Re: [NetBehaviour] Gaza

[Johannes Birringer via NetBehaviour]

>>we have the duty here now of _thinking inconceivability_
to respond with art, music, writings, analyses..>>

Alan I agree with what you write, I disagree with what you write too. I
realize yes, remembering it well, a few years ago, during the war in Syria
and the ISIS attacks,
we created a discussion, for a whole month, on "ISIS, Absolute Terror,
Performance" (empyre list). I also remember collating all the
contributions, editing it all for a book, and we did not find a publisher.

These past weeks, October-November, I heard a few expressions here, about
"yes, but", and "yes and." In tried to join a discussion, and posted here,
but no one was really discussing,  and art, Alan, "art, music,
writings...",. well it has been a disaster I think.

 No one here wanted to say outright that it is not quite right to argue
that "it's impossible to comprehend what is occurring in Gaza, impossible
to think through the violence and destruction, through the continuous
cruelty."  It is possible.

I see it in Germany and England, and I hear it from Jewish friends in in
this country and my neighbor country (France), and from friends in the US;
Jewish families are afraid to send their children to school or go out of
their homes, their houses in Berlin have been defaced, Synagogues attacked,
demonstrations in London shout for annihilation of Israel, and I cannot
calm down my anger, after the atrocious attacks of Hamas against Jewish
civilians, which has now led to the new military repercussions. We
experienced the attack on Ukraine, and many declared their solidarity with
Ukrainians; I tried to also help raising awareness, we showed Ukrainian
film and photos in a gallery where I work, and I will do the same for
Israel defending itself against inhuman, grotesque violence, and using Gaza
civilians now as a shield (they are not a shield) - offering them up as
victims.

What I am saying is that the conflict is not inconceivable, and yes there
is a historical context (i don't care what, I am upset about what the Left
says,  what Greta Thunberg has to say); but why are so very very few arts
organizations, theatres, galleries,  writers, musicians expressing their
solidarity with Jews who now afraid of their lives and safety, not only in
Israel, but right here in all our lovely democratic safe communities in the
West and the North. I grew up with the stern, incontrovertible maxim,
'never again'  ;  and now it happens right here and right now.

respectfully,
Johannes Birringer

On Mon, Dec 4, 2023 at 5:24 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Gaza
>
> https://youtu.be/Yda-c_4agZA (saz)
>
> it's impossible to comprehend what is occurring in Gaza,
> impossible to think through the violence and destruction,
> through the continuous cruelty. we don't think clearly,
> perhaps not at all, impossible but occurring, absent here
> but there, but continuous, but incessant, what is to come
> everywhere our abject fear, our fear is safe _here,_ it
> is our fear to own from _this_ distance, this safety.
> we did years ago have ongoing discussions on email lists
> set up for that purpose, war, violence, testimony. now we
> have our _safe nightmares_ as cruelty spreads everywhere.
> perhaps everything falls short of weeping, of our safety
> here, perhaps not. inside we were napalm not real here
> we are irreal bombardment, accounts, disasters, bodies,
> limbs, massacres, children, infants, so many civilians,
> we have the duty here now of _thinking inconceivability_
> to respond with art, music, writings, analyses, otherwise
> than _there,_ in different words _here_ and not _there,_
> the safety of the aporia, the moment of the trench
> adjacent to the cusp. i contribute this long-necked saz
> piece, i am useless, we watch the war inside of us, we
> survive in the safety, for now, of our bodies, our minds
> elsewhere, no where at all, the world inconceivable, lost
>
> it'simpossibletocomprehendwhatisoccurringinGaza,
> impossibletothinkthroughtheviolenceanddestruction,
> throughthecontinuouscruelty.wedon'tthinkclearly,
> perhapsnotatall,impossiblebutoccurring,absenthere
> butthere,butcontinuous,butincessant,whatistocome
> everywhereourabjectfear,ourfearissafe_here,_it
> isourfeartoownfrom_this_distance,thissafety.
> wedidyearsagohaveongoingdiscussionsonemaillists
> setupforthatpurpose,war,violence,testimony.nowwe
> haveour_safenightmares_ascrueltyspreadseverywhere.
> perhapseverythingfallsshortofweeping,ofoursafety
> here,perhapsnot.insidewewerenapalmnotrealhere
> weareirrealbombardment,accounts,disasters,bodies,
> limbs,massacres,children,infants,somanycivilians,
> wehavethedutyherenowof_thinkinginconceivability_
> torespondwithart,music,writings,analyses,otherwise
> than_there,_indifferen

Re: [NetBehaviour] 1. Re: Jerusalem Minefield 1962 and Music for Hell (Alan Sondheim)

[Johannes Birringer via NetBehaviour]

One could not agree more, Suzon, and you put it well in your recent post
about all lives mattering, absolutely. And the care that needs to be felt
and expressed.
thank you for sharing.

As you all probably have done, I talk to friends, I listen, & read the news
about protests and demonstrations, attacks, violent incidents, which have
been streaming
out of the immediate catastrophic war territories, and the attack against
Israel now not only shadows the war in the Ukraine but also affects flows
of refugees
(from Ukraine and Russia, via Russa, via other ports, also from northern
African countries where people are migrating/fleeing other civil wars and
armed conflicts in Africa); it is hard to disentangle things.
We saw posts here on our list, asking for signing of petitions, but the
matters were not altogether clear to me, as there was reference to
genocide, and a call to stop military action in Gaza; what I did not quite
hear here and from the demonstrations (a huge one in London, others in
various cities in Germany, France, and other European countries) was a
petition to condemn Hamas's genocidal attack against Israeli citizens and
the kidnapping of innocent women, children, elderly.. holding them hostage,
and granting Israel the right to defense (the war on terror and US
reactions to 9/11 are cited in conversations, but less often is there
mentioning of non-existing so-called exit-strategies). There were many
shouts in these demonstrations about eliminating Israel "From the River to
the Sea", that's an open call to genocide, in my view, and nothing whatever
can justify this.
Suzon spoke of "being in crossed angers and polarised opinion" -- this may
be very true. But when one talks about massacres, genocide, self defense
and exit strategy, does one then realize there are no exits, or no peace
and reconciliations? We have experienced reconciliations, have we not?

respectfully
Johannes Birringer




On Sun, Oct 29, 2023 at 3:47 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
> All lives matter, absolutely, and kindness and care matter so much in
> these dark days, looking after our friends, neighbors, as much as
> possible...
>
> On Sun, 29 Oct 2023, Suzon Fuks via NetBehaviour wrote:
>
> > Date: Sun, 29 Oct 2023 13:18:41 +0100
> > From: Suzon Fuks via NetBehaviour 
> > To: NetBehaviour for networked distributed creativity
> > 
> > Cc: Suzon Fuks 
> > Subject: [NetBehaviour] 1. Re: Jerusalem Minefield 1962 and Music for
> Hell
> > (Alan Sondheim)
> >
> > Dear Alan and Johannes,
> > Reading your posts...
> > I am deeply distressed and sad, not much words.
> >
> > Feeling like being in crossed angers and polarised opinions made by the
> > worst amalgam from social media. Even with close friends.
> >
> > All lives matter!!!
> > No artistic triggers yet... just a dark hole
> >
> >
> >
> >
> >
> > On Sun, 29 Oct 2023, 12:20 , <
> netbehaviour-requ...@lists.netbehaviour.org>
> > wrote:
> >   Send NetBehaviour mailing list submissions to
> >   netbehaviour@lists.netbehaviour.org
> >
> >   To subscribe or unsubscribe via the World Wide Web, visit
> >
> >   https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
> >   or, via email, send a message with subject or body 'help' to
> >   netbehaviour-requ...@lists.netbehaviour.org
> >
> >   You can reach the person managing the list at
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> >
> >   When replying, please edit your Subject line so it is more
> >   specific
> >   than "Re: Contents of NetBehaviour digest..."
> >
> >
> >   Today's Topics:
> >
> >  1. Re: Jerusalem Minefield 1962 and Music for Hell (Alan
> >   Sondheim)
> >
> >
> >
>  --
> >
> >   Message: 1
> >   Date: Thu, 12 Oct 2023 19:59:53 -0400
> >   From: Alan Sondheim 
> >   To: NetBehaviour for networked distributed creativity
> >   
> >   Subject: Re: [NetBehaviour] Jerusalem Minefield 1962 and Music
> >   for
> >   Hell
> >   Message-ID:
> >
> >pi2dg1smdy2kknzvp1ouymdd6t5yppjvsi1cif7jwzvx...@mail.gmail.com>
> >   Content-Type: text/plain; charset="utf-8"
> >
> >   Hi Johannes,
> >
> >   Here there was an attempted attack on a synagogue in Rhode
> >   Island, came to
> >   nothing. The anti-semites will be out in force.
> >   Th

Re: [NetBehaviour] Jerusalem Minefield 1962 and Music for Hell

[Johannes Birringer via NetBehaviour]

Dear Alan

thank you for your writing, your video with these fascinating 60 year old
photos, and your expression of despair.

"That is what the world was and will be".

 I tend to follow you here, it is a most distressing moment again, we have
wars now in the East
and the West/Middle East, with many powers involved, from Iran to the US to
Russia, I am sure, and the terrible mess will get worse, for all.
The "Nation" article is no consolation (thanks, though, Paul!), how could
it.  I am not sure I like comparisons to 9/11 and the war that followed, it
simplifies the complex Israeli history and relations to Palestine and the
surrounding neighbors who speak of annihilating Israel though recently also
offered rapprochement. Did not some US senator or Congressman today advise
'flattening" Gaza? Bombing it out of existence?
It is also complex to read the news commentaries in the country where I
live part-time (German solidarity to Israel expressed on government level;
Muslim and Palestinian sympathizers in Berlin dancing on the streets in
jubilation!).
FAZ newspaper interviewed Isareli author Lizzie Doron (Tel Aviv), and she
said "nothing will ever be as it was before."  (?).
Another author (Deborah Feldman, who wrote "Unorthodox", a novel about her
escape from an ultra-Orthodox community in Brooklyn) was caught, unawares,
at a literary symposium, and she offered at first, hearing about the Hamas
attack, a warning - saying, "it cannot be taken in, it is too much, there
are no words to be found."
Then she suggested that this terrible crisis also has internal Israel
background contexts – Netanyahu's policies, and attack on Israeli democracy
to limit judicial independence, now combined with "security failures owed
to moving military force to the West Bank to support ultra-orthodox
settlers there, neglecting to protect secular Jews or the "less
protection-worthy folks in the South near Gaza." This of course makes one
wonder what was known by the Military Intelligence and the Shin Bet
security service, and what was allowed to happen. I have no idea. I am
distressed, like Alan, and have no musical answer, or any answer.

Johannes Birringer

On Thu, Oct 12, 2023 at 10:04 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Jerusalem Minefield 1962 and Music for Hell
>
> https://youtu.be/kYclag76v7g video (1962, 2023)
>
> I don't know you and I don't know myself. Maybe 60 years ago it
> was different. I thought I knew something which was Wittgenstein
> and I knew nothing. I knew the world was not right and I was not
> right in the world and I acted accordingly. I acted politically.
> It meant nothing. The world was all that is the case and acted
> accordingly. I witnessed. We all acted accordingly and some of
> us were remain distorted. Not just because of that knot, but the
> world, unable to act accordingly. The few images from Jerusalem
> 1962, there are a lot more but these are over and done with. So
> I do play accordingly and to this day cannot conceive horror. I
> was young when I read the medical volumes of the Nuremberg War
> Trials and never recovered. That is what the world was and will
> be. My certainty is violent. I am damaged and damage others and
> try not to damage anyone or anything and fail. You can't witness
> this and not _be,_ an existential statement. I return to it as
> false premises, false history, as if I were someone. I'm not and
> none of us are, given the world's grit. In 1962-63 I studied at
> Hebrew University. The camera was a Minox, very small. Some of
> what I photographed could not have been otherwise. Don't think
> for a moment things have changed. This is exact. This fits like
> a glove. This is perfection. The music isn't. I efface myself to
> no avail because I constantly appear, as you do and your friends
> do as well. When we're gone, most of our images will be gone as
> well. The shadows decay in some brilliant and overpowering light
> in the future. Those who are there will be blinded by its
> insufferability.
>
> __
>
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
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>
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Re: [NetBehaviour] Book release Being Human . een bloemlezing . an anthology (Annie Abrahams)

[Johannes Birringer via NetBehaviour]

Yes, congratulations to you, Annie, for the book and for exhibiting in the
show "Reboot" (ominous title!)
Is your book in English or in Dutch? How is the contents of the book (the
poems) related to your
telematic performance work?

with regards
Johannes


>>
>> Message: 1
>> Date: Tue, 10 Oct 2023 13:02:40 +0200
>> From: Helen Varley Jamieson 
>> To: netbehaviour@lists.netbehaviour.org
>> Subject: Re: [NetBehaviour] Book release Being Human . een bloemlezing
>> . an anthology
>> Message-ID:
>> <25ebcdb9-abe0-4db4-8af6-8424c1879...@creative-catalyst.com>
>> Content-Type: text/plain; charset="utf-8"; Format="flowed"
>>
>> congratulations, annie! ?
>>
>> On 02.10.23 12:05, Annie Abrahams via NetBehaviour wrote:
>> >
>> > *Can the essence of a website called /Being Human/ created between
>> > 1997 and 2007, be translated into a book in 2023?*
>> >
>> > I am very happy and proud to announce the release of my book
>> > /*Being Human . een bloemlezing . an anthology*/**
>> > The book is part of the exhibition /REBOOT
>> > :
>>
>> > Pioneering Digital Art/ at the Nieuwe Instituut in Rotterdam.
>> >
>> > It contains *44 poems*, a *Fore Words* by Erika F?l?p, an *Ad Verbs*
>> > by me. The graphic design is by Alexandre Leray.
>> >
>> > A book as a derivative of something that is gone, which at least, now
>> > can no longer be experienced as in the time when it was made. ...
>> > /Being Human/ has always been a linguistic universe, in which
>> > different voices, languages, poems, codes and variables mingle into a
>> > labyrinthine whole. And so it appeared a challenge and logical to me
>> > to try to capture /Being Human/ into a book, into a collection of
>> poetry.
>> >
>> > "/A fantastic and fascinating semiotic mess.
>> > It is text. Type undefined.
>> > We bounce back and forth between languages that we understand and
>> > others we don't, between ourselves and others, between humans and the
>> > space between them, caught in the interface that connects and
>> > separates them and us/." *Erika F?l?p*.
>> >
>> > The book costs *24 euro* and will be *for sale* at NAI Booksellers
>> > (NAi Boekverkopers) in Rotterdam (next to the Nieuwe Insttuut). You
>> > can also order one with me for 24 euro + porto.
>> > ISBN: 978909037631, 160 pages, A5, hardcover.
>> >
>> > With thanks to: LI-MA, Amsterdam; the Nieuwe Instituut, Rotterdam and
>> > the Jaap Harten Fonds, Den Haag.
>> >
>> >
>> >
>> > Opening /REBOOT
>> > :
>>
>> > Pioneering Digital Art,/
>> >
>> > *Saturday October 7 *
>> > Nieuwe Instituut, Rotterdam.
>> > Free entrance, Sign up HERE
>> > <
>> https://www.eventbrite.nl/e/tickets-opening-reboot-baanbrekende-digitale-kunst-713722331707
>> >.
>> >
>> > Exposition *8/10/2023 ? 1/04/2024*
>> > Twenty ground-breaking digital artworks from the Netherlands, which
>> > helped define our societal relationships with technology, are on
>> > display, alongside new works by ten makers who take inspiration from
>> > them in looking towards the future.
>> >
>> > Works by *Annie Abrahams*, Livinus and Jeep van de Bundt, Driessens &
>> > Verstappen, Edward Ihnatowicz, JODI, Bas van Koolwijk, Lancel/Maat,
>> > Jan Robert Leegte, Yvonne Le Grand, Peter Luining, Martine Neddam,
>> > Marnix de Nijs and Edwin van der Heide, Dick Raaijmakers, Joost
>> > Rekveld, Remko Scha, Jeffrey Shaw, Debra Solomon, Steina, Peter
>> > Struycken, and Michel Waisvisz. *Contemporary responses* by Janilda
>> > Bartolomeu, Cihad Caner, Dries Depoorter, Swendeline Ersilia, Ali
>> > Eslami, Jonas Lund, Luna Maurer and Roel Wouters, Katja Novitskova,
>> > Ekim Tan, and brui5er.
>> >
>> > Curators: *Sanneke Huisman* of LI-MA and *Klaas Kuitenbrouwer* of
>> > Nieuwe Instituut.
>> >
>> > *Being Human* will be presented as:
>> > A projection of /BramTV/, *2005* (*online* version)
>> > Three screens with /BramTV/ /special Collection 1, 2 and 3/, *2006*
>> > (*offline* stand alone version)
>> > And a poetry *book*: /Being Human . een bloemlezing . an anthology/,
>> > *2023*.
>> >
>> >
>> > Best
>> > Annie
>> >
>> >
>> >
>> > ___
>> > NetBehaviour mailing list
>> > NetBehaviour@lists.netbehaviour.org
>> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>> --
>>
>> helen varley jamieson
>>
>> he...@creative-catalyst.com
>> http://www.creative-catalyst.com
>> http://www.upstage.org.nz
>> https://mobilise-demobilise.eu
>> -- next part --
>> An HTML attachment was scrubbed...
>> URL: <
>> https://lists.netbehaviour.org/pipermail/netbehaviour/attachments/20231010/21693157/attachment-0001.htm
>> >
>>
>> --
>>
>> Message: 2
>> Date: Tue, 10 Oct 2023 14:45:46 +0200
>> From: Annie Abrahams 
>> To: NetBehaviour for networked distributed creativity
>> 
>> Subject: Re: [NetBehaviour] Book 

Re: [NetBehaviour] Flooding in New York

[Johannes Birringer via NetBehaviour]

All the best to all of you affected by this!

