him,  then the 
more dissonant outbreaks of violin, clarinet, percussion, that started with
Klezmer and then drifted into a foreboding, sometimes surreal tonal
scape, not sure, a film/soundtrack of one's imagination, as we huddled,
about 5o people, in a tiny underground bar, connected through 
whatever that music or these words evoked, 'community' I do not know
but a sharedness hard to define, then we break up immediately and walk
to the subway and our way. 

so what binds what? 

 is it, as the music and Kafka imply, the troubled
side, the trauma, in our lives, our near hysteria, which can be contained
if possible for some time? pacified-agitated, transcended? 
This is Klezmer detuned, if i were to use
Alan's phrase, and yet returning, at the end, to something also
ecstatic, gypsy dance-like,  we broke out into wild clapping, no that is
not true,  most everyone clapped in good control of seated body undisturbing
of the neighbor, 
and then the hands clapping stopped, with the last
beat of music. Then the vigorous applause.  Peter sold some CDs later
that evening, cold winds outside, and slow train. 

regards
Johannes Birringer

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Re: [NetBehaviour] scent of them / consonances

[Johannes Birringer]

thanks, Annie, and your reception of the music
 from last December, recorded by Alan and shared here,  is interesting of 
course, 
i would agree (this is not radio), it cannot be listened to on the side while 
doing something else. 

The consonances had a more meditative sensibility and quieted me down,
the December improvisations were intense. 

Johannes

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Re: [NetBehaviour] scent of them / consonances

[Johannes Birringer]

dear all

yes, actually, what's wrong with this
or with the camera and the flow of postings here
that actually won't allow for too much except
too quick/fragmented conversation (about anything) in
particular; 

i don;t know but thanks, Alan,  for your reply..
you barely replied Wednesday (at 4:08 am your time)
but it is barely Thursday evening here in London and
it seems ages ago that I barely registered your
writing on being a radio,  and 10'20 being the longest you
could play fast in one stretch,  and that was a very interesting story you told.

more to say in response, about communal playing duration, but can't now, so 
when i come back you 
will have written more poetry and pesky rhythms of prose while
others post information and other details of behavior. this list is a roller 
coast.
just in case you worry about wishing there were more dialog around the 
work -   I saw some feedback in a new book just out here in England, and
a lovely chapter on your flying hallucinatory avatars:

Sandy Baldwin [2012], Intimate Pevvy Avatars, in: 
Intimacy: Across Visceral and Digital Performance, ed. Maria 
Chatzichristodoulou  Rachel Zerihan, 
Basingstoke: Palgrave, pp. 114-26.


The hallucination-drive from Dallas to Los Angeles I can imagine somewhat
yes, I remember doing long drives in Texas and that enormous state never seemed 
to end
so that was disconcerting in itself as you got hotter in the desert, on your 
seat with the
endless sky outside the frame. 

regards
Johannes Birringer





scent of them. the scent of them is jennifer and this is all you
know of
6   grep -h Forget all you think texts/*.txt  zz
8   grep -h forget all you think texts/*.txt  zz
10  grep -h all you think you know texts/*.txt  zz
12  grep -h All you think  texts/*.txt  zz
14  grep -h all you think texts/*.txt  zz
16  grep -h all you know about texts/*.txt  zz
18  grep -h all you know texts/*.txt  zz
20  grep -h All you know texts/*.txt  zz

