/circle/
si...@littlepig.org.uk
www.littlepig.org.uk
AIM/Skype: simonbiggsuk
From: Sean Cubitt
Reply-To: soft_skinned_space
Date: Tue, 05 Jan 2010 11:49:11 +1100
To: soft_skinned_space
Subject: Re: [-empyre-] complicit post
Hey Cinzia
Re "the cyborg of the actor-network" - sorry, that
Hey Cinzia
Re "the cyborg of the actor-network" - sorry, that was a bit dense!
Acyor-network theory as used in Latour, law and others is about the
combination of human and technical into networks, like laboratories or
cities. The cyborg¹ is a human-technological hybrid. The actually existing
cybo
Sean,
reading your comments is always so interesting.
You write: "Reversing their polarities, what if connectivity comes first
and the elements it connects are secondary? Isn't that what the aesthetic
experience infers?"
You have always been very sensitive to the ethics and politics of relating.
Thanks for the kind words Johanna
Aesthetic - in the old Greek sense of aesthesis, of sensory, sensual - isn't
that about a mode of appreciating? Some days even the things you prize most,
poem, song, food, seem tired and jejune. Seizing on something beautiful
remedies that soul-sickness, and isn't
gh comments below:
On Jan 2, 2010, at 8:01 PM, Sean Cubitt wrote:
> vant-gardes were always based on the principle that whatever they
> invented
> would be commercialised in time - often very swiftly nowadays. No
> technique
> is intrinsically safe from the process. Perpetual innovation is
Nice post, Sean. I agree, it's the pessimism that we have to get over
-- we can't afford it, personally or culturally. What I want to
salvage from Adorno is his insight into the workings of aesthetic
objects--the qualities that make them distinct from other objects--
which of course is not m
My favourite among the bizarre marriages is the defusing and capitalisation
of the situationists over recent years.
There is a letter from Adorno to Benjamin which sets up the problem neatly:
he refers to high and low culture as 'the two torn halves of an integral
freedom to which, however, they d
Welcome to the New Year, everyone.
>>I wonder if others in the -empyre- community share my curiosity as
>>I enter into the new year finding posts coming across my screen
>>that could be understood to be dismissive of intellectual history
>>("the legacy of Adorno's aesthetics is problematic for
Dear Johanna,
Many thanks for your post which astutely articulates and reflects a
number of conversations with friends and colleagues that I’ve had
during the past few months. Specifically, I so appreciate your candor
and courage and do hope that your post will open up a space for this
p
gh comments below:
On Jan 2, 2010, at 9:59 AM, Johanna Drucker wrote:
> But the legacy of Adorno’s aesthetics is problematic for us because
> it has become academic, and because it is premised on a description
> of the world and of art that have become formulaic.
gh comments:
I think I learn
All,
This is meant as an independent start, not a response to John's post,
which I shall take a look at later today. I just wanted to make an
initial statement here before engaging in discussion.
JD
Complicity
I believe in art and I believe that aesthetic objects and expressions
do some
11 matches
Mail list logo