We really do live in very uncertain and frightening times, climate change
or the elements troubling us deeply, reminding us of the planet's calamity.
What I sometimes find annoying and difficult to comprehend is the
discussion about protesters (Last Generation interventions in Germany, for
example),
as if there was any need to criminalize or condemn their actions, when they
try to point out that governments are not acting, or fulfilling their
promises
or their own pronounced policies. Do you have debates about civil
disobedience in your regions and towns? how are these debates conducted?

regards
Johannes Birringeer

On Fri, Sep 29, 2023 at 9:06 PM Catherine Daly via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> We're fine, but the flooding disrupted the entire train system in
> Brooklyn (including LIRR).
>
> Yikes!
>
> On Fri, Sep 29, 2023 at 1:04 PM Edward Picot 
> wrote:
> >
> > I've just been reading in the Guardian about the flooding and state of
> > emergency in New York and surrounding areas. Is everyone over there okay?
> >
> > Edward
> >
> > ___
> > NetBehaviour mailing list
> > NetBehaviour@lists.netbehaviour.org
> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
> ___
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Re: [NetBehaviour] Working on the Furtherfield Archives.

[Johannes Birringer via NetBehaviour]

Agreed, it's a wonderful archaeological adventure you are describing, this
archival work.
I wish you joy, and good health.
best
Johannes Birringer



On Thu, Sep 21, 2023 at 4:37 PM Michael Szpakowski 
wrote:

> Fantastic, Marc!
>
> On Wednesday, September 20, 2023 at 11:19:46 AM GMT+1, marc.garrett via
> NetBehaviour  wrote:
>
>
> Hi Netbehaviourists,
>
> One of my main tasks at Furtherfield these days is dealing with its
> archive, which is challenging. Updating past material going back to the
> mid-90s is taking a long time. And, as you can imagine, not having massive
> budgets with an institution means less money to pay others to do the more
> time-consuming work. However, I have been enjoying reconnecting to past
> ventures with artists, writers and techies, and many are still on this
> list. It is an excellent resource of knowledge for digital, networked
> practitioners today, tomorrow, and of course, for ourselves who've been
> very much part of this amazing journey.
>
> It still needs to be finished. But it will be ready early next year. Until
> then, I'll be posting on the list and on social media various
> (re)discoveries of our shared past which I know many on here will value and
> remember warmingly.
>
> This is our history, and it was built from the ground up. Revisiting this
> rich and imaginatively diverse material of artistic, collective and
> individual energies has been an immense pleasure. It has been a privilege
> to know and work with you all, and this wild and messy history will be
> unearthed like radical folklore challenging the official and easily
> accepted narratives issued by top-down systems of hegemony.
>
> Wishing you all well.
>
> Marc
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Re: [NetBehaviour] 'Frugal Strategies'

[Johannes Birringer via NetBehaviour]

dear all
I had been meaning to announce a small outdoor installation/performance
project I am doing, "BirdSongTree- Drawings", at the KunstTreffpunkt
Festival in Darmstadt, 1-3 September , 8 - 10 September,  but I mention it
here tonight, in case you are interest in land/art or environmental art
that may have a digital component, as in this case where I am using about
25 bird calls/voices to be heard for the people who come to see the tree
and want to want paint/draw the voice onto the canvases.



https://www.kunsttreffpunkt.info/


 I posted a few images and a video on my facebookpage.

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


and the concept, in brief, is:

*BirdsongTree Drawings – Listening Performance *is a site-specific
installation and interactive performance space – situated in the Darmstadt
Organgerie gardens, where a decaying tree will be revitalized with 6
smaller paintings of bird-song spectrograms that will be attached to its
stems or remaining branches, and at the same time the tree will asked to
collaborate on a performance invitation, a participatory scenography for
visitors –  where each visitor who is inclined to add a drawing of an
imagined bird song or song frequency, will be invited to a drawing
performance. The drawing performance involves the participating visitors as
actors who can use their bodies and hands to draw an imaginary spectrogram,
of whatever visual expression, on a large, extended canvas (paper roll)
that will extend from the tree outward in a circular or spiraling form.


best wishes

Johannes Birringer

>
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Re: [NetBehaviour] Campos | Temporales Video

[Johannes Birringer via NetBehaviour]

 array as a sort of cadence. In a sense, the final animation is
>> loud while the music is quiet, or the loudness of the cadence is given to
>> the animation while the harmonic progression is given to the music.
>>
>> Will try to answer questions in your second paragraph tomorrow.
>>
>> best,
>>
>> Paul
>>
>>
>> On Fri, Aug 25, 2023 at 9:21 AM Johannes Birringer via NetBehaviour <
>> netbehaviour@lists.netbehaviour.org> wrote:
>>
>>> fascinating beautiful work, very inspiring, Paul!
>>>
>>> thanks also for giving a bit of insight (website documentation) into
>>> your visual process and the concept for having such visual/music, such
>>> animations
>>> and the evolving [interactive] patterning (background and foreground). I
>>> was mesmerized yet also began to question or wanting to interrogate the
>>> evolving pattern (did you and the composer develop this together or is the
>>> music irrespective of the visuals (though you mention your Rondo form)? - I
>>> guess I ask whether the music can respond to an immersive environment
>>> /projection as you seem to have created  it in this amazing glass house
>>> (the lobby of 150 Riverside Plaza in Chicago?), or rather is it
>>> fixed/controlled/composed? why so?
>>> You mention an architectural-video-installation, thus could you please
>>> expand a little, since i am interested in the historical side of your work
>>> too, when did visual music (did Eno call it that) or projected visual
>>> scenographies become coupled with architecture (Xenakis?), how did digital
>>> software artists develop this further or not? and why did you decide on
>>> what, to me (on the vimeo concert), looks a 'flat canvas', perhaps (if an
>>> art reference is permitted) a Mondrianic kind of Agnes Martin painting
>>> field becoming dynamic, motional?  (I say this as an admirer of Martin's
>>> paintings and her book "Paintings, Writings, Remembrances). Or did you
>>> perhaps see the massive 3D immersive spectacles (teamLab stuff, and other
>>> current projection environments) as a trap? How did the glass architecture
>>> change your visuals (was 150 Media Stream concert different from what you
>>> posted now?).
>>>
>>> with regards
>>> Johannes Birringer
>>>
>>> On Fri, Aug 25, 2023 at 6:29 AM Paul Hertz via NetBehaviour <
>>> netbehaviour@lists.netbehaviour.org> wrote:
>>>
>>>> I am very pleased to announce the release a video for my recent
>>>> collaborative project Campos | Temporales. Campos is an "intermedia
>>>> experience" where algorithmic animation and new music share formal
>>>> structures in time and space to create a hybrid art form. Composer
>>>> Christopher Walczak wrote the music, which was recorded at Experimental
>>>> Sound Studio in Chicago. The work originated as a large scale video
>>>> installation in a curated space in Chicago, 150 Media Stream.
>>>>
>>>> The video can be viewed on Vimeo:
>>>> https://vimeo.com/856300250
>>>> There's documentation on my website, soon to be updated:
>>>> https://paulhertz.net/projects/Campos%20%7C%20Temporales
>>>>
>>>> Duration: 15:27
>>>>
>>>> In addition to this streaming version, we have a UHD version with
>>>> concert quality audio.
>>>>
>>>> saludos,
>>>>
>>>> Paul
>>>>
>>>>
>>>>
>>>> --
>>>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>>>> http://paulhertz.net/
>>>> ___
>>>> NetBehaviour mailing list
>>>> NetBehaviour@lists.netbehaviour.org
>>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>>
>>> ___
>>> NetBehaviour mailing list
>>> NetBehaviour@lists.netbehaviour.org
>>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
>>>
>>
>>
>> --
>> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
>> http://paulhertz.net/
>>
>
>
> --
> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
> http://paulhertz.net/
>
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Re: [NetBehaviour] Campos | Temporales Video

[Johannes Birringer via NetBehaviour]

fascinating beautiful work, very inspiring, Paul!

thanks also for giving a bit of insight (website documentation) into your
visual process and the concept for having such visual/music, such animations
and the evolving [interactive] patterning (background and foreground). I
was mesmerized yet also began to question or wanting to interrogate the
evolving pattern (did you and the composer develop this together or is the
music irrespective of the visuals (though you mention your Rondo form)? - I
guess I ask whether the music can respond to an immersive environment
/projection as you seem to have created  it in this amazing glass house
(the lobby of 150 Riverside Plaza in Chicago?), or rather is it
fixed/controlled/composed? why so?
You mention an architectural-video-installation, thus could you please
expand a little, since i am interested in the historical side of your work
too, when did visual music (did Eno call it that) or projected visual
scenographies become coupled with architecture (Xenakis?), how did digital
software artists develop this further or not? and why did you decide on
what, to me (on the vimeo concert), looks a 'flat canvas', perhaps (if an
art reference is permitted) a Mondrianic kind of Agnes Martin painting
field becoming dynamic, motional?  (I say this as an admirer of Martin's
paintings and her book "Paintings, Writings, Remembrances). Or did you
perhaps see the massive 3D immersive spectacles (teamLab stuff, and other
current projection environments) as a trap? How did the glass architecture
change your visuals (was 150 Media Stream concert different from what you
posted now?).

with regards
Johannes Birringer

On Fri, Aug 25, 2023 at 6:29 AM Paul Hertz via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> I am very pleased to announce the release a video for my recent
> collaborative project Campos | Temporales. Campos is an "intermedia
> experience" where algorithmic animation and new music share formal
> structures in time and space to create a hybrid art form. Composer
> Christopher Walczak wrote the music, which was recorded at Experimental
> Sound Studio in Chicago. The work originated as a large scale video
> installation in a curated space in Chicago, 150 Media Stream.
>
> The video can be viewed on Vimeo:
> https://vimeo.com/856300250
> There's documentation on my website, soon to be updated:
> https://paulhertz.net/projects/Campos%20%7C%20Temporales
>
> Duration: 15:27
>
> In addition to this streaming version, we have a UHD version with concert
> quality audio.
>
> saludos,
>
> Paul
>
>
>
> --
> -   |(*,+,#,=)(#,=,*,+)(=,#,+,*)(+,*,=,#)|   ---
> http://paulhertz.net/
> ___
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Re: [NetBehaviour] Music to Listen to

[Johannes Birringer via NetBehaviour]

Monsieur Sondheim,
j'ai pris la liberté de vous envoyer chercher. Je crains d'avoir besoin de
votre assistance. Comment vous trouvez-vous en ce moment ? Je ne sais. Je
me trouve tout je ne sais comment. J'ai la tête tout étourdie, et j'ai de
la peine à me tenir sur mes jambes. Je ne suis pas bien du tout. Je me sens
bien malade. Je suis d'une faiblesse étonnante...

...oh, and you remember everything crystal clear then I got the
humorous reference wrong, I thought you were unsure who did what when
there, a long time ago..
but thanks much for your response, I really like the playing of the
keyboards.

warm regards
Johannes Birringer

On Wed, Aug 9, 2023 at 5:17 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Hi Johannes!
>
> Thanks for this. The club wasn't obscure - it was the Starck Club and we
> chose the baseroom area, played in the closed room, people listening from
> the hallway, whatever! We did well there.
> It was David Smith who worked with Lee Murray; they were a team. He died a
> few years ago, before Lee did; they were still working on projects
> together. He had a group which is online now, around the same time, which
> broke up soon after we arrived, Mr. and Mrs. Accident - they were married
> in real life and broke up somewhat soon after we arrived, I think. Good
> music with strange back beats / lyrics. I don't remember the keyboard at
> all - the make - but it might have been a Mirage - I bought one again about
> 15 years ago, but it broke soon after. The Mirage was unique and probably
> still is; it used floppies. I don't think David had one but might have.
> Other than that, I don't remember the brand.
> He pretty much wired everything from scratch. Btw, wasn't messing w/ the
> keyboard - playing it.
> The tapes sound identical to the way they sounded then. I'm sure of that.
> Things survive far longer than they're supposed to - the Acker tapes are
> far earlier and made it through.
> I'm against disintegration because things become permanently lost that
> way. Everything I think depends on storage conditions. Storing various
> tapes in metal containers keeps magnetic fields away from them. Tape
> splices are always brittle, decay.
> I did lose a lot of early computer tapes as well as some audio etc., all
> of which were stored at my parent's house in Pennsylvania; when the
> Susquehanna flooded in the 70s, they were destroyed along with so much else
> -
> As you know Murray's films, w/ David as well, are up on Lee Murray's
> website that Barbara Simcoe created somewhat recently. They're utterly
> brilliant.
>
> Best, Alan, and thank you so much - oh not the Midi pioneer!
>
> On Wed, Aug 9, 2023 at 6:47 AM Johannes Birringer via NetBehaviour <
> netbehaviour@lists.netbehaviour.org> wrote:
>
>>
>> Hallo,
>> Alan thanks for this music from old times. It's wonderful.
>> I was not in attendance, but distinctly remember another concert night in
>> Dallas, around 1986, where you were eating or playing audio tape that you
>> had ripped from the reels and torn around the room like a mad obsessionist.
>> I think the concert was in an obscure underground club in Deep Ellum.
>>
>> I checked on your reference, "Guide de la Conversation Francais-Anglais,
>> A L'Usage des Voyageurs et des Etudiants," as it intrigued me and one of my
>> younger sports friends is preparing to travel to Paris next week; I found
>> an excerpt in Bellenger's (& Poppleton?) edition of 2015:  [p.208]
>>
>> « Monsieur, j'ai pris la liberté de vous envoyer chercher. Je crains
>> d'avoir besoin de votre assistance. Comment vous trouvez-vous en ce moment
>> ? Je ne sais. Je me trouve tout je ne sais comment. J'ai la tête tout
>> étourdie, et j'ai de la peine à me tenir sur mes jambes. Je ne suis pas
>> bien du tout. Je me sens bien malade. Je suis d'une faiblesse étonnante.‎
>> »
>>
>>
>> Please tell us about David Smith (or was it Dave Smith?, the midi
>> pioneer?)
>> what keyboard instruments were you messing with?  I really love the sound.
>>
>> On another note, re: preservation. I am surprised the tapes survived and
>> you can play them, or do they now also sound different, with mulch?  A
>> Canadian friend of mine passed in early 2023, and for his memorial we are
>> trying to exhibit some of his early work, video and audio tapes from the
>> 80s; his son wants to digitize the early works, but has been warned that he
>> may only have one shot before old brittle tape disintegrates. (Not that I
>> am against disintegration, don't get me wrong.)
>>
>> with warm regards
>> Johannes Birringer
>> Outrenoir*
>>
>> (Just found out a

Re: [NetBehaviour] Music to Listen to

[Johannes Birringer via NetBehaviour]

Hallo,
Alan thanks for this music from old times. It's wonderful.
I was not in attendance, but distinctly remember another concert night in
Dallas, around 1986, where you were eating or playing audio tape that you
had ripped from the reels and torn around the room like a mad obsessionist.
I think the concert was in an obscure underground club in Deep Ellum.