thing is wrong with him. In my spare time I read the Iliad. I
know this: _Something is wrong with life... - written July 11,
2008. how much is wrong or interpretation or embarrassment.
already what is wrong with me, this i cannot do, perhaps there
is final minutes, am shaking, no more than - but there is enough
present to indicate that today something is wrong, which, by
virtual of peripheral intuition, may sense something is wrong
quickly because something is wrong; it's the podium. She turns
the lights through for several minutes. Something is wrong; it's
the routine. She concludes Max Nordau is wrong about degenerates
being mystics because it is jagged. Something is wrong with me.
I don't know what's wrong with me.. What is wrong with us that
we thirst for this space? Nikuko Do you like my tits. What is
wrong with your camera. Maryam, what is wrong? a point of of
view, i now can sleep better and i know my best friend is wrong.
--i'm a sick man... something is wrong with my mind. i can't
carry on and there's enough present to indicate that today
something is wrong, animals are stressed, I believe that it's
bad and I don't know who they are but I think that they're bad,
that imminence of the glance. For theory has always had this
wrong - something is wrong with you Nikuko Do you like my
tits. What is wrong with your camera. you say is wrong stop
speaking to driven, there was yet it is wrong to call the fast
and the furious just hear it pronounced. I can't look in a
mirror either. What is wrong with me, but there's enough present
to indicate that today something is wrong with pornography. The
interview's wrong-headed, terrible, embarrassing, hurt and god
forbid i believe it's wrong to slaughter animals but killing
popdognine omfg? wtf is wrong with that girls limbs?
shit. What the fuck is wrong with your head you fucked up
weirdo retro thing you know's bad. You might be thinking,
well, this is his you say it's bad to stop speaking to you say
is wrong stop speaking. But there's enough present to indicate
that today something'ss wrong, and I don't know who they are but
I think that it's bad that they're there and I don't know who
they are. the imminence of the glance, stop looking, they're
bad.


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Re: [NetBehaviour] consonance

[Johannes Birringer]

thanks Alan, for your response, this is helpful and allows more conversation 
here perhaps -
especially since your extended review [Thursday, December 13]  - if anyone is 
interested in the longer review, we should perhaps post it again.
I had not reflected enough in the past on long durations performance 
improvisation;
i only participated in very few marathons, once a 24 hour reading of the Iliad, 
with actors, and 
once a sleep over in a music/sonic arts festival where the musicians played all 
night and we were invited to sleep
on mattresses in the performance space (i was in the audience). I filmed a long 
durational drone music concert with Phill Niblock
but have not musically performed in a collective space of the kind you mention 
for these 96 hours (but for you the playing
was intermittend, not ongoing --  I often wondered about Hsieh, and how he was 
able to perform for a year? Marina Abramovic's
House with the Ocean View lasted for twelve days, I remember going one 
afternoon, in November 2012, it was just a year or
so after 9/11 and the mood was dejected and yet oddly sanctified (?), that 
installation in my mind did not create a communal
space of improvisation, togetherness, exchange and experience of consonances 
and dissonance but was dissinance, in my view,
a faux-ritual, set up for us to admire the daring of the fasting performing up 
there on her pedestals.

Now the concert you described in December seems to have been complex and 
exciting and difficult also, in terms of how we receive or can receive
, say, continuous music how musicians combine and sustain their playing, 
how instruments meet and how vastly differing music styles
can enter confluence.

Still, Susan was as puzzled as I was by your dejected comment on music being 
dead once released, or dead already when not received and feedbacked
or discussed?  surely here people on the list, and the many
who know you, listen to or watch what is posted if they have time, or save it 
as i do for a good moment to ponder, and there is reception.

How is radio received?  how we we feed back to radio?  and why did Benjamin or 
Brecht write radical radio theories back then?

And the dead, of course, are in the majority; so they are hardly useless but 
with us.


respectfully
Johannes Birringer




From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] On Behalf Of Alan Sondheim 
[sondh...@panix.com]
Sent: Monday, February 18, 2013 6:14 AM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] consonance