I checked on your reference, "Guide de la Conversation Francais-Anglais, A
L'Usage des Voyageurs et des Etudiants," as it intrigued me and one of my
younger sports friends is preparing to travel to Paris next week; I found
an excerpt in Bellenger's (& Poppleton?) edition of 2015:  [p.208]

« Monsieur, j'ai pris la liberté de vous envoyer chercher. Je crains
d'avoir besoin de votre assistance. Comment vous trouvez-vous en ce moment
? Je ne sais. Je me trouve tout je ne sais comment. J'ai la tête tout
étourdie, et j'ai de la peine à me tenir sur mes jambes. Je ne suis pas
bien du tout. Je me sens bien malade. Je suis d'une faiblesse étonnante.‎ »


Please tell us about David Smith (or was it Dave Smith?, the midi pioneer?)
what keyboard instruments were you messing with?  I really love the sound.

On another note, re: preservation. I am surprised the tapes survived and
you can play them, or do they now also sound different, with mulch?  A
Canadian friend of mine passed in early 2023, and for his memorial we are
trying to exhibit some of his early work, video and audio tapes from the
80s; his son wants to digitize the early works, but has been warned that he
may only have one shot before old brittle tape disintegrates. (Not that I
am against disintegration, don't get me wrong.)

with warm regards
Johannes Birringer
Outrenoir*

(Just found out about Pierre Soulages's work, now on view at Musée Soulages
in Rodez. Fascinating)











On Wed, Aug 9, 2023 at 7:45 AM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> Music to Listen to
>
> https://youtu.be/A4eF9yfkgf8 video
>
> David Smith and Alan Sondheim, Dallas, 1985-1987
>
> "Was the concert numerously attended last night? The house room
> was so full that we were suffocated with heat. In that case I am
> glad not to have been there. My dear it is a great pity for you.
> That concert was highly interesting. I did not see the program;
> but I had heard that very remarkable artists were to be there.
> It was so; the most distinguished performers in this country and
> several famous Texan and Pennsylvanians virtuosos were there.
> The pieces of music were as well selected as could be. They
> began with the Symphony and chorus. I don't like that style and
> that music always great upon my ears. And yet he attained great
> success that night. The first flute at the opera delighted us.
> The organ concerto was executed brilliantly. In find the
> orchestra was accompanied with rare precision ." (19th cent.
> Guide de la Conversation Francais-Anglais, A L'Usage des
> Voyageurs et des Etudiants, L. Smith, modified.)
>
> Dallas Texas, David Smith's Mac electronic music studio
>
> Unsure who did what here, a long time ago. He had the most
> brilliant, streamlined, intense, sound manipulation / creation /
> recording system I've ever seen. And he's passed on, like our
> equally brilliant friend Lee Murray, filmmaker, who collaborated
> with him. The studio was one room, a very large empty U-shaped
> desk, a very large monitor and speakers, everything white or tan
> or beige as I recall, very sparse, a couple of chairs, computer
> keyboard, mouse, music keyboard. From what I remember.
> Everything I think may be wrong.
>
> I found cassette tapes of the two of us, from a long time ago.
> They were pristine. I played them back on my Sony TC-152SD
> cassette machine which still functions well after 45 years.
> Line out went into a Zoom H2.
>
> I detect the long moments of exhalation which would have come
> from me. There's no way I can tell at this point, but what is
> true, the music is wonderful, and this would have been recorded
> while I was teaching at University of Texas, Dallas, sometime in
> 1985-87.
>
> Glad that the tapes survived. The single image is of a slime
> mold after a fairly violent storm.
>
>
> +++
>
> ___
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Re: [NetBehaviour] plesae note - need feedback - this is not released on Facebook etc. yet and may not be. Thank you - Alan (fwd)

[Johannes Birringer via NetBehaviour]

hello  Alan,

ChatGPT: textamony and testimony -- [your] strangest post in a while,
strangely unsettling and also not (given what we read and hear about AI and
'language models" and the 'dim cheat's predictive algorithmic
essay-writing tools', as Colin Burrow called them recently), yet now I'm
sure whether you wanted us to repeat to your posts also using ChatGPT in
the style of any of us? say, in the
style of Zak's Charamaynne, or Foofwa d’Imobilité's movement?
I was amused when I read a piece by this Colin Burrow, in which he mentions
asking ChatGPT to write an essay on Shakespeare's sonnets in the style of
Colin Burrow, and then smiled at the AI tool speaking like a nice
algorithmic "fanboy."

regards
Johannes Birringer


On Sat, Jun 24, 2023 at 7:35 PM Alan Sondheim via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

>
>
> ChatGPT: textamony and testimony
>
> PLEASE NOTE: ACCOUNTS BELOW ARE ENTIRELY FICTIONAL
>
> http://www.alansondheim.org/chatting.jpg
>
> Please generate an authentic account of a Holocaust survivor.
>
> ChatGPT
>
> (Note: The following account is a fictional narrative created by the
> AI language model. While it aims to depict a realistic portrayal of a
> Holocaust survivor's experiences, it is important to remember that the
> Holocaust was a tragic and deeply personal historical event. The
> account below does not reflect the real experiences of any specific
> individual.)
>
> My name is Sarah Klein. I am a Holocaust survivor, and the memories of
> that dark chapter in history are etched in my soul. I was born in a
> small village in Poland, surrounded by a close-knit Jewish community.
> Our lives were filled with joy, traditions, and dreams for a brighter
> future. But that innocence was shattered when the Nazi regime cast its
> dark shadow upon our lives.
>
> In 1942, when I was just a young girl of twelve, my family and I were
> forced into the cramped confines of the Lodz Ghetto. The once-thriving
> streets were now lined with barbed wire, and the air was heavy with
> despair. Disease, hunger, and fear became our constant companions as
> we struggled to survive.
>
> Eventually, the Nazis transported us to Auschwitz-Birkenau. The
> horrors I witnessed there are beyond words. The dehumanization, the
> cruelty, the constant specter of deaththese became the fabric of our
> existence. I witnessed loved ones ripped away from me, their voices
> silenced forever.
>
> Survival became a daily battle. I endured grueling labor,
> malnutrition, and the constant fear of selection, never knowing when
> it would be my turn to face the gas chambers. I clung to the memories
> of my family, the warmth of their love, and the dreams we once shared.
> It was that unwavering love that fueled my determination to survive.
>
> Miraculously, I managed to escape during a chaotic moment of
> liberation. The war had ended, but the scars remained. I was a
> survivor, but the weight of loss and trauma was immeasurable.
> Rebuilding my life was a daunting task, but I refused to let the
> darkness define me.
>
> Years later, I found solace in sharing my testimony. I spoke at
> schools, community centers, and Holocaust remembrance events. It was
> my duty to ensure that the world never forgot the atrocities that
> occurred. Through my words, I hoped to inspire compassion, tolerance,
> and a fervent commitment to justice.
>
> The journey towards healing was a long and arduous one. But with the
> support of fellow survivors and my own resilience, I discovered that
> there is strength in unity and in the power of storytelling. Each time
> I shared my testimony, it became an act of defiance against those who
> sought to erase our existence.
>
> Today, as I reflect upon my life's journey, I am filled with both
> sorrow and hope. The pain of loss still lingers, but it is intertwined
> with a sense of resilience and a determination to build a better
> world. The Holocaust was a dark chapter in history, but it is our
> responsibility to remember, to learn, and to ensure that such horrors
> are never repeated.
>
> My story, like those of countless others, stands as a testament to the
> indomitable human spirit. Through the darkest of times, we can find
> light. And in sharing our stories, we honor the memory of those who
> perished and inspire a future filled with compassion and
> understanding.
>
> ---
>
> Write an essay in the style of Alan Sondheim on the difference between
> testimony and textamony
>
> ChatGPT
>
> Testimony and Textamony: An Exploration of Verbal and Written
> Discourse
>
> In the realm of language and communication, the interplay between
> testimony and textamony unveils a fascinating duality. These two modes

Re: [NetBehaviour] NetBehaviour Digest, Vol 1862, Issue 1

[Johannes Birringer via NetBehaviour]

- thanks for your reply Suzon,
and good luck at the Prague Quadrennial, let us know how "Assemble" went
and what impressions you gained there.
I almost would've gone there too, as I had submitted my book "Kinetic
Atmospheres" to their design book exhibition. But as with Paris / ISEA, I
think
it's sometimes good to stay near the river in my valley.

As to atmospheres of black screens (when you only hear voices) or screens
with talking heads, I had such a zoom experience you describe last Monday,
though somewhat different.
You wrote
> - Zoom breakout rooms which allowed immediate possibility for strangers
(in small numbers) to interact and have more intimacy than if they would be
in a theatre,
> - to remove the visuals for a while (black screen), to attract
the  attention to the auditive aspect to create an imaginary space for
all...
>
and my questions would address precisely an assumed intimacy amongst
strangers, and the ability to listen, and to hear (especially in a context
of performing with disabilities);
our meeting was called by Felipe Monteiro (Brasil) who suffers from a
debilitating degenerative disease, and several participants joined, from
far away locations in Canada, Eastern Europe, France, Germany, etc, to help
discuss the foundation of the new Centro Antonin Artaud in Maceió, Brasil.
We had a small agenda, on fundraising, project development/management, the
setting up of a non-profit cultural association with legal statute, financial
management, research interests, Internet, website implementation, social
media, etc.
Naturally, it was like a business meeting, though we also talked about our
interest in Artaud and "expanded theatre and cinema", new media, health
sciences, somatics and the legacies of Artaud's writings. But what I also
noticed were the "somatic alarms" you – and perhaps others here in this
netbehavior community –  noticed, and that made interaction between us
strangers quite difficult,  as it was even amongst colleagues (which I felt
during the pandemic, when still working at university): difficult and
cumbersome, many misunderstandings happened, many suppressions or failed
connections.

It would interest me if others would report on their somatic alarms, or
whether performing together (Alan might argue on behalf of this?) was in
fact enhanced by isolating and  debilitating networked (zoom) conditions
imposed upon us?

respectfully,
Johannes Birringer



On Wed, May 31, 2023 at 2:29 PM Suzon Fuks via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> dear Johannes,
> i am about to go to Prague Quadriennal with my new work ASSEMBLE. A bit
> hectic with some life drama around me.
> I will try to articulate more of my thoughts in writing about my
> understanding of somatic alarms when i will return, end of June.
> Embodiment and mediations, collective and/or individual are important to
> me.
>
> sending love,
>
> Suzon
> +61439929028
> +32 489 55 24 34
>
> *ASSEMBLE *- installation performance - 8-18 June 2023 at PQ10 - Prague
> Quadrennial - Performance Space Exhibition - with the generous support of
> the ASEKOL compliance scheme for lending e-waste
> *VOICES OF HAKKA WOMEN* - Finalist of Her Vision Film Festival and
> Special Mention from Asia South East Short Film Festival - Finalist of
> Toronto's Asian Feedback Film Festival -trailer
> https://youtu.be/ZAQYmRFaskM
>
>
>
> *I acknowledge the country, culture and traditional custodians of the land
> upon which I walk, work and live, the Turrbal and Jagera peoples.It takes
> 12000 litres of water to make 500 grams of chocolate! http://suzonfuks.net
> <http://suzonfuks.net/> | https://www.instagram.com/suzonfuks
> <https://www.instagram.com/suzonfuks> | http://igneous.org.au
> <http://igneous.org.au/> | http://wetlandwander.net
> <http://wetlandwander.net/>*
>
>
> On Wed, 31 May 2023 at 12:08, 
> wrote:
>
>> Send NetBehaviour mailing list submissions to
>> netbehaviour@lists.netbehaviour.org
>>
>> Today's Topics:
>>
>>1. Re: 'Frugal Strategies', lesser satisfactions (Johannes Birringer)
>>
>>
>> --
>>
>> Message: 1
>> Date: Tue, 30 May 2023 14:03:31 +0200
>> From: Johannes Birringer 
>> To: NetBehaviour for networked distributed creativity
>> 
>> Cc: Suzon Fuks 
>> Subject: Re: [NetBehaviour] 'Frugal Strategies', lesser satisfactions
>> Message-ID:
>> > ifmeqo6jpu_p...@mail.gmail.com>
>> Content-Type: text/plain; charset="utf-8"
>>
>> Thanks to all who responded to my post, recently, I was very happy to hear
>> from you. (And was sorry to see I confused being quiet with being quite).
&g

Re: [NetBehaviour] 'Frugal Strategies', lesser satisfactions

[Johannes Birringer via NetBehaviour]

Thanks to all who responded to my post, recently, I was very happy to hear
from you. (And was sorry to see I confused being quiet with being quite).
Suzon, I just reviewed
the short film you were instrumental in creating, on a kind of recent
history (before Zoom came a popular meeting space during the pandemic) of
networked performance; and I appreciate your reference to your own
performance "Be Like Body–Obsolete".

Please share more how you understand somatic alarms, and measures to deal
with our crisis?

I watched an excerpt of your beautiful project,  "Be Like Body–Obsolete" (
https://vimeo.com/704400497O, where you seem trapped or enclosed by a
graveyard of computers/motherboards/screens who may now drift off like
space debris; though at the end of the excerpt you still seem caught in a
box (and then the zoom participants/observers appear on screen for a yoga
breathing ritual). Having participated also with Annie Abrahams'  "Distant
Feelings" and "Distant Movement" performances, which I quite liked at the
time, I now feel more quietly resigned, quite turned off by Zoom and screen
meetings – a dysfunctional space in my mind, and black screens won't help
me to love it either.

I really did enjoy hearing a women's voice speak in Farsi, asking - "now,
human, tell us with your artificial intelligence / what color is mature
satisfaction?"
The texts written by your co-performers (all women) tend to be wonderfully
ironic, and sarcastic, did I get that right? (and Stelarc may have been an
"outside eye", if he could still see?).

Have you all heard the term "black-boxing", that we are being blackboxed?
I wonder.

warm regards
Johannes Birringer


+++

On Sat, May 20, 2023 at 2:57 PM Suzon Fuks via NetBehaviour <
netbehaviour@lists.netbehaviour.org> wrote:

> Thanks Johannes for sharing your reflection about ISEA and network
> performance. I think covid time has triggered some 'somatic' alarms, at
> least for some people who were already into network performance beforehand.
> I also turned into my local community, my neighbourhood much more and
> questioned the impact of technology on humanity, through my network
> performance "Be Like Body–Obsolete".
>
> Two things I found interesting to experiment with in terms of tools, were:
> - the Zoom breakout rooms which allowed immediate possibility for
> strangers (in small numbers) to interact and have more intimacy than if
> they would be in a theatre,
> - to remove the visuals for a while (black screen), to attract the
> attention to the auditive aspect to create an imaginary space for all
>
> sending love,
>
>
>
> Suzon
> +61439929028
> +32 489 55 24 34
>
> ASSEMBLE - installation performance - 8-18 June 2023 at PQ10 - Prague
> Quadrennial - Performance Space Exhibition - with the generous support of
> the ASEKOL compliance scheme for lending e-waste
> VOICES OF HAKKA WOMEN - Finalist of Her Vision Film Festival and Special
> Mention from Asia South East Short Film Festival - Finalist of Toronto's
> Asian Feedback Film Festival -trailer https://youtu.be/ZAQYmRFaskM
>
> I acknowledge the country, culture and traditional custodians of the land
> upon which I walk, work and live, the Turrbal and Jagera peoples.
> It takes 12000 litres of water to make 500 grams of chocolate!
>
> http://suzonfuks.net | https://www.instagram.com/suzonfuks |
> http://igneous.org.au | http://wetlandwander.net
>
> On Sat, 20 May 2023 at 12:02, 
> wrote:
>
>> Send NetBehaviour mailing list submissions to
>> netbehaviour@lists.netbehaviour.org
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
>> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
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>>
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of NetBehaviour digest..."
>>
>>
>> Today's Topics:
>>
>>1. Re: 'Frugal Strategies' (Johannes Birringer)
>>2. Re: 'Frugal Strategies' (Annie Abrahams)
>>3. Re: 'Frugal Strategies' (Alan Sondheim)
>>
>>
>> --
>>
>> Message: 1
>> Date: Fri, 19 May 2023 15:17:04 +0200
>> From: Johannes Birringer 
>> To: NetBehaviour for networked distributed creativity
>> 
>> Subject: Re: [NetBehaviour] 'Frugal Strategies'
>> Message-ID:
>> > q...@mail.gmail.com>
>> Content-Type: text/plain; charset="utf-

Re: [NetBehaviour] 'Frugal Strategies'

[Johannes Birringer via NetBehaviour]

dear all,
greetings, and sorry for having been quite for quite a while, adjusting to
a few things after moving to the countryside.
For those of you who've heard of ISEA or attended the annual ISEA events,
well this year, it's held in the lovely city of Paris.

[image: image.png]

I decided not to attend the whole spectacle anymore, as it overwhelmed,
irritated me last year in Barcelona. Some friends from Greece formed a
panel, which took place yesterday and I participated virtually. Our panel
was held at the Forum des Images and titled: "Networked Collaborative
Performance: Frugal Strategies and Cultural Impact of Technology."  If
you're interested in my 3-minute provocation (we were eight people and
given very little time), I include the link to the video*.
The overall approach of our panel was to raise questions and stimulate
discussion of the frugal (i am not quite happy to speak of innovation here):

"As open-source software and human-machine-interaction hardware become more
accessible, more culturally diverse groups put them to artistic uses.
However, collaboration across cultural and disciplinary borders poses a
host of problems not just of technical but also of cultural communication.
In this context, the proposed panel investigates the impact of internet
collaboration with live coding and other live interaction technologies on
culture and the new kinds of art forms that arise from it, especially under
the perspective of frugal innovation, i.e. the combination of technical
skills, DIY economy of means and an intuitive approach to technology. The
premise that this panel ultimately intends to raise as a challenge, is that
such work requires a global approach on the technical, organizational,
social and cultural aspects in order to be sustainable..."

* https://youtu.be/gBBYoPLQnqU

regards
Johannes Birringer
Interaktionslabor
http://interaktionslabor.de
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Re: [NetBehaviour] My 80th birthday video containing all aspects of my work in 14'03"

[Johannes Birringer via NetBehaviour]

dear Alan

happy birthday wishes to you,
ordinarily I wouldn;t use a public list to send congratulations to a friend, 
but you are and have been ever present here and active with all your creative 
forces and imaginations, and thus I think it is upon us here, as subscribers 
and occasional contributors, to acknowledge your leading role and your stamina. 
I wish you many more years of playing your music, writing your texts, and 
making your animated videos, and sharing them with us.

best
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 08 February 2023 17:02
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim; Daniele Minns
Subject: Re: [NetBehaviour] My 80th birthday video containing all aspects of my 
work in 14'03"

Thank you greatly for this and thank you everyone again.

Best, Alan, still working after all these years


On Wed, Feb 8, 2023 at 12:00 PM Daniele Minns via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
Happy 80th Alan and congratulations on making it there! I'm a bit late as have 
been somewhere remote with only occasional solar power and WiFi. Love the 
soundtrack, it sounds in turn Hindu Indian and Wild West! And the breathing and 
the background white noise . . . And the pixellation impressionism of the 
visuals and the traces with your face watching everything go by. Thank you for 
making/sharing this!
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Re: [NetBehaviour] Coltrane tribute

[Johannes Birringer via NetBehaviour]

Yes, I also agree, thanks much Simon,
I so enjoyed listening to your tribute and your interpretation

best
Johannes


From: NetBehaviour  on behalf of 
Paul Hertz via NetBehaviour 
Sent: 26 July 2022 18:06
To: NetBehaviour for networked distributed creativity
Cc: Paul Hertz
Subject: Re: [NetBehaviour] Coltrane tribute

Thanks for this!

-- Paul

On Mon, Jul 25, 2022 at 7:46 PM Simon Mclennan via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
I recorded a version of A Love Supreme today... after many years...
First had the record when I was 20ish and had my first band, but we never 
attempted the song.
I enjoyed this... doing the guitar and bass in one take each and adding 
electric drums and two voices after -
And juggling a video on a tripod to get the takes then
Splicing and syncing sound in post...
https://youtu.be/aupNiDf2e5k

Thanks,
And if any Netters are near Brighton on Saturday my trio
Are playing at the Brunswick
In Hove - be nice to meet some lurkers...!

S x
Sent from my spyphone
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Re: [NetBehaviour] Jubilee Texts

[Johannes Birringer via NetBehaviour]

thank you Edward,
your non-celebratory writings were a welcome provocation, thank you!
best
Johannes


From: NetBehaviour  on behalf of 
Edward Picot 
Sent: 04 June 2022 14:18
To: netbehaviour@lists.netbehaviour.org
Subject: [NetBehaviour] Jubilee Texts

Dear all,

Something non-celebratory for the celebratory weekend.


1.

A 70-word poem for Queen Elizabeth, on the occasion of her Platinum Jubilee


Dear Queen Elizabeth,

you’re such a familiar figure -

the same age as my Mum -

it’s difficult not to like you.

Especially now you’re starting to look

suddenly frail.


Or to admire

your lifelong dedication

to your role.


But people are saying

you symbolise the nation.


What you actually symbolise

is something more problematic:

tradition, continuity,

public service,

conservatism,

remnants of Empire,

inherited wealth,

inherited privilege,

the class system.


2.

Hiding underneath the Azot chemical factory, more than 3000 beacons in the key 
eastern Ukrainian city mark the start of the Queen's jubilee celebrations. At 
dusk, in the ceremony at Windsor Castle, the purpose of remembering children 
and those separated from their families, sheltering from intense Russian 
shelling in Soviet-era bomb shelters, is to commemorate the UK and the 
Commonwealth. Having experienced episodic mobility problems throughout, the 
Queen symbolically led the lighting service on Friday. 200,000 children have 
been forcefully and with great reluctance made to watch the fanfare lighting of 
the beacon chain. Around 800 people will be attending the national service of 
thanksgiving at St Paul’s Cathedral. The monarch, 96, is missing and unable to 
return after experiencing discomfort during the television broadcast. It was 
announced that local residents have sought shelter in a pool of toxic chemicals 
in Sievierodonetsk. Ukrainian President Volodymyr Zelenskiy, speaking in 
Buckingham Palace, said all the aid the Queen was able to offer was the 
trooping of the colour. Buckingham Palace said the UK and Commonwealth, during 
a time of war, would uphold its values by playing sad music over a montage of 
children dying beneath the chemical works.


3.

The same people at the top. The same people to run everything. They know the 
system and the idea of it. The system requires a level of show, a show of 
equality, a show of flexibility. The layers of it, the ossification of it, the 
churning and stasis of it, that moment in the 1980s, those children of the 
1980s, the debating societies at Oxford and Cambridge, those people who now run 
everything. It's the same people, the same system, with inflection points every 
few years. History is very complex, but ossified. There is something ossified 
about a system that keeps private schools going, the Civil Service, the 
Diplomatic Service, Oxford and Cambridge, the City, the Bank of England, the 
same people at the top. The same people. It's the system, it's a system of 
control.


4.

Putin confirms the bombings and the attacks have stopped. Reports to the 
contrary are lies and scaremongering. His authority is God. The latest to be 
abducted in an attack overnight is the Orthodox world’s spiritual leader, 
Bartholomew I. President Volodymyr Zelenskiy has been kidnapped by Russian 
forces, according to a delegate, and is wounded and in hospital. In any further 
assault it is key to prevent any significant future. In Britain, anti-war 
protests could be in the tens.  While praising the Ukraine's people, President 
Putin confirmed that Russians could use chemical weapons on food and water for 
more than 14,000 people in 112 cities, and it would not constitute a war crime. 
Nine thousand people were killed in airstrikes. Gove has called for a 
“game-changer” in the conflict. The UK chancellor, Rishi Sunak, has confirmed 
that history is stuck. Kyiv has fled into the country. Ukraine’s human rights 
ombudsman has claimed Russia used banned phosphorus in the southern Ukrainian 
port city of Mariupol. The embattled city is confirmed as a legitimate target. 
A Russian airstrike has killed and massacred the entire Black Sea coast. A 
Polish statement issued alongside a video said talks had come to nothing less 
than 10 miles from suffering people, their suffering could be heard, in Popasna 
in eastern Ukraine. Let the cry of the military base in Yavoriv come unto thee, 
O Lord. At least 35 people killed and 134 wounded. The Kremlin confirmed that 
they would stop the massacre by killing all civilians. 30 miles west of Lviv, 
with the government believing it was in its final hours, 3,000 visas were 
granted to Ukrainian refugees, away from the city, and a 400,000 two-week 
supply of food in a supply convoy was abducted by Russian forces. The Chinese 
government has granted licenses for new investments in Russia. The port of 
Odesa has been evaporated. In the the town of Irpin, outside Kyiv, an 
independent human rights body has disappeared. 

Re: [NetBehaviour] presenting at Posthuman Assemblages and Technologically Enabled Performances - TaPRA event

[Johannes Birringer via NetBehaviour]

dear Suzon and Helen

thanks for these announcements, and a special thanks for making the e-book 
available to us, Suzon.
I just downloaded it and also listened to one of the podcasts ("Dust" by Annie 
Abrahams) - and am fascinated.

I registered for tomorrow but the event seems to run 09:45 - 16:00 BST  -
could you tell us when your two presentations are scheduled?

thanks, and best wishes
Johannes Birringer


From: NetBehaviour  on behalf of 
Helen Varley Jamieson 
Sent: 26 May 2022 15:40
To: netbehaviour@lists.netbehaviour.org
Subject: Re: [NetBehaviour] presenting at Posthuman Assemblages and 
Technologically Enabled Performances - TaPRA event

& just before suzon at the same event, i am presenting the new UpStage 

On 25.05.22 02:50, Suzon Fuks via NetBehaviour wrote:
Dear all,

I am presenting the making of 'Be Like Body–Obsolete' this Saturday 28 May, in 
the context of a TaPRA event, which is happening online and at Queen Margaret 
University in Edinburgh. The theme is Posthuman Assemblages and Technologically 
Enabled Performances. FREE - booking essential!

https://www.eventbrite.co.uk/e/posthuman-assemblages-and-technologically-enabled-performances-registration-341366766187

cheers,

Suzon
+61439929028

BE LIKE BODY–OBSOLETE
- download free e-book http://suzonfuks.net/be-like-body-obsolete-4
- Sept - Mestiza Chile Festival
- Aug - 30th Colombian Intl. Festival Mujeres En Escena Por La Paz 2021
- June - Bodies:On:Live Magdalena:On:Line 2021 Festival

I acknowledge the country, culture and traditional custodians of the land upon 
which I walk, work and live, the Turrbal and Jagera peoples.
It takes 12000 litres of water to make 500 grams of chocolate!

http://suzonfuks.net <http://suzonfuks.net/>  | http://igneous.org.au 
<http://igneous.org.au/>  | http://wetlandwander.net <http://wetlandwander.net/>





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--

helen varley jamieson

he...@creative-catalyst.com<mailto:he...@creative-catalyst.com>
http://www.creative-catalyst.com
http://www.upstage.org.nz
https://mobilise-demobilise.eu<https://mobilise-demobilise.eu/>
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Re: [NetBehaviour] Online Performance Practice short course opportunity

[Johannes Birringer via NetBehaviour]

dear Suzon
I was alarmed to read your post about the floods in your area, and the 
increasingly catastrophic effects of climate change,
  and of course the political instabilities, the wars, and ongoing refugee 
crisis in this world we live in, it is incredibly
disheartening. And work?  Please tell us more about 'Be Like Body-Obsolete'..

best wishes
Johannes Birringer


From: NetBehaviour  on behalf of 
Suzon Fuks via NetBehaviour 
Sent: 06 May 2022 14:28
To: NetBehaviour for networked distributed creativity
Cc: Suzon Fuks
Subject: [NetBehaviour] Online Performance Practice short course opportunity

Oh, great Annie, that all the selling, packing, moving, fall into place
Must be a relief!

Enjoy your in between liminal period. ;-)

Here, we have been told to be prepared for a third flood, next week! The entire 
East coast is going to have a "weather event". I can't imagine our friends and 
family in Lismore, particularly,  going through that again... they still didn't 
recover from the previous floods, just cleaned more or less their houses, for 
those which are still standing. The town looks like a warzone. Main streets and 
CBD completely abandoned, with buildings ready to collapse.
A few thousands of people homeless, refugees at some friends' houses that are 
on hills, displaced in hotels, some in caravans. No work anymore, no way of 
cooking, wow...  this is just the beginning of climate change consequences!
And as the icing on the cake, we have elections in 2weeks.

So I have been busy cooking for people and now volunteering for the greens to 
prepare the elections. Crossed fingers!
In between, I am trying new things to make wearables, soldering, and developing 
new installation and performance possibilities extending 'Be Like 
Body-Obsolete'.
Let see... one week at a time, one day at a time bz Sz








Message: 4
Date: Thu, 5 May 2022 10:15:31 +0200
From: Annie Abrahams mailto:bram@gmail.com>>
To: NetBehaviour for networked distributed creativity

mailto:netbehaviour@lists.netbehaviour.org>>
Subject: Re: [NetBehaviour] Online Performance Practice short course
opportunity
Message-ID:

mailto:esmscgf4cfhn41mptx9karrzhdn%2bu-qff11vkqnu...@mail.gmail.com>>
Content-Type: text/plain; charset="utf-8"

Nice Suzon!
Good luck!
I hope you are fine!

I don't know if I told you already, but our house has been sold. We will
leave here August 15, will be without domicile fixe for two weeks and then
take "possesion" of our house in the Netherlands. Big changes.
Because we are not that far now, we profit from our time left here to go
and visit Portugal for a few weeks. (leaving in a bit more than 1 week)
Although worldwide things are bad - very bad - things for me are ok even
exhilarating, enjoyable so far. Of course moving will be stress but before
...