Hi Johannes and thank you,

There was only verbal feedback mainly from the participants - we had
50-70. It was an odd event, because musicians came in at different times
and played in different groups; I think I mentioned I was there in the
afternoon and so played with very few people - most of the musicians came
in at night. But I logged 28 hours. What I really want to do now (working
on it) is a 24-hour event, which is a lot shorter, but the concept is that
the musicians who participate would remain for the duration. Jackson Moore
who with Chris Diasparra and Edward Schneider (and me) ran the four day
event at Eyebeam, talks about sonic citizenship, and I relate that to
Alfred Schutz' writing on musicians playing together - there are complex
feedbacks and phenomenologies at work in all of this, of course, but
there's also the grace of withdrawal or silence at times. So if we have a
group running and working for a day (with sleep when necessary), I think a
really interesting organic form will emerge - and in fact I can imagine
this in dance, stand-up comedy, all sorts of forms that might lend them-
selves to improvisation. So we're thinking through this, which is really
about thinking through the body in a situation or situations, perhaps
prosthetic, perhaps as raw as iat its moment of birth, etc. etc.

And maybe a dialog will emerge out of this, not a long form and not a long
formlessness, but a long in/formation. I was just reading something by Eve
Fox Keller on slime molds (one of my favorite organisms) in Sherry
Turkle's Evocative Objects, and she touches on these issues, these modes
(or modelessnesses) of organization.

And tuning is continuous and difficult for me, always another form of
feedback, always moving from in- to out-of tune, which is reminiscent of
catastrophe theory's notion of the fragility of the good...

Again, thank you!

Alan -

+++
[Suzon Fuks schreibt]

Yes, Alan, so many things dead, without counting those on hard disks!
Dead things lose their pulse in the ether?
So many cells dying all the timeŠ. Are there uselessŠ? Are dead useless?
No ceremony for these dead.
Šthinking about it, but mostly feeling this strangenessŠ

I meant to wish you happy birthday, long ago!Š
Bz Suzon 

+

On Sun, 17 Feb 2013, Johannes Birringer wrote:



 thanks Alan for sending your music to us
 - i am listening to, and enjoying

Re: [NetBehaviour] 96 Hours

[Johannes Birringer]

retro:


Notes on Music Factory Dec. 8-11
Alan Sondheim



I participated in the Music Factory event at Eyebeam, a continuous 
improvisation over four days, with over fifty musicians. Most of my playing was 
in the morning and afternoon; the larger ensembles were at night. I used a 
number of instruments, including recorders (tenor, garkleinflote, and soprano), 
chromatic harmonica, classical guitar, ukulele, sung lisu, oud, cura cumbus, 
pipa, violin, viola, sarangi, and electric saz. 

Many of these have a 'natural' fundamental or even drones; the pipa for example 
is tuned A-D-E-a (depending on the chosen pitch). Most of the instruments use 
untempered 'natural' scales as well; in other words, they play within one or 
two basic pitches, but may use a variety of intervals built upon them. For this 
reason, they can work awkwardly with western or orchestral instruments (even my 
violin and viola are tuned with drones for example, in an Arabic fashion). On 
the other hand many of the
players at the event used saxophones, which can be bent towards natural scales, 
but excel at running intervals and scales, and timbre changes; they're also 
relatively loud compared to, say, an unamplified oud. With some instruments 
like the sarangi, I found myself trying to play louder and actually making a 
mess of things; the result was so bad, I discarded it.

In the afternoons I often played alone but had some wonderful duets with Chris 
Funkhouser, Ras Moshe, and others; Azure was sick, and wasn't able to sing 
unfortunately. When I played alone, I played 'in the small' and was able to 
develop whatever I was working on; this also held with duets of course, but it 
was odd, soloing for what seemed to be fairly long intervals at times.

In order to explore these directions by the way, I just traded for a tambura, 
in order to work with drones. Drones can be even in intervals of a major or 
minor second, so you have a great number of overtones to play with, which is 
terrific. Another interesting element of tambura – it creates communion in a 
sense, because two people play together, drone and otherwise; it removes the 
isolation that a soloist might feel. And of course metaphorically the tambura 
connects with the cosmos at large - and
I wonder what quaking aspen sounded like, before primates walked the
earth.