All the best Suzon
hugs
Annie





On Wed, May 4, 2022 at 11:39 PM Suzon Fuks via NetBehaviour <
netbehaviour@lists.netbehaviour.org<mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:

> Dear all,
>
> I will be part of this great short course on online performance, being
> offered by Queen Margaret University.
>
> Helen Varley Jamieson, Karla Ptacek, course leader Bianca Mastrominico and
> I will share our decades of experience.
>
> 6 Saturdays beginning 21st May.
> More info below. Cheers.
>
>
> Suzon
> +61439929028
>
> http://suzonfuks.net | http://igneous.org.au | http://wetlandwander.net
>
> I acknowledge the country, culture and traditional custodians of the land
> upon which I walk, work and live, the Turrbal and Jagera peoples.
>
> It takes 12000 litres of water to make 500 grams of chocolate!
>
> -- Forwarded message -
> From: Mastrominico, Bianca 
> mailto:bmastromin...@qmu.ac.uk>>
> Date: Thu, 5 May 2022, 02:52
> Subject: Online Performance Practice short course opportunity
> To: sc...@jiscmail.ac.uk<mailto:sc...@jiscmail.ac.uk> 
> mailto:sc...@jiscmail.ac.uk>>
>
>
> Dear Colleagues,
>
>
>
> Please find below information on the Online Performance Practice short
> course at Queen Margaret University, Edinburgh, which I am running on
> Saturdays from 21st May to 25th June together with digital artists Helen
> Varley Jamieson <https://www.creative-catalyst.com/> (UpStage, Creative
> Catalyst), Karla Ptacek <https://www.artificialstage.com/> (Artificial
> Stage) and digital ?artivist? Suzon Fuks <https://suzonfuks.net/>.
>
>
>
> We are delighted to deliver digital skills in online performance making
> for emerging and established artists in Scotland and beyond.
>
>
>
> The course content includes the pioneering practice of cyberformance
> <http://www.cyberformance.org/> developed by Jamieson, w

Re: [NetBehaviour] telematic performance "The river of no one" - now online

[Johannes Birringer via NetBehaviour]

dear all
we have now launched a real-time mix of our telepresence stage work
'The river of no one' - created last week: 

https://vimeo.com/690708304 


with regards, 
Johannes Birringer
DAP-Lab
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Re: [NetBehaviour] For Lee Murray, brilliant film/videomaker, writer

[Johannes Birringer via NetBehaviour]

just started to watch 'Stenography', and have the same reaction as Edward;
spell-binding...
thanks for drawing attentio to this body of work, Alan,
best
Johannes Birringer


From: NetBehaviour  on behalf of 
Edward Picot 
Sent: 18 January 2022 18:29
To: netbehaviour@lists.netbehaviour.org
Subject: Re: [NetBehaviour] For Lee Murray, brilliant film/videomaker, writer

I've just been looking at Stenography. I haven't watched it all the way 
through, but goodness me! It's extraordinary!


On 1/17/22 11:12 PM, Alan Sondheim via NetBehaviour wrote:
Agreed - I really love Stenography with its bizarre complexity; they're all 
strange!

Alan -

On Mon, Jan 17, 2022 at 1:56 PM Edward Picot 
mailto:edw...@edwardpicot.com>> wrote:
Alan,

I just watched 'Answer' and 'Duckboy' - 'Duckboy' was particularly
wonderful!

Edward

On 1/16/22 11:27 PM, Alan Sondheim wrote:
>
>
> For Lee Murray
>
> Lee Murray is, was, a brilliant filmmaker/videomaker/writer,
> thinker, who died a year ago; today there was an online
> memorial. I wrote and read the following for it. Please check
> out his work. Thank you.
>
> http://www.dionzeek.com/ (Lee's site)
>
> ...
>
> What to say, that he was a good friend for decades.
>
> "Got" him shows in New York and Atlanta.
>
> Meticulous and always a difficult path.
>
> His coordinates so often slanted.
>
> What I mean is that the images were jagged, edged the same with
> texts filling the void with inconceivable narratives
>
> The stories couldn't be the stories / the stories were elsewhere
>
> He was always breaking new ground by hand, the hard way,
> breaking with this sense of hand-craftedness, so many things
> that appeared digital were physically constructed, so many
> things that seemed analog were short-circuited in the digital.
>
> He breathed film and performance.
>
> His basement studio was a labyrinth of architecture and his
> mind.
>
> One might sum it up, badly, the tethering and untethering of the
> mind.
>
> It was difficult to walk with him sometimes, he was wayward and
> I am sure in pain.
>
> His harmonicas were played too hard, almost breaking the reeds;
> he gave them to me for the soft touch.
>
> We never worked together but we talked and thought together and
> ran I think to our respective caverns of idiosyncratic thought.
>
> His speech was always stops and starts and exact, his sleeping
> difficult and troubled, as was his world and perhaps the world
> to come.
>
> I felt so close to him! His work spoke to me, even the veering
> of it, a lariat gone amuck, a horizon of vacuum tubes and
> secrecies, monologs keeping the dark away while plunging into
> it.
>
> I think of stenographers drowning.
>
> Some of us are solitary creatures in the midst of the world, the
> darkness never dissipates. But one sees the world and sees it
> true.
>
> I think perhaps we walked somewhat the same edges, even in the
> midst of the kindness of others.
>
> Darkness within us.
>
> The illumination of technology and his wonder within it,
> 16 millimeter, 8 millimeter, super 8 millimeter, all with their
> families and brilliant ways.
>
> And Azure and I always felt comfortable and welcome with them
> and those conversations that wove among what otherwise might
> have been sentences of loneliness.
>
> He was carving, always, worlds beneath whatever surfaces he
> found in the world.
>
> Always at the edge of perfect articulation, the motions of
> thought coming through, like a plate tilting, water, running off
> the edge.
>
> Maybe more than water, memories of war, violence, as if he, we,
> were refugees from ourselves.
>
> To say he will be missed is almost to miss the point.
>
> He will be missed, an Atlantis, beautiful and incandescent
> thinker.
>
> I can't go on, I write this now, ahead of time, the production
> of speaking, this memorial, always his own, always thought,
> always silence, in the midst of silence, now silent,
>
> living on.
>
> Thank you.
>
> https://www.youtube.com/watch?v=FCe-WRap-zI (my memorial video)
>
> http://www.dionzeek.com/ (Lee's site)
>
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Re: [NetBehaviour] looking back in time into absences

[Johannes Birringer via NetBehaviour]

dear Alan, and all:

Thanks for your reply on the Watts Telescope launch, and you are enlightening 
me about your confidence in astronomy's reach back in time, 13+ billion years 
you think? reaching out to the furthest reaches of the universe, catching what 
exactly? light rays or waves that stretch back in time to darker matter, at the 
infancy of the universe? birth pains of all this, what you acknowledge might 
put "us" into perspective --  you mean humans and our earth and how we have 
steadily managed to destroy or damage it?  
I think my comment about the 'interested engineer' who is not nervous was a 
question; not about idealisms in the search you see in astronomers who build 
telescopes, rather I marveled at the arrogance of a technological/mathematical 
mind set of programmability  ("when you see a problem you develop a plan to 
overcome it and we've done that")  that, in my view, contributes to the 
extraction, domination and colonization policies that will have led to the 
demise of the earth. And also to death (Frank Wilderson, in his book on 
Afropessimism, probably would call this mindset "presumptive logic", and 
structurally permanently damaging). 

with regards
Johannes Birringer






From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 28 December 2021 00:37
To: NetBehaviour for networked distributed creativity


Hi Johannes,

I don't think the engineer was arrogant at all; given the enormous parameters 
and difficulty of the launch, it's fantastic. And yes, the telescope is meant 
to look back into billions of years, 13+, given that I think it's around 14 
billion or somewhat under - this will give us an indication of the various 
origin models, more information (I think) about dark matter, the overall 
structure of the universe, all these things to put us in perspective, if we 
listen. It's primarily infrared, and it records than at much longer wavelengths 
that can reach us with more information than the usual visual spectrum. It will 
complement gravitation wave astronomy on one end and radio astronomy as well; 
the more is seen, the more can be learned. There are a lot of great accounts 
online about what it means and NASA had a two hour program carried on 
space.com<http://space.com> which must be available on YouTube, explaining all 
of this during the launch. Sometimes, just briefly, the world feels filled wit
 h wonder...

love Alan and Happy Holidays, if such is possible, and even if not, to everyone 
-

On Mon, Dec 27, 2021 at 6:32 PM Johannes Birringer via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
dear all
Alan's writing has made me want to throw out a question about looking back (not 
Wittgenstein in the imaginary car, this time).

>
you feel absence. absence is no longer silent, disappeared, beyond
the pale. you are beyond the pale...
>

if we are beyond such pale, as I think it's true to say, then what are the 
space agencies up to with their 10 billion dollar J Webb Telescope?
I arrived in Houston a few days ago, and my old NASA friends talk about it, 
somewhat vividly, but I realize I'd been unawares. So this telescope
is meant to look back into a deep past, millions of years? near the beginnings 
of the universe, following fossilized light?
how does that work - do we have astronomers amongst us? And what are they 
trying to find?

ps. on the monitors that track the flight of Ariane 5 rocket, the yellow line 
exactly followed its programmed green path. Meticulously.
The chief scientist/inventor of this nicely designed gadget was asked if he'd 
be nervous during the launch and deployment, and he surprised everyone by 
simply saying "No, not nervous, interested. We've broached every problem that 
we can foresee, when you see a problem you develop a plan to overcome it and 
we've done that. So this is a test of whether we came up with the right 
answers."

So this is an interested engineer's arrogant response, I'd guess?


regards
Johannes Birringer





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From: NetBehaviour 
mailto:netbehaviour-boun...@lists.netbehaviour.org>>
 on behalf of Alan Sondheim mailto:sondh...@panix.com>>
Sent: 26 December 2021 22:29

Text for forthcoming video on technology and testament

name AI

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

sun 00 00:00:00  it's dirty everywhere, isn't it? the world
is dry here. liquid is necessary for life / at least for the
activities of life. what remains pooled, desiccated, goes
nowhere. the skin shrivels; there are scars, blemishes. you're
never the same again. you hang by your hands tethered to the
ceiling. nothing is out of reach.sun 00 00:00:00  skin world
skin postures. yes yes yes.sun 00 00:00:00  the posture of
your skin is not your own. not your body. you learn here: you
feel absence. absence is no longer silent, disappeared, beyond
the pale. you

Re: [NetBehaviour] wood and leaves from wood

[Johannes Birringer via NetBehaviour]

dear Alan
just to say that I really loved you writing here, it was moving and very 
thought-provoking to me,
and I took the liberty to share it with my digital students, they have to do a 
leaves and tree performance this week,
and I gave them your poem to look at, together with a poem I found on the floor 
of an exhibition in Seoul, a few years ago.
I mean the poem was printed out (in a digital photography exhibition), and 
about a hundred sheets or more lay on the floor;  I stole one to take home.


WHEN  I  WAS  A  TREE
WHEN  I  WAS  A  CHAIR

WHEN  I  BORE  FRUITS

WHEN  I HEALED

WHEN  I  LEFT  A  SHADOW  BEHIND

WHEN  I  EMBRACED   THE   LAND


IF  I BECOME  A  FIRE

AS A  PAPER,  I  AM  CONTENT



(Jae Eun Choi, Seoul, 2012)


with regards
Johannes Birringer
DAP-Lab, London




From: NetBehaviour  on behalf of 
Alan Sondheim 
Sent: 11 November 2021 02:31
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] wood and leaves from wood


wood and leaves from wood

http://www.alansondheim.org/leaves.jpg
https://youtu.be/DPbLHUkmV0s video

It would be wooden leaves from wood. Don't mistake the wood for
wood and don't mistake the leaves for leaves . Don't mistake the
wood for leaves and don't mistake the leaves for wood. The sound
is the sound technological brutalism . No no no no no, it is the
sound of kindness . Everything is messaged and everything is
massage . Is that what I spoke or is that what I wrote or is
that what I thought . I no longer know but I do know that I can
read what I wrote and what I thought I can speak . In that way
my thinking is speech and the world gives me infinite signs . I
am in infinite sign of the world . A leaf is an infinite sign of
the world . But the world is not in the leaf and the world is
not in me . You can't see the world in a leaf . You can't see
the world in the stars . You can't see the world in anything .
You can't see the world . But you can listen to the modulated
wooden leaves from the wood and the leaves from the woods . And
the stars see nothing . The stars see nothing at all .

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Re: [NetBehaviour] Thirteen Ways of Looking at a Blackbird

[Johannes Birringer via NetBehaviour]

dear Edward - thanks for sharing this beautiful work, and re-covering it!

we have not much talked about resurrections here, of older work, older 
media/vehicles, although it does come up from time to time, but I think on the 
CRUMB list they talk about it a lot (Curating digital art - www.crumbweb.org ) 
--  and if this is something that interests, you, I could find a challenging 
text recently sent to me from the EMPAC director, Johannes Goebel, to share

THE COMPUTER AS UNIVERSAL TIME MACHINE
  Time beyond and for Perception
  Freezing Movement While Propelling the Still
  Keeping: A Digital Time Capsule

as I remember it, the first part was a more general, philosophical reflection 
on time and time-based media, very insightful and stimulating,
whereas the last part deals with digital preservation and recuperation (the 
part i have not yet read)...

best
Johannes Birringer
Interaktionslabor
http://interaktionslabor.de


From: NetBehaviour  on behalf of 
Edward Picot via NetBehaviour 
Sent: 12 August 2021 20:10
To: NetBehaviour for networked distributed creativity
Cc: Edward Picot
Subject: [NetBehaviour] Thirteen Ways of Looking at a Blackbird

Dear all,

With the help of the amazing people at Ruffle (https://ruffle.rs/), I've
managed to get my Flash version of Thirteen Ways of Looking at a
Blackbird back online and working more or less the way it was.

There was an issue with the cursor disappearing and not coming back
every time one of the little animations was launched, which made it
impossible to launch another one. I sent this as a bug report to Ruffle,
and they fixed it!

There's still a slight issue with the titles in the bottom right-hand
corner disappearing off-screen, but other than that it's pretty much
back to its old self.

http://edwardpicot.com/thirteenways

Edward

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Re: [NetBehaviour] analogy and AI poetry

[Johannes Birringer via NetBehaviour]

Hallo Max
you are full of imagination, and lead us astray, yet I remember hearing that 
the park (Time Landscape) is locked, we cannot enter.

what is your garment? in "The Garment is like Nature" ? 

i am not sure i follow but I think you mentioned it before, in a Leonardo 
painting. 
I looked at the Last Supper and tried to spot the "traitor," hmm, near the salt 
shaker, I guess? looking darker?  I pondered the punishment, just out of 
curiosity, after coming across a verse from Dante at my doctor's office (the 
doctor is into philosophy and Roman literature):  


Lo ’mperador del doloroso regno
da mezzo ’l petto uscia fuor de la ghiaccia


Des schmerzensvollen Reiches Kaiser ragte
Bis zu der halben Brust vor aus dem Eise...

(Inferno XXXIV, 28–29, übersetzt von Philalethes)

So that is what happens to traitors, in time, over time: they are punished by 
the icy lord of the underworld, who looks like an enormous three-headed bat 
that kindles an icy wind with its six wings that sweeps over the frozen cocytus 
(the ninth and lowest circle)The ruler of hell stands up to his chest in 
the icy ground, with huge claws that grasp the souls of the worst sinners.. 

More tomorrow, when I will ask you all about time and drawing.

best
Johannes Birringer






From: NetBehaviour  on behalf of 
Max Herman via NetBehaviour 
Sent: 23 July 2021
Hi Graziano,

Great information about Sonfist and natural intelligence, much appreciated!  I 
will review Time Landscape and Circle of Time for sure.

Time is so important, I am finding, in Leonardo's thinking and imagination.  
Time was basic to Dante as well, as in his closing image of the Commedia when 
he says that his consciousness was moving like a connected wheel with the 
cosmos.  (Leonardo and Dante were both musicians in which time is of course of 
the essence.)  Time per se is something that still offers challenges to science 
and art today, and since natural intelligence has been around so many years 
longer than machine intelligence it almost certainly has some pointers to share.

In addition to Dante, Leonardo also read Ovid, who was so focused on time and 
processes.  Things are not as they seem in a snapshot, but have all kinds of 
past and future movement aligned and intertwined just like currents in a river. 
 Time destroys, but also creates, as Percy Shelley metaphorized as the wind:  
"Destroyer and preserver, hear o hear!"

In Leonardo expert Martin Kemp's very interesting 2021 book about light as a 
theme in Dante and later painters from Giotto through Rubens and the Baroque, 
he cites the 14th century German philosopher Grosseteste as a kind of 
touchstone and closing argument about imagination:

"To understand something about the motion of the universe, you must merge the 
center and the poles, aiding yourself as best you can by your imagination 
[italics mine].  For example, if someone were on the earth but beneath the 
north pole [of the heavens] and someone else were actually at the north pole 
[of the heavens], then just as to the one on the earth it would appear that the 
pole is at the zenith [from that point], so to the one at the actual pole it 
would it appear that the centre is at the zenith [from that point].  And just 
as antipodes have the sky above, as do we, so to those who are at either pole 
the earth would appear to be at the zenith [from their point].  And at 
whichever [of these] anyone would be, they would believe themselves to be at 
the centre.  Therefore, merge these different imaginative [italics mine] 
pictures so that the centre is the zenith and vice versa.  Thereupon you will 
see -- through the intellect to which only learned ignorance [italics mine] is 
of help, that the world and its motion [italics mine] and shape cannot be 
apprehended.  For [the world] will appear as a wheel in a wheel and a sphere in 
a sphere -- having its circumference nowhere, as was stated."

Kemp blends Grosseteste's idea of "learned ignorance," which means something 
like "diligent observation that accepts its incompleteness," into the ideas of 
Godel and Heisenberg.  The uncertainty or incompleteness of the two 20th 
century scientists is compared to the medieval and Dantean motif of light that 
is so strong it overwhelms the senses so that what radiates it cannot be seen.

My education is not of the greatest, and never focused at all on art history, 
but from what little I know about literature words add a new dimension to this 
picture.  Dante of course worked to outline a relationship between words and 
vision; he sort of says that vision is the ultimate input, but words are 
necessary to help imagination turn the input into knowledge or truth.  I.e., 
the eyes can mislead us if we don't apply our imaginations and the humble state 
of "learned ignorance."  Words, of course, can also flat out lie and fabricate 
to the ex

Re: [NetBehaviour] faux pas, out the window

[Johannes Birringer via NetBehaviour]

[Danielle Imara via NetBehaviour]


https://www.instagram.com/p/CQL8M5FA_ag/


thanks for this, wonderful, I had to smile but somehow my mind reconnected with 
a catalogue
I once picked up from an exhibit ("Art, Lies and Videotape: Exposing 
Performance") which featured a trick image
on the cover, "Yves Klein's leap into the void"  - and the exhibition looked 
into photography/video as documentation
of performance or acts that may or may not have taken place.

If you permit, Danielle, I changed the subject line as I am getting a bit 
annoyed at the idea of members of this list having to
confess or announce whether they are happy or unhappy lurkers, the latter term 
to me, as a non native-speaker, having a sinister ring to it. 
I would wish for us to move on and leave this whole faux pax/discussion behind; 
we are the commons, and whether someone is quiet is really none of our 
business; we would
not want to control our neighbors either, would we, sticking our heads too far 
out of the window?

respectfully
Johannes Birringer
dap-lab


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Re: [NetBehaviour] "Re-embodiment and Dis/abilities" - workshop - invitation

[Johannes Birringer via NetBehaviour]

I n v i t a t i on :


"Re-embodiment and Dis/abilities"

Artaud Performance Center Online (Zoom) / Brunel University London
https://bruneluniversity.zoom.us/j/91557619589
Meeting ID: 915 5761 9589
Passcode: 1835021672


This research workshop-symposium, the second of two (April 28/June 16) is 
intended to challenge our assumptions about bodies, difference and notions of 
'otherness' in the arts. It is above all meant to “unmute" our bodies, to 
challenge troubled ontologies and the freedom to move in this era of pandemics. 
The term dis/abilities also needs unlabeling; we believe it is important to 
explore practices and discussions around how mixed ability and disability are 
defined in the arts and in our culture – as well as in the current shift to 
online/zoom conferencing & teaching. Who is 'included' when we talk about 
'other' bodies or 'non-normative' practice, who is talked over, which lives 
matter, what can we learn from un-labeling, and overcoming isolation, how we 
can collectively imagine our re-integrations into presence and corporeal 
interaction in inter-pandemic society. 

++
Wednesday June 16, 202114:3o – 21:oo  (UK-time)

 Roundtable provocations & dialog:
14:3o:  Welcome: Opening remarks, Johannes Birringer, DAP-Lab (organizer) with 
Petra Kuppers and Vera Rosner
15:oo- 16:40 Kate Marsh / Scott deLahunta  / re-embodiment & the ethics of 
dance intelligence -
Ram Samocha / Yohai Hakak with Pauline Cooper, Kieran Moran and Debbie Thomas / 
drawing & disability tech
16:45-17:30 Funmi Adewole  / Thomas Kampe  /  cultures of the body /  beyond 
forgetting
17:35-18:25 Mariza Dima / Maria Kastrinou /  rituals of heritage and 
intervention for racial justice
18:25- 19:15  Dinner break
Workshop 19:15 - 21:oo
Prof. Petra Kuppers  (University of Michigan)  //  ecosomatics and collective 
ritual:
1. Keynote address: “Memorials of Life: Journey to the Holocaust Memorial 
in Berlin"
2. followed by one hour Amoeba Dances: Tunneling Open - physical workshop.


This project is supported by DAP-Lab and Brunel University Research Seminar 
Series Award.
Performance and Ephemeral Sustainabilities in Public Space Research Group
Research Lead: Prof. Johannes Birringer
Centre for Health and Wellbeing across the Lifecourse
 
https://www.brunel.ac.uk/research/Groups/Performance-and-Ephemeral-Sustainabilities

+++
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Re: [NetBehaviour] FurtherList No.24 June 4th 2021

[Johannes Birringer via NetBehaviour]

thanks for this Marc,

and greetings to you all at Furtherfield, along with a big hug
best
Johannes


From: NetBehaviour  on behalf of 
marc garrett via NetBehaviour 
Sent: 04 June 2021 12:06
To: NetBehaviour for networked distributed creativity
Cc: marc garrett
Subject: [NetBehaviour] FurtherList No.24 June 4th 2021

️ FurtherList No.24 June 4th 2021

A list of recommendations, reflecting the dynamic culture we are part of, 
straddling the fields of art, technology and social change.

Exhibitions, events, conferences, books, articles, blogs, interviews, across 
networked communities, web & beyond.

Compiled by the co-founder of Furtherfield Marc Garrett  Check it out & share!

https://bit.ly/3pit9Yu

--
Wishing you well

Marc

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Re: [NetBehaviour] Like Buses

[Johannes Birringer via NetBehaviour]

I agree with Alan on this, obviously;
and only now realize the initial question, by Ruth, which i missed, it being my 
first long weekend where i can be outside and relax ('bank holiday', this being 
London).
I completely like, adore and support this list
and i hope it goes on forever,
as I value the open platform community here,

best
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 31 May 2021 15:48
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim
Subject: Re: [NetBehaviour] Like Buses

Hi Ruth and others,

To be honest, it might be better to let Netbehaviour go, if you feel like this; 
the great thing about it, for me, is that it is a completely open platform; 
people can post what they want to it. When you talk about being "someone else's 
guest" you're talking about a very different structure like empyre, which has 
guests and topics. Netbehaviour has been and at least for me continues to be 
more of a community. To "hangout" as well implies themes or something like 
Discord channels.

I've found Netbehaviour invaluable; I wouldn't have gone personally in the 
directions of blockchains, Larf, the work others are doing here - and that's 
what makes it so important - that it's a level playing field. If you do want to 
end it, please do of course. For me, I value the community.

Precisely because Annie objects, it feels like that, like a community. And I 
think we need all sorts of viewpoints; it feels open, and people come and go 
when it's functioning well. I was thinking that this list had less activity 
because of Covid, but the two (smaller) lists I run have bounced back.

Of course if you find it a burden, Ruth, that's another issue altogether. For 
me I don't want people to "take the list in another direction" or any direction 
at all. The value is that it's not a stream, that it's not dedicated one way or 
another. I'm interested in seeing not what it might become, as you say, but 
what it is. It reminds me of when I was at Furtherfield; people did all sorts 
of things...

And of course I'm willing to have the list disappear if that's what people 
want; I'm running two lists, Cybermind and Wryting-L; these are communities and 
have been for decades. Wryting-L is dedicated to people's 
writing/writhing/wreathing in - creative work, Cybermind is much quieter now, a 
community that began in 1994 with me Michael Current who died at a very young 
age. But we continue on and it's incredibly rewarding.

Best, Alan

On Mon, May 31, 2021 at 6:46 AM Ruth Catlow via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
Dear All,

Thanks for raising the question Alan.

I agree with Edward that art as conversation has moved to platforms like 
Instagram. I follow a lot of early (and not so early) personal net art 
inspirations there - Auriea Harvey, Kate Southworth, Gretta Louw and Marc 
Garrett;) - whose work seems to be turning away from reflexive and 
media-critical concerns and returning to image production for a million reasons.

Congratulations Rhea, for your contribution to artistry and explanation in the 
tough-to-navigate terrain of art blockchain and NFTs - I find your Southebys 
video an example of clarity and generosity. The breadcrumbs show looks very 
lively!

I find the sharing of links an excellent way to have a kind of conversation 
because it allows people to port into different conversations where they occur 
(in their native territory). It's laborious to try and convey all the contexts 
if everyone isn't involved in the same explorations. I find it harder to follow 
long textual conversations here in-list.

Annie, if you have questions I don't understand why you start with a 
declaration of hate. I did try (very imperfectly) to respond to questions about 
NFTs and energy, earlier this year, and I thought we had built some shared 
understanding in the process. One of the things I struggled with at that time 
was the realisation that Netbehaviour no longer functioned for me as a 
community of practice. By which I mean we are no longer united by a spirit of 
common investigation - where people learn, critique, explore together - the 
polarisation is too strong. I participate in a number of telegram and discord 
channels for this purpose now, but I give the most energy to those projects in 
which I am an active participant. My favourite "conversations" are inter-media 
and they co-create artistic community. I'd happily talk more about some 
examples of these (maybe I'll send some links soon;)

This list is still very important to me personally - but it somehow sits 
outside of time and production. This sense is emphasised by Alan's use of it as 
a daily performance platform- this keeps the list alive and sets a particular 
tone. I feel it is peopled by a longstanding community of artist, techie and 
thinker friends, connecte

Re: [NetBehaviour] email lists -

[Johannes Birringer via NetBehaviour]

hello dear friends

i use this address, as I know a few of you, or a certain number of you, and 
have worked and corresponded with you. I value this list, and like Alan, or 
Annie, and others i recently communicated with (for example with Max Herman on 
the Mona Lisa), I enjoy learning about your work, your ideas, your experiences. 
I am not sure anything has changed, at least not for me. I look forward to 
postings here, my only other regular outlets are the dance tech community, a 
debate forum called MOCO, and CRUMB, I have lost interest in empyre (too 
academic and correct-theory speak driven, elitist and unaware of its own 
elitism) but read it in on occasion, for distraction, and I try to avoid 
instagram and facebook as a discussion forum, as one cannot take them 
seriously. I am an older choreographer; so Alan I read you, I mean I hear your 
rersponse, but 'old' means little. I felt young yesterday, the sun laughed, 
people milled around, i was in central London for the first time in 14 months, 
visiting an 
 odd exhibit at the 'Royal Academy' called Emin/Munch,  what more can one ask 
for...

take good care
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 30 May 2021 23:52
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim
Subject: Re: [NetBehaviour] email lists -

I'd be sorry to lose that as well; I wish I could do something about it. It 
seems to me, having just come out of the Electronic Literature Conference, that 
new media work is more evident than ever, but perhaps Netbehaviour is no longer 
the place for it - but as far as e-lists go, I see nothing equivalent :-(

Best, Alan, thank you for this --

On Sun, May 30, 2021 at 3:32 PM Edward Picot via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
Alan and Annie,

I think it's partly because people aren't posting their new work, or notices 
about their new work, on here as much as they once did - which is partly 
because a lot of people have moved away from New Media Art and gone more into 
old-fashioned things like "pictures" and "writing", and NetBehaviour doesn't 
necessarily feel like the right vehicle for those. I'm spending a lot of time 
on Instagram these days, which I much prefer to Facebook or Twitter, and I see 
that Michael Szpakowski and Simon McLennan are both on there publishing new 
stuff on a regular basis.

But I think NetBehavour still has this capacity to suddenly go from being very 
quiet to being incredibly voluble and fast-moving if somebody happens to raise 
a subject that really gets people thinking and talking. I've never known 
another online forum quite like it as a vehicle for debate, and I'd be very 
sorry to lose that.

Edward



On 30/05/2021 19:59, Alan Sondheim via NetBehaviour wrote:
Dear Annie and netbehaviourists

I do feel differently; I've had amazing exchanges with you and Johannes 
Birringer and many others, and I can't imagine these occurring on Facebook; the 
very phenomenology of the stream mitigates against that. I don't know what you 
mean by "old" "intellectuals" since a number of people on the lists are also 
young. The list isn't sex, but sex is and sex is a lot faster than a list. It's 
the idea of "old" that bothers me; on Facebook where I post, as I mentioned, I 
get numbers of likes or loves to an image, but texts aren't taken seriously.

Which for me reflects the whole intellectual apparatus of at least the US and 
possibly Europe - the need to be an academic or gallery- or magazine- 
affiliated. I have none of these and at ELO I felt for example as a total 
outsider. And that's a real problem. There are constant money issues, access 
issues, equipment issues, travel issues, survival issues, health issues, 
audience issues, etc. that are available if not taken for granted if you work 
at a university or tech company. Those issues dominate. My equipment is 
seriously poor at this point. God knows what happens in the rest of the world, 
where there may be no equipment at all. And these issues are fundamentally 
class issues: the intellectual class, old or not, is defined and siloed by its 
connections and potentials for connections. I wake up sometimes thinking 
critically and artistically I'm dead and why continue at all. And if I feel 
that way, again - God knows what happens in the rest of the world.

I don't read everything on mailing lists, but I take the time to at least skim. 
And when I do reply (and I will always reply if I can to you, for example), 
I'll do more than click stupidly on like/love/care/angry and other emoji (which 
I use as well) (and which are frankly insulting - someone takes the time to put 
up something that make take hours, weeks - and the reply is a click??

It's the stream stream stream stream stream which is NOT flow but inherently 
violent, sexist, racist, ageist, and anything

Re: [NetBehaviour] The Eternal Exercise And A Comment

[Johannes Birringer (Staff) via NetBehaviour]

hallo all, Alan and Annie

you are taking a break, Alan, have you filled out your release form? a period 
of not thinking how could it be possible, ah, now i see Annie meant period not 
as time but as stop, not as something that keeps returning until is stops, I 
read 'release form 'Alan but you meant from..
I am thankful for such conversations (and your critique of that passage from 
'L'imaginaire hétérolingue' is apt, I agree and wondered also, Annie, whether 
as dancers we would quite follow the idea of a "pure intense gesture" (un pur 
geste tendu), intensity is something different and messy, muddy and dangerous 
perhaps? I also am inspired by the ramifications of what Alan points to, our 
short period on the planet, hopefully being in awe of the world, spring time 
here out there.

Alan you asked about Witzel's book, I had been looking at the opening dream the 
writer has (when he hears his father had died), about a rhinoceros dying on the 
floor in the old house, and other animals already having started to 
decompose, in other rooms. He comes back to bad dreams, but the re-memory 
idea was sparked by a Canadian musician friend who just wrote me about an old 
box he found from his father, full of super-8 films, and how bizarre it was to 
"see these images, the images from the eyes of my parents. What a gift!" and 
what my friend perhaps means is seeing his childhood through the distorting 
camera eyes of the parents?