At night there were large ensembles; what I heard and saw in the broadcast was 
both brilliant and more jazz/new music oriented. There was a lot of unison 
playing, close to drone but changing (also in the afternoons). I left feeling I 
was among brilliant musicians and disappointed somewhat in myself, particularly 
in relation to sarangi - which I love, and which is difficult at best. I've 
been focusing on it since; I also need to extend my limited repertoires and 
scales on viola and violin. I feel that in the world of improvisation - and 
this is so general as to be nonsense - there are two regimes - I think Alain 
Danielou also talks about this – one which is the western 
scales/harmonies/timbres/horn mechanisms/psycho-acoustics/mostly but not always 
tempered scales/training - and the other, which often works of 
melody/scale/natural temperments/drones/bases and 'returns' (which are 
different than tonic/fundamental), absence of harmony or minimal harmonies 
(gagaku), and different sonic structures altogether (think of the alap in 
raga). The latter favors the instrumentalist or singer, although there are any 
number of large orchestras across Asia, full of color (which is often absent, 
say, in Indian music) and often in unison or fifths. This is so general as to 
be blatantly false. Where it does come into play, is in trying to work or 'fit' 
these different regimes together in improvisation. I do feel it's possible but 
at least for me, I
need to work on amplification systems, both for monitors and room. The latter 
seemed great, for example with electric saz; on the other hand, I couldn't hear 
my own saz playing but had to 'feel' it along, if I were playing with sax. (I 
do hope next time, if there is one, I can bring other oud and guqin players 
along; I tried unsuccessfully.)

The music was phenomenal and there were so many amazing styles, solos, duets, 
combinations of instruments, that things were always exciting. I can't remember 
a dull moment; Jackson's idea of a sonic citizenry or communality held true. 
The staff was also amazing and things ran smoothly. I though a number of us 
would be staying overnight; I napped, but that was all.

What was most impressive was the opening of a kind of space that took on its 
own characteristics over a period of time, that became a habitus opening new 
artistic territory. I'd love to see this happen again, even on an annual basis; 
if we could use miniaturization for recording and work somewhere where the 
staffing didn't have to be quite so on alert, it might work. Certainly the 
experience of what is at least close to a unique and beautiful event is worth 

Re: [NetBehaviour] consonances and resoundings

[Johannes Birringer]

Hi Annie

i reposted Alan's writing on the continuous music event; and if look at my 
files, he also sent some of the music out here.  
[I am sorry for my typo in my posting, the 'Ocean View' long-durational 
installation by M Abramovic was in 2002, not 2012. 
In 2012 she was merely 'present' in the moma, no view of any ocean]


here the sound refs
-
about 25-27 hours improvisation from Eyebeam

http://lounge.espdisk.com/archives/991 (best)

recorded with the Zoom H2; I'm not certain of the players
(except for myself and I'm not that certain even then).
recorded Dec. 8-11 during the 96-hour improvisation; most
of these recordings are from the afternoon. enjoy.

http://espdisk.com/alansondheim/4daymusic/01fin.mp3
http://espdisk.com/alansondheim/4daymusic/02fin.mp3
http://espdisk.com/alansondheim/4daymusic/03fin.mp3
http://espdisk.com/alansondheim/4daymusic/04fin.mp3
http://espdisk.com/alansondheim/4daymusic/05fin.mp3
http://espdisk.com/alansondheim/4daymusic/2(1)fin.mp3
http://espdisk.com/alansondheim/4daymusic/2(2)fin.mp3
http://espdisk.com/alansondheim/4daymusic/3(1)fin.mp3
http://espdisk.com/alansondheim/4daymusic/3(2)fin.mp3
http://espdisk.com/alansondheim/4daymusic/4day3fin(1).mp3
http://espdisk.com/alansondheim/4daymusic/4day3fin(2).mp3
http://espdisk.com/alansondheim/4daymusic/4day3fin(3).mp3
http://espdisk.com/alansondheim/4daymusic/4ifin.mp3
http://espdisk.com/alansondheim/4daymusic/5fin.mp3
http://espdisk.com/alansondheim/4daymusic/60(1)notmefin.mp3
http://espdisk.com/alansondheim/4daymusic/60(2)fin.mp3
http://espdisk.com/alansondheim/4daymusic/60(3)fin.mp3
http://espdisk.com/alansondheim/4daymusic/70(01)fin.mp3
http://espdisk.com/alansondheim/4daymusic/70(3)fin.mp3
http://espdisk.com/alansondheim/4daymusic/70(4)fin.mp3
http://espdisk.com/alansondheim/4daymusic/8fin.mp3

/ Dec 13, 2012 at 3:04 am

This is the result of an event held at Eyebeam -
http://www.newlanguages.org/ - an incredible 96-hour
event. I ran the recorder from an audience seat; the
files might give you some idea of what went on. In the
evenings there were more players but the afternoons (when
I played with others and alone for that matter) had its
own intensities. I want to thank everyone who made this
fantastic event possible - check out the blog, the
Eyebeam site, and Facebook. Thanks, Alan


+++

with archival regards

Gregor*



(that's is a joke only the folks from Zagreb will understand, where i just 
spent a lovely weekend at the Dance Center)



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] On Behalf Of Annie Abrahams 
[bram@gmail.com]
Sent: Tuesday, February 19, 2013 5:08 PM
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] consonance

I missed the long review and can't find it on netbehaviour (sorry)
Would be interested in a reposting or a link

thanks
Annie

On Tue, Feb 19, 2013 at 2:52 PM, Johannes Birringer 
johannes.birrin...@brunel.ac.ukmailto:johannes.birrin...@brunel.ac.uk wrote:


thanks Alan, for your response, this is helpful and allows more conversation 
here perhaps -
especially since your extended review [Thursday, December 13]  - if anyone is 
interested in the longer review, we should perhaps post it again.
I had not reflected enough in the past on long durations performance 
improvisation;
i only participated in very few marathons, once a 24 hour reading of the Iliad, 
with actors, and
once a sleep over in a music/sonic arts festival where the musicians played all 
night and we were invited to sleep
on mattresses in the performance space (i was in the audience). I filmed a long 
durational drone music concert with Phill Niblock
but have not musically performed in a collective space of the kind you mention 
for these 96 hours (but for you the playing
was intermittend, not ongoing --  I often wondered about Hsieh, and how he was 
able to perform for a year? Marina Abramovic's
House with the Ocean View lasted for twelve days, I remember going one 
afternoon, in November 2012, it was just a year or
so after 9/11 and the mood was dejected and yet oddly sanctified (?), that 
installation in my mind did not create a communal
space of improvisation, togetherness, exchange and experience of consonances 
and dissonance but was dissinance, in my view,
a faux-ritual, set up for us to admire the daring of the fasting performing up 
there on her pedestals.

Now the concert you described in December seems to have been complex and 
exciting and difficult also, in terms of how we receive or can receive
, say, continuous music how musicians combine and sustain their playing, 
how instruments meet and how vastly differing music styles
can enter confluence.

Still, Susan was as puzzled as I was by your dejected comment on music being 
dead once released, or dead already when not received and feedbacked
or discussed?  surely here people on the list, and the many
who know you, listen

Re: [NetBehaviour] consonance

[Johannes Birringer]

thanks Alan for sending your music to us
- i am listening to, and enjoying the consonances
and it is good that you have passed them on,
so they won't die and are not already dead or unheard at all. 
I am in fact listening to them and will take them
to the dance studio later, greetings to all of you here from
Zagreb and the Dance Center in the old part of town.

need to talk to you about retuning (retuned sarangi
/ retuned tamburi) and how this works for you.