Witzel writes, at a later point about coincidences in lives lived,  quoting a 
line from a Leopardi poem that his mother liked:

"E il naufragar m'è dolce in questo mare"

Das Unendliche verkörperte bei Leopardi ja nicht eine Hoffnung auf das Ewige, 
sondern das sich auf gleichzeitig faszinierende und undurchschaubare Art und 
Weise entfaltende Leben, das den Menschen für einen recht kurzen Augenblick mit 
sich zieht, bevor er zwangsläufig in ihm untergeht. Was aber dieses Untergehen, 
das oft genug als Scheitern interpretiert wurde, tatsächlich bedeutete, wurde 
mir an einem Spätnachmittag im gerade beginnenden Frühjahr deutlich. Ich hatte 
zusammen mit meinem Bruder angefangen, die Bibliothek meines Vaters aufzulösen, 
einiges mitgenommen, vieles aussortiert, bei anderem überlegt, wer vielleicht 
etwas damit würde anfangen können, und ewar danach für einige Wochen nach 
Berlin gefahren. An einem Nachmittag kaufte ich in einem Antiquariat einige 
Bücher. Beim Bezahlen kam ich mit dem Besitzer ins Gespräch, der mir von der 
schwierigen Lage im Antiquariatsbuchhandel erzählte und es auf die Formel 
brachte, dass "mehr Leute sterben als Bücher gekauft werden."  In diesem 
Zusammenhang erwähnte er, dass er gerade den Nachlass von Dieter Schnebel 
angekauft hätte, eine Sieben-Zimmer Wohnung voll mit Büchern, unter anderem 
Widmungsexemplare von Adorno und weitere Seltenheiten, ausserdem sei Schnabel 
mit der Tochter "der Kaschnitz" verheiratet gewesen, die auch noch einiges von 
der Mutter beigesteuert habe. Dieter Schnebel ist im selben Jahr wie mein Vater 
geboren und auch im selben Jahr wie er gestorben

[>>For Leopardi, the infinite did not embody a hope for the eternal, but rather 
the life unfolding in a fascinating and inscrutable way that pulls people with 
it for a very brief moment before they inevitably perish in them. But what this 
sinking, which has often enough been interpreted as failure, actually meant, 
became clear to me on a late afternoon in the beginning of spring. Together 
with my brother I had started to close down my father's library, took some with 
me, sorted out a lot, thought about other things about who might be able to do 
something with it, and then went to Berlin for a few weeks. One afternoon I 
bought some books in a second-hand bookshop. While paying, I got into 
conversation with the owner, who told me about the difficult situation in the 
second-hand book trade and summed it up as saying that "more people die than 
books are bought". In this context, he mentioned that he had just bought Dieter 
Schnebel's estate, a seven-room apartment full of books, including dedicatory 
copies by Adorno and other rarities, and that Schnabel was married to the 
daughter of "die Kaschnitz", who also contributed a lot of books from her 
mother. Dieter Schnebel was born in the same year as my father and died in the 
same year as him >>]


This then moves into a reflection on coincidental fathers, composers, failures, 
and the silence of the mother, remarkably only acknowledged by Witzel near the 
end. What he finds in the house of the rhinoceros are numerous boxes from the 
father with an endless archive of meticulously noted down thoughts, diary 
entries, dates, expenses, birthdas, weddings to not attend, concerts, 
disappointments.   Desperate attempts, I suppose to make sense of patterns 
and accidents that may or may not have happened in our lives.

respectfull

Re: [NetBehaviour] The Eternal Exercise And A Comment

[Johannes Birringer (Staff) via NetBehaviour]

dear all
thanks Alan for your exquisite, resonating poem, it has internal rhyme i have 
still to figure out, so many referernces and beautiful images;
well, enough, everyone knows we are friends, and also collaborators, so that, i 
think my views don;'rt count. Annie's question is odd (Hi Annie, greetings!)  
and yet stimulating; ask a painter why they walk into the studio every day 
well, to paint!
And your reference to musicians, Alan , is well taken, as are the references to 
writers like Klemperer Knausgaard, or the sleepless Aby Warburg or the 
sleepless Hella Pick who just published 'Invisible Walls"

Well, i have nothing to say, except respecting Alan's daily poetry and music 
and the jpgs very much, almost now for me, for a few years i think, since our 
ISIS "writings" and blog back then, a recording task. I record/archive what you 
send us, I sometimes show it to students, sometimes use your acoustic music in 
my dance, sometimes curse the times in which we cannot support our 
collaborations more, or see you have grants and invitations come your way 
more.

But I also meant to write about memory, years, parents, old homes, lost times, 
and had wanted to share a passage from Frank Witzel's new memoir, "Inniger 
Schiffbruch"  (maybe translatable as "Intimate Shipwreck"), but it's too 
painful, dealing with parents who died and are dead, memories coming up, 
re-memories, old notes, super-8 films, flashing up, reverting us to strange 
questions (was is Pam Zhang who asked, "what makes a home a home", in her "How 
Much of These Hills are Gold?"), about us, providences, determinants, 
coincidences; and our ancestors, yes, shadowy figures, and why we stay up at 
night writing..

regards
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 05 May 2021 22:42
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim
Subject: Re: [NetBehaviour] The Eternal Exercise And A Comment

Hi Annie,
It's a practice that keeps me focused; I have what I call 'waves' of content 
that flow through the sections - for example analog/digital phenomenology / 
gamespace/edgespace/blankspace / splatter semiotics / etc. It's like 
meditation; I learn from the practice and honestly have done this most of my 
life. Early on I was also influenced by Delta Blues music (and was at times 
close to people like Al Wilson through whom I met Son House etc.) - and I soon 
was listening to 60s-70s free jazz (people like Albert Ayler, Archie Schepp, 
John Coltrane, and so many others) - and almost all the musicians I know 
practice/play/think/produce/ etc. every day - it's I think a different way of 
working, I have to keep re-inventing myself in a sense, but also paying close 
attention to what I think might be valuable or somehow true at times, and then 
question those underpinnings. There are diarists like Viktor Klemperer and 
Kierkegaard who have also influenced me - daily writing... And from people like 
Kristeva and Irigaray I was also inspired to think more about embodied art, 
which is daily practice; most of the artists I knew early on like Vito Acconci, 
Rosemary Mayer, Bernadette Mayer, and so forth were also constantly producing. 
It's somewhat of a work ethic I think as well.  --
Hope this answers somewhat and thanks for asking!
Best, Alan

On Wed, May 5, 2021 at 5:24 PM Annie Abrahams via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
May  l ask Alan
What was the reason for starting to produce work at a daily rate?

Best
ANNIE

Le mer. 5 mai 2021 à 22:23, Alan Sondheim 
mailto:sondh...@panix.com>> a écrit :


The Eternal Exercise And A Comment

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

What am I hearing it might be God
fearing the stallion is rearing
the forest is dead where am I
going the sky's blowing red the
people are ready the horses are
fed where have I been in this town
of grey sin in this town where the
weather's unpinned where the
horses are in where the stallion
is ready where the horses are
rearing and the forest is dead.
Sometimes there's chasm a sight of
a plasm where's the flesh isn't
messed and the samples go lie and
this sky is darkling and the
plasm's a storm that always means
harm and the cyto is psycho and
the horses are no go and the
horses are carrying bodies in
babies up to the sky up into the
sky. What am I seeing it might be
gone fleeing the stallion is
winning the forest is gone where
am I going the wind is no more the
people steady to go down to the
Weir. Where is the Weir where the
canal was flying into the sky with
the horses and chasm where is this
site have the people who light
down by the forest for the trees
are all burning and the horses are
churning in this dream by the
river in the river by brook in the
fountain in in the sea in the sea
in the ocean in the lake of the
ocean in the lake of the oce

Re: [NetBehaviour] Woven Qin, wood, atlas, wailing

[Johannes Birringer via NetBehaviour]

dear Alan, Max, and all

sometimes I am left speechless and don't know how we can respond, and then I 
imagine -- this list is actually a place where people are free to think aloud 
and share their artwork, their thoughts and their research; so Alan's long 
response on the qin music and the instrument, or Max's pondering the method 
inside Warburg's Bilderatlas or how the Mnemosyne constellations (image 
juxtapositions, rather than 'explanations' of what/how he collected these 
images) could inspire his own further work, into Dante, Leonardo, 
Benjamin..., all this give more inspiration to reflect.
Alan, I loved your meticulous description of your learning about these 
instruments or finding out about age of wood, type of wood. the cultural 
traditions, and the physical performance challenges, the tuning, the types of 
strings, the use of fingers, the sensitivity towards the resonances of the 
sound created.. I also found it very moving (sorry for being sentimental 
here) when you admitted to feeling humble towards the age of your instruments 
("Most of mine are old and I feel - I know this might sound absurd - but I have 
to honor their age and provenance") -- i love this.

Makes me want to share an impression from yesterday; i had pondered the 
paintings and body self-portraits of a artist I  work with, and I have to keep 
this private of course; but something struck me about these difficult body 
figurations in the paintings,  contorted, probing, reflective of the darkness 
and obscure-ness of flesh and emotions, vulnerable fleshness,, exposed-ness, 
openness, trusting, wanting, hurting, flailing. It made me think how twisted we 
are in our mindbodies, often aching, yearning-aching, dissolving, Baconesque. 
Then i suddenly realize, yesterday afternoon, i had noted a fallen tree branch, 
in the park where I jog, strangely/incoherently broken off its main stem, and 
when I tried to move it, it ached, making strange sounds, it wailed.  I was so 
struck by this that I later, after sun down, went back to record the sound. Not 
sure what to make of it,.

regards
Johannes Birringer
 

From: Alan Sondheim 
Sent: 11 April 2021 01:15


Hi Johannes,

I love erhu; I have one which I've used with our group, as well as a Cambodian 
tro, which is similar (and rare, thanks to Pol Pot's destruction of 
instruments).
The qin is amazing; wooden ones have been found buried in the Marquis of Yi's 
tomb - that are 2400 years old. When I was at Brown, I heard a concert given on 
a Tang dynasty one, around a thousand years old. Mine has been dated from the 
Qing dynasty, 1636-1912, most likely 200-400 years old. Stephen Dydo, a qin 
player who on occasion plays with me on a variety of instruments, brought it 
back to life. It's a wonderful meditative instrument; you can get modern ones 
from Eason Music in the U.S. 
https://www.easonmusicstore.com/collections/all-things-guqin - there must be 
similar stores in Europe. Of course there is a Facebook page devoted to the qin.
I was at a loss for playing, literally, until the Net brought a variety of 
sites to light. I also knew Frederic Liebermann whose 1983 A Chinese Zither 
Tutor, a translation, introduced the music and technique to the West; he also 
warned me away from the instrument, saying I'd never be able to play it (no 
training). Earlier, Van Gulik wrote The Lore of the Chinese Lute, which gives 
enormous religious and cultural background about the instrument.
I couldn't string or tune it; now, I can't string it properly myself, but I can 
keep it in tune (you have to pull the strings tight by hand without gearing). 
When I started playing with Stephen, he helped greatly and continues to help 
me. We've played concerts together and recorded together for ESP a cd, Dragon 
and Phoenix, in which we play a variety of instruments, but the focus is on the 
qin itself. He has amazing and expensive qin (also called guqin, ancient qin), 
and I can give a general warning (the same for shakuhachi), beware of 
inexpensive ones or ones made to look "antique" - they're out there. I was 
really lucky here as well - I found my qin at a antique shop somewhere in New 
England decades ago for $18; when I paid for it, the clerk asked what I wanted 
"the board" for.
You can find amazing qin music online; it's often played very slowly and 
meditatively; it's tuned pentatonically, and harmonics are used a lot. There 
are no frets; the body of the instrument is also a fretless fingerboard for the 
strings.
The proper positions on the strings - even with position markers, it is so easy 
to play horribly out of tune. A lot of glissando and harmonics are used. The 
board is like an ocean. The wood is very very old; Van Gulik describes the type 
used. The instrument figures in a lot of Chinese and even some Japanese 
painting (it's no longer played in Japan). The lacquer use is hand-made with a 
very complex pro

Re: [NetBehaviour] Woven Qin, wood, atlas, wailing

[Johannes Birringer via NetBehaviour]

dear Alan, Max, and all

sometimes I am left speechless and don't know how we can respond, and then I 
imagine -- this list is actually a place where people are free to think aloud 
and share their artwork, their thoughts and their research; so Alan's long 
response on the qin music and the instrument, or Max's pondering the method 
inside Warburg's Bilderatlas or how the Mnemosyne constellations (image 
juxtapositions, rather than 'explanations' of what/how he collected these 
images) could inspire his own further work, into Dante, Leonardo, 
Benjamin..., all this give more inspiration to reflect.
Alan, I loved your meticulous description of your learning about these 
instruments or finding out about age of wood, type of wood. the cultural 
traditions, and the physical performance challenges, the tuning, the types of 
strings, the use of fingers, the sensitivity towards the resonances of the 
sound created.. I also found it very moving (sorry for being sentimental 
here) when you admitted to feeling humble towards the age of your instruments 
("Most of mine are old and I feel - I know this might sound absurd - but I have 
to honor their age and provenance") -- i love this.

Makes me want to share an impression from yesterday; i had pondered the 
paintings and body self-portraits of a artist I  work with, and I have to keep 
this private of course; but something struck me about these difficult body 
figurations in the paintings,  contorted, probing, reflective of the darkness 
and obscure-ness of flesh and emotions, vulnerable fleshness,, exposed-ness, 
openness, trusting, wanting, hurting, flailing. It made me think how twisted we 
are in our mindbodies, often aching, yearning-aching, dissolving, Baconesque. 
Then i suddenly realize, yesterday afternoon, i had noted a fallen tree branch, 
in the park where I jog, strangely/incoherently broken off its main stem, and 
when I tried to move it, it ached, making strange sounds, it wailed.  I was so 
struck by this that I later, after sun down, went back to record the sound. Not 
sure what to make of it,.

regards
Johannes Birringer
 

From: Alan Sondheim 
Sent: 11 April 2021 01:15


Hi Johannes,

I love erhu; I have one which I've used with our group, as well as a Cambodian 
tro, which is similar (and rare, thanks to Pol Pot's destruction of 
instruments).
The qin is amazing; wooden ones have been found buried in the Marquis of Yi's 
tomb - that are 2400 years old. When I was at Brown, I heard a concert given on 
a Tang dynasty one, around a thousand years old. Mine has been dated from the 
Qing dynasty, 1636-1912, most likely 200-400 years old. Stephen Dydo, a qin 
player who on occasion plays with me on a variety of instruments, brought it 
back to life. It's a wonderful meditative instrument; you can get modern ones 
from Eason Music in the U.S. 
https://www.easonmusicstore.com/collections/all-things-guqin - there must be 
similar stores in Europe. Of course there is a Facebook page devoted to the qin.
I was at a loss for playing, literally, until the Net brought a variety of 
sites to light. I also knew Frederic Liebermann whose 1983 A Chinese Zither 
Tutor, a translation, introduced the music and technique to the West; he also 
warned me away from the instrument, saying I'd never be able to play it (no 
training). Earlier, Van Gulik wrote The Lore of the Chinese Lute, which gives 
enormous religious and cultural background about the instrument.
I couldn't string or tune it; now, I can't string it properly myself, but I can 
keep it in tune (you have to pull the strings tight by hand without gearing). 
When I started playing with Stephen, he helped greatly and continues to help 
me. We've played concerts together and recorded together for ESP a cd, Dragon 
and Phoenix, in which we play a variety of instruments, but the focus is on the 
qin itself. He has amazing and expensive qin (also called guqin, ancient qin), 
and I can give a general warning (the same for shakuhachi), beware of 
inexpensive ones or ones made to look "antique" - they're out there. I was 
really lucky here as well - I found my qin at a antique shop somewhere in New 
England decades ago for $18; when I paid for it, the clerk asked what I wanted 
"the board" for.
You can find amazing qin music online; it's often played very slowly and 
meditatively; it's tuned pentatonically, and harmonics are used a lot. There 
are no frets; the body of the instrument is also a fretless fingerboard for the 
strings.
The proper positions on the strings - even with position markers, it is so easy 
to play horribly out of tune. A lot of glissando and harmonics are used. The 
board is like an ocean. The wood is very very old; Van Gulik describes the type 
used. The instrument figures in a lot of Chinese and even some Japanese 
painting (it's no longer played in Japan). The lacquer use is hand-made with a 
very complex pro

Re: [NetBehaviour] Woven Qin

[Johannes Birringer via NetBehaviour]

Alan,
it's beautiful music, and I can sense the intensity
(and surely one sees it in the photo).
i wondered how you approach/ed such instruments in the first place, if 
(presumably) you taught yourself
or started to play them kinetically, intuitively, and shifted your growing 
musical and physical knowledge across/around
the string instruments (and keyboards) I have seen you play. You worry about 
"the proper positions of  fingers on the strings.."?
i wonder why you indeed worried (surely not covid induced) - it interests 
really me how you hold up and sustain your tremendous continuum/commitment to 
play these difficult instrumentsand get yourself into them and their 
particularities so emphatically!