your long review of the improvisation concert you were involved in, 
the 96 hour continuous performance at Music Factory (back in December),
was so inspiring to me, i was trying to imagine it all,  
also as the unbroken collective statement  that you called it thinking
of the particular shape of this durational event.

did you receive feedback after your writing on this event?  

with regards
Johannes Birringer



From: netbehaviour-boun...@netbehaviour.org 
[netbehaviour-boun...@netbehaviour.org] On Behalf Of Alan Sondheim 
[sondh...@panix.com]
Sent: Sunday, February 17, 2013 8:35 AM
To: netbehaviour@netbehaviour.org
Subject: [NetBehaviour] consonance

consonance

http://espdisk.com/alansondheim/conson1.mp3
http://espdisk.com/alansondheim/conson2.mp3
http://espdisk.com/alansondheim/conson3.mp3
http://espdisk.com/alansondheim/conson4.mp3

alan sondheim with viola and retuned sarangi
azure carter with retuned tamburi

i realize the uselessness of these pieces; for
a long time, there's been little or no comment
and they tend to die. these are made to die,
these are already dead, slipped into consonance
of one sort or another, gathered together like
dead boys and girls in the woods, listening to
grandmothers' and grandfathers' tales before
the blow of the axe, these are just unheard
pieces of music, like me dead before they were
born, disliked and abandoned miscarriages.

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Re: [NetBehaviour] Lichty essay and Sondheim review

[Johannes Birringer]

just to say, thank you, to Patrick Lichty, and to Alan Sondheim, 
for sharing with us their writing on art criticism [Response to Sandler, 
December 14)
and reflections on Music Factory event at Eyebeam [Notes on Music Factory Dec. 
8-11, December 15]
- I found both pieces truly fascinating, insightful and thought-inspiring.


best wishes
Johannes Birringer 
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Re: [NetBehaviour] announcing: ARTAUD FORUM 3 - Theatre and Resonant Politics

[Johannes Birringer]

i n v i t a t i o n  : : 



We are excited to announce our two keynote speakers for Artaud Forum 3: 
Theatre and Resonant Politics,   23-24 March 2013 at Brunel University London.

Jon McKenzie (author of Perform or Else)
Jon McKenzie is Professor of English  at University of Wisconsin and Director 
of DesignLab, a media design consultancy for student media projects whose 
mission is to democratize digitality. He also also coordinates the Digital 
Humanities Initiative, a network of faculty, librarians, and technologists. 
Both projects are applied research into cultural, technological, and 
organizational performance and the shift from disciplinary forms of knowledge 
and power to those of global performativity.



Sophie Nield
Dr Sophie Nield is Senior Lecturer in Drama at Royal Holloway, University of 
London. She works on questions of space, theatricality and representation in 
political life and the law, and on the performance of ‘borders’ of various 
kinds: the US/Mexico border; the former site of the Berlin Wall; the problem of 
the corpse in representation. She also has research interests in film 
(particularly Expressionism, New German Cinema and US paranoia film) and 
nineteenth century stage-craft. She is a member of the editorial panel of the 
journal About Performance,  is a member of the Board of Directors of the 
research organisation Performance Studies international, and also sits on the 
Executive Committee of the Theatre and Performance Research Association. 


Just a reminder that the deadline for proposals for Theatre and Resonant 
Politics at Brunel University is close of play on 15 December 2012. 
Registration details to be announced soon. 
 
Please find original call for proposals below.

Many thanks, and we look forward to hearing from you.

Johannes Birringer  Broderick Chow

 
ARTAUD FORUM 3:Theatre and Resonant Politics
---
Saturday, March 23 - Sunday, March 24, 2013 A two-day conference and 
performance laboratory

held at the Antonin Artaud Performance Centre
Brunel University, Uxbridge, West London (UK)
D e t a i l e d  P r o g r a m will be posted at: 
http://people.brunel.ac.uk/dap/artaudforum.html
CALL FOR PAPERS, PERFORMANCES and OTHER PRESENTATIONS
 
deadline for proposals: 15 December 2012

The third ARTAUD FORUM on Theatre and Resonant Politics examines theatre as a 
site of disciplining bodies towards participation in political regimes – as 
well as a site in which bodies, resonating with each other, might resist. The 
lens of corporeal/bodily resonance opens up questions of performance training, 
spectatorship and affect, which this symposium explores through a series of 
practical workshops, performances, paper panels, roundtable discussions, and 
keynote presentations. It brings together international theatre, performance 
and sound artists, musicians, digital artists, theorists and researchers 
engaged in creative practices that reflect on major innovative performance 
traditions of the past century and their impact on current performance 
knowledge and physical techniques. We invite proposals for presentations that 
engage with this corporeal-political theme.

Thematic Focus
‘Resonance’ in everyday usage implies a quality of ‘generating significance’: 
the ability to evoke images, memories, affects and emotions. In acoustics, it 
implies the intensification of sound, when that sound vibrates sympathetically 
with its receptor and surrounding objects. A resonant politics, then, might 
imply a quality of sympathy and receptivity among persons – a mode of being 
together and being-in-common outside of ideologies. When we resonate with each 
other we share a commonality that does not do away with individuality and 
differences.

Recent political events including the ‘Arab Spring’ and the Occupy movement 
around the world demonstrate the power and relevance of resonant politics. The 
sympathetic reverberations of Occupy from New York to Bradford and the Arab 
Spring to the ‘Printemps érable’ of Québec show a sense of commonality that 
does not rely on identification with political parties, leaders or ideologies. 
Rather, such events are instances of large-scale corporeal resonance — a 
sympathetic vibration between the bodies amassed in the public square, the 
park, the occupied lecture room. 

Theatre is an art-form that trades primarily in the shared assembly of bodies, 
onstage, and in the audience, and is therefore an ideal site to examine 
resonant politics on a smaller scale. Yet examining resonant politics through 
theatre and theatrical events also opens up the possibility of the 
appropriation of resonance by states and nodes of power. The London 2012 
Olympic Opening Ceremony with its spectacle of mass-movement called upon the 
citizenry of the United Kingdom to ‘move this way’ while simultaneously 
repressing dissent (the arrests of Critical Mass protestors outside of the 
stadium gates). Pageants and military spectacles use

[NetBehaviour] Diante do Nada

[Johannes Birringer]

a strange circumstance,   I taught Oscar Niemeyer on Tuesday in my dance 
seminar on theatre  architecture,
and now he dies.  This is very sad. I have such great memories of
his buildings in Brasilia  São Paulo, i climbed his Braille theatre pyramid, 
descended into his chapel and listened to space (not confessions)
i bought his books, attracted to his drawings. 

and he won't be forgotten.
he also lived long, he was 104,  good man, 

a fellow traveler and spirit to the late Kazuo Ohno.
Maybe i'll choreograph a piece one day on the two of them, their strange 
unknown pas de deux...

greetings

Johannes Birringer

PS
http://www.dailymail.co.uk/news/article-2243924/Architect-Oscar-Niemeyer-recreated-Brazils-sensuous-curves-concrete-dies-aged-104.html?ito=feeds-newsxml
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Re: [NetBehaviour] book WRITING UNDER available!

[Johannes Birringer]

yes, agree with others here --
it's wonderful news to hear these writings are being published
congratulations to Alan Sondheim

(who, in the short time that i have subscribed here, has seemingly
written poems and created art and media works incessantly day
and night, he must have found some elixir).
I underwrite this of course. 

best
Johannes Birringer


+++


Alan Sondheim pens WRITING UNDER: SELECTIONS FROM THE INTERNET TEXT

(Please consider buying this - support the press and my work; it has
a great introduction by Sandy Baldwin!)

http://www.alansondheim.org/Sondheim.jpg

CONTACT: Abby Freeland, Marketing Manager at West Virginia University
Press, 304 293 8400 x 6, abby.freel...@mail.wvu.edu

Alan Sondheim pens Writing Under: Selection from The Internet Text

MORGANTOWN, W.Va. -- The Center for Literary Computing and West Virginia
University Press are pleased to announce the publication of _Writing
Under: Selections From the Internet Text_ by Alan Sondheim. This
extraordinary collection of work explores and examines what happens to
writing as it takes place on and through the networked computer.

Sondheim began experimenting with artistic and philosophical writing using
computers in the early 1970s. Since 1994, he has explored the
possibilities of writing on the Internet, whether using blogs, web pages,
e-mails, virtual worlds, or other tools. The sum total of Sondheim.s
writing online is entitled The Internet Text.

_Writing Under_ selects from this work to provide insight into how writing
takes place today and into the unique practices of a writer. The
selections range from philosophical musings, to technical explorations of
writing practice, to poetic meditations on the writer online. This work
expands our understanding of writing today and charts a path for writing.s
future.

John Cayley of Brown University proclaims Alan Sondheim to be the poet,
the artist, the maker who has most profoundly immersed himself and his
work in the life-changing code formsof networked computation that have
the world and its 'genesis redux' in their grip. Christopher T.
Funkhouser of New Jersey Institute of Technology affirms that anyone
interested in knowing more about (or from) a writer who has practiced and
thrived on the Internet since its very beginnings needs to read this
book. (See below for more.)

Alan Sondheim is a Brooklyn-based new media artist, musician, writer, and
performer. He is concerned with issues of virtuality, and the stake that
the real world has in the virtual.

_Writing Under_ is published by the Center for Literary Computing, West
Virginia University. To order this title or to learn more about this book
visit http://wvupressonline.com/sondheim_writing_under_9781935978732#4
or phone (800) 621-2736.

Writing Under: Selections From the Internet Text by Alan Sondheim
December 2012/216pp
ePub 978-1-935978-74-9/$19.99
PB 978-1-935978-73-2/$19.99

Alan Sondheim is one of the precious few who joyfully-and in abject
misery-risks these terrors of writing for us, for our pleasure and our
undoing. What happens? Language disposes of us. As if that were not all
that is required of any writer, Alan Sondheim is also the poet, the
artist, the maker who has most profoundly immersed himself and his work in
the life-changing code-forms of networked computation that have the world
and its 'genesis redux' in their grip.

- John Cayley, Literary Arts, Brown University

Sondheim crafts an often meandering + always introspective recording of
his prodigious on-line output. Birthed [and often remixed] in digital
formats and drenched in anxiousness + desire, his staggeringly open text
gives rise to possibilities of endless interpretation and comprehension,
leaving multiple re-reads a definite must.

- Mez Breeze, Australian-based writer and practitioner of net.art

Encountering Alan Sondheim's work we become aware how versatile a writer
he is. The vast fore-lands of his Internet Text contains an estimated
25,000 pages of wryting involving - as Sandy Baldwin observes in his
introduction a phenomenology thick with human perception and intentions
that are bodily, personal, political, and communal. In wryting, Sondheim
produces all sorts of texts - poetry, prose, and the unnameable
compositions existing amidst conditions of material transformations that
merge (with) the physical and technological. Writing Under offers up
generous statements of process, from a self- and other- aware master who
is codework's godcyborg, a limner of psychedelic landscapes in Second
Life, and an inveterate graphophile. This volume radiates foresight,
stabilizing, if only for a moment, the fragility of tenuously tethered
bits and bytes that exist in a vast field. For Sondheim, the creative is
critical and vice versa; there's much telling in _Writing Under,_
projecting insight into the machinery of his oeuvre. Anyone interested in
knowing more about (or from) a writer who has practiced and thrived on the
Internet since its very beginnings needs