Now, it was you who inspired me to look for such Chinese instruments, I wanted 
to include one in our DAP-Lab "Mourning for a dead moon" dance, performed in 
London in late December 2019, before Covid. One of our Chinese 
dancer/performers volunteered to play the qin, and off I went looking for one, 
during a trip to Berlin in November.  I found a fabulous Turkish-German music 
instrument store in Kreuzberg, and after a few hours I left, feeling very 
excited, not really knowing what I had bought. The young man convinced me it 
was a qin, but back in London, my dancers explained I had bought an erhu ( 二胡; 
pinyin), a very elegant and beautiful instrument, just 2 strings Our dancer 
Helenna Ren played the erhu in two short scenes, we miked the instrument & 
processed the sound in Max/Msp in addition to the live playing.  That concert, 
with live audience, seems ages ago now, unbelievably.

regards,
Johannes Birringer
Dap-Lab


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 10 April 2021 16:22
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim
Subject: Re: [NetBehaviour] Woven Qin

Thank you! That means a lot to me, the qin is always difficult for me and oddly 
you have to let go of that difficulty in order to play it -

Best, Alan

On Sat, Apr 10, 2021 at 10:28 AM Simon Mclennan via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
This is a nice piece of qin music. I listened in a meditative mood of afternoon 
drizzle and cold
English weather. The mood
Was enhanced as my feet
Toasted under a wooden blanket and my nodding head
Started to nod even more.
Thanks Alan!
S

Sent from my spyphone

> On 10 Apr 2021, at 00:21, Alan Sondheim 
> mailto:sondh...@panix.com>> wrote:
>
>
>
> Woven Qin
>
> http://www.alansondheim.org/woven.mp3
> http://www.alansondheim.org/woven.jpg
>
> My qin has a problem on the fourth highest string which is that
> there is a ringing sound coming from it and I think I know now
> that the ringing sound is from a very slight band in the string
> about 2-3 cm from where it attaches to the lower bridge . I've
> worked to try to get this straightened out but I will live with
> it because it is too difficult and the tension is too delicate
> to do anything but live with it . in the mean time I'm having
> constant difficulties trying to find the proper positions of my
> fingers on the strings . 7 strings and any number of positions
> which I get it to some extent by the dots that represent the
> harmonics . but on the other hand was happening is that I'm
> forgetting the in between positions and the relative positioning
> of each string in relationship to the others particularly at the
> lower end of things. I've been working and working on this and
> wondering if something is going in my mind yet again so that the
> positioning isn't becoming tacit knowledge but instead is
> something I have to constantly calculate and re calculate. you
> have no idea how depressing this can be . it means I can't play
> naturally my hands dancing on the strings but have to think have
> to think every so often and slow up and rework the positioning
> of my hands to be correct . sometimes I'll draw it a complete
> blank period . sometimes I'll draw a complete blank . I don't
> know what that means when that happens but I think it's
> connected with covid with the epidemic. In any case here is some
> music that I think turned out alright. I've placed the qin on
> some softe cloth in order to somewhat subdue the upper harmonics
> where the problem is lying with the fourth string or the third
> depending on which end you're counting from. Thank you and have
> a listen, this has been a struggle.
>
> __
>
>
> Did You Know ? Every hour grows up to be an hour and a half !!
>
> ___
>
> ___
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> NetBehaviour@lists.netbehaviour.org<mailto:NetBehaviour@lists.netbehaviour.org>
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
__

Re: [NetBehaviour] Mnemosyne Atlas question

[Johannes Birringer via NetBehaviour]

Hi Max

the Warburg ''Bilderatlas" (Mnemosyne), I remember, is a late work of this 
researcher/collector, and there are a number of panels now freshly reprinted 
(in an expanded book/catalogue) and also exhibited from the Mnemosyne Atlas. 
This last project of the German Jewish cultural scientist Aby M. Warburg 
(1866-1929), is an unfinished attempt to map the pathways that give art history 
and cosmography associated signifinces or, one might say, evoke constellations? 
. Warburg imagined as this visual, metaphoric encyclopedia, and I was 
fascinated that he just seemed to use the images, without text or 
explanations..

Bernd Scherer, who's from my home region in the Saarland and has been Intendant 
of Haus der Kulturen der Welt, talks wonderfully about the book in his video 
presentation: that video was produced on the occasion of the exhibition: "Aby 
Warburg: Bilderatlas Mnemosyne. The Original" curated by Roberto Ohrt and Axel 
Heil in cooperation with the Warburg Institute, Hais der Kulturen der Welt, 
Berlin (04.09.- 30.11.2020).

https://www.youtube.com/watch?v=hhEqGc7_few=emb_logo


For a rich interpretive reading of the exhibit, I can recommend an article 
published in London Review of Books, Vol. 42 No. 21 · 5 November 2020
"At the HKW", by Chloe Aridjis
https://www.lrb.co.uk/the-paper/v42/n21/chloe-aridjis/at-the-hkw


best wishes
Johannes Birringer
DAP-Lab
London


From: NetBehaviour  on behalf of 
Max Herman via NetBehaviour 
Sent: 24 March 2021 15:08
To: NetBehaviour for networked distributed creativity
Cc: Max Herman
Subject: [NetBehaviour] Mnemosyne Atlas question


Hi all,

Is anyone familiar with this rather unusual, and unfinished, work by Aby 
Warburg?  I have just started looking at his career and this work as part of 
researching his lectures about Leonardo.

https://warburg.sas.ac.uk/aby-warburgs-bilderatlas-mnemosyne-virtual-exhibition

The Warburg Institute is also doing a series of lectures online to commemorate 
Dante's 700th:

https://warburg.sas.ac.uk/whats-on/readings-dantes-divina-commedia

All best,

Max

PS -- Thursday March 25 is also International Dante Day.  
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Re: [NetBehaviour] We're still alive

[Johannes Birringer via NetBehaviour]

dear all
well, not sure how alive i feel right now, but these comments made here were 
refreshing and also pertinent, it seems there is a need (in the day and age of
current Zoom stuff) or at least a potential to remember history and cycles, or 
the track back to early adapters and folks we remember paving the way -- indeed 
remote performance and early telematics goes back a whole while (Suzon Fuks 
contacted me last December to ask me when I did my first telematic performance, 
and i think it was in 1999 or 2000 -- very clunky and very much fun, and I was 
younger of course, did not know what I was doing with multi-sited a/synchronous 
remote dance-  though Hellen Sky taught me a lot). 

But last night, it was riveting to partake in Mark Coniglio and Dawn 
Stoppiello's Troika Ranch/Troikatronix Guru talk session on Past and Future 
"remoteness"... 

https://www.youtube.com/watch?fbclid=IwAR1hS34KKK8gR7xCIjMaFS8gyTAPaKtHy5hvAaVPwuwEIvuUKuxOJg_CsOI=U0jl8mS4EpE=youtu.be
 
and Dawn and Mark showed some old footage (now archived in California) of their 
early work, and they told the story of bumping into Kit Galloway and Sherrie 
Rabinowitz at the Electronic Cafe (1980) when the latter prepared the 3-day 
remote performance of "Hole in the Space"  --- I didn't realize our friends 
Mark and Dawn were there, and I was too young to know anything about these 
early pre-Internet satellite performance hook ups.   Wonderful stuff.  (I think 
Steve Dixon records these events in a chapter on "Conjoining Remote Performance 
Spaces" in his book (with Barry Smith) on "Digital Performance." pp. 419 ff. )  
Mark noted that Kit and Sherrie's work is not remembered enough, and I very 
much tend to agree. Thanks to Mark and Dawn!

regards
Johannes Birringer
DAP-Lab







From: NetBehaviour  on behalf of 
Ruth Catlow via NetBehaviour 


So good!
Thanks for this burst of bitter-sweetness Edward.

Reminds me of a couple of years back when I participated as an artist in 
residence alongside a short course about art and the internet. The (fantastic) 
course leader presented work by people who we all know (and some members of 
this list) in the same way I had been taught about the abstract expressionists. 
It was a very strange sensation like getting my foot caught in history.

Ruth




On Thu, Jan 21, 2021 at 7:25 PM Edward Picot via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:
I was just talking via Zoom to a student named Aidan Walker, who's
writing a research project about New Media literature at Reed College in
Oregon. He got in touch to talk to me about my version of Thirteen Ways
of Looking at a Blackbird. At first he was just researching new media
literature online, he said, and he was intending to write his project
without doing any interviews, but then it occurred to him - 'A lot of
you guys are still alive'.

That sense of suddenly belonging to a previous generation! Whoosh!

Edward



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Re: [NetBehaviour] Noo Werk

[Johannes Birringer via NetBehaviour]

indeed very unusual and absorbing, thanks for sharing these!
 -
Johannes


From: NetBehaviour  on behalf of 
Edward Picot via NetBehaviour 
Sent: 17 January 2021 18:36


I these! Very absorbing. My favourite was the one by Annie Abrahams, which had 
a kind of playful wistfulness to the writing, and homunculus look to the 
character design.

Edward

On 13/01/2021 02:38, Rob Myers wrote:
Heya Netbehaviourists.

New work!

I am extremely happy with how Mez has arranged the words she requested to flow 
with her awesome art here :-)

https://twitter.com/mezbreezedesign/status/1347293010841767941

- R.




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Re: [NetBehaviour] dah dah da dah and tunneled

[Johannes Birringer via NetBehaviour]

dear Alan and all

sure I listen to you, whenever i can  and you and Azure's dahdahdah.mp3  
brought a big smile.
Thank you. It also sent me back in time, well, yesterday my niece asked me to 
sent an audio song to her daughter
, for her birthday, so I concocted my own kind of dahdahdah,. Not as good as 
yours,
But it had a spike, probably not recognizable to my grand-niece, age 5. 
I sang happy birthday dahdadah to my adaptation of The Nice's 1968 version of 
"America"  --  da   da dada   da dada  da da..

https://www.youtube.com/watch?v=gNbn561-1bg=emb_logo

which some of you may recall, if you were an avid listener to prog rock and 
keyboard players (I trained on the piano, Bach, Schubert),
its performance was a perverse & fantastic adaptation Keith Emerson did of 
Bernstein's silly scene in the West Side Story:

"“la la la,everything free in America..."  etc

at the end of Emerson, playing at Royal Albert Hall where he burnt the US flag 
and was subsequently banned for life from playing there,
bass guitarist Lee Jackson recites:

"America is pregnant with
promises & anticipation,
but is murdered by the hand of the inevitable"


last week, watching the frighteningly grotesque scenes on Capitol Hill, my 
innocent years as a teenager seemed awfully distant, listening to music,
in the year when Martin Luther King and Robert Kennedy were assassinated.

Johannes Birringer


Alan Sondheim 
Sent: 12 January 2021 05:47

dah dah da dah and tunneled

http://www.alansondheim.org/tunneled.mp3
old sarangi, processing, 5 amazing minutes
earphone, this will soothe you
http://www.alansondheim.org/dahdahdah.mp3
azure carter, vocals, alan sondheim, guitar,
this will bring a smile
http://www.alansondheim.org/dahdahdah.jpg

or should it be the other way around, f or q,
free query introductory that lasts 1' 06" ad
hoc ad lib add liberty for your listening
pleasure not to mention (for no one in fact
is listening) your listening delight, what
might in fact be called The Succubus of the
Pleasure of Listening Thought.


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Re: [NetBehaviour] electric dance

[Johannes Birringer via NetBehaviour]

dear all:
I may have mentioned it when I published the reference to my 'Gravel 
Maraboutage' film
a while ago, but here is a second context for it, a short essay:
as part of a discussion about whether there is theatre after the pandemic. 

http://www.critical-stages.org/22/electric-dance-or-how-to-talk-with-birds/

best wsihes
Johannes Birringer

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Re: [NetBehaviour] 12:43 AM next theoretical installment:

[Johannes Birringer via NetBehaviour]

dear Alan

your "next theoretical installment" yesterday was a wonderful start into the 
Klaus day;
probably the most humorous and scrupulous text & reflection on doing things 
(such as writing) &
on not answering to yourself or others, you've shared with us in a while, I 
enjoyed it much
regards
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim 
Sent: 06 December 2020 06:06
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] 12:43 AM next theoretical installment:



12:43 AM next theoretical installment:

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

So I immediately came into the back room and decided that I would
dictate as usual we're not as usual what this piece is going to be
which was a kind of theoretical demonstration and reply to someone
who thought what I was usually doing is poetry. I never think of
my work or almost never think of my work as poetry. Unless it is
rhymed. It seems to me that it's a way of doing philosophy and
Theory without having to call on the minions of references that
appear in ordinary theoretical discourse. I am answering to no
one. I'm not even answering to myself. I am not questioning anyone
else or critiquing anyone else. I am critiquing or questioning
only my help. It is a way of proceeding with an inner dialogue
that obviously references in my own mind the reading or work that
I am doing in terms of more traditional Philosophy. For example
now I have been looking at Saint Anselm has logic. I've been
looking and thinking a little bit about Whitehead. I've been
thinking and looking at the talmud. These are just older antique
references but they form a kind of constellation that I can
proceed from. I'm also thinking about electrical circuits and the
way that circuits and their notes add up to in various ways in
various configurations various numbers of branches. There's always
an electrical connection. What we do is based on electrical
connections. From one end of a wire to another there are things
going on internally that are fairly well understood but the
information that might be carried by this things might not be that
well understood. There is also a grounding a cable that is dropped
from the circuit that can drain it almost immediately. All
information is lost. This is what's called the fragility of good
things. It's something that appeared as a phrase in catastrophe
Theory. Catastrophe theory. In particular a book by Arnold that
used it as a way of indicating that whatever goes on properly is
only a minuscule microscopic or less amount of what can
conceivably go on. Popularly more things can go wrong as I can go
right. To go right is a knife-edge no matter how right is defined.
So this was not the topic of what I came back here to think about
and to write to you about. Back here or means back into another
room where I have Solace and quietude and the ability to think
through these dialogues. Which are monologues. Although they may
not seem as monologues. When I came back here to dictate the
dialogue or the monologue however I found that what had happened
was as a result of fatigue and exhaustion and anxiety and
depression and a Wandering mind was I forgot the topic I had
initially intended to discuss. I still no longer remember the
topic. I don't remember a single bit of what I was going to talk
about. So that philosophy that philosophical direction is lost and
replated replaced that's that. That's single philosophical
direction is lost and replaced by this enormous influence of wrong
directions. Sorry immediately came into the back room and decided
that I would dictate as usual or not as usual what this piece is
going to be which was it kind of theoretical demonstration And
reply to someone who thought what I was usually doing is poetry. I
never think of my work or almost never think of my work as poetry.
Unless it is rhyme. It seems to me that it's a way of doing
philosophy and theory without having to call on the minions of
references that appear in ordinary theoretical discourse. I am
answering to no one. I am not even answering to myself. I am not
questioning anyone else or critique in anyone else. I am
critiquing or questioning only myself. It is a way of proceeding
with an inner dialogue that obviously references in my own mind
the reading or works that I am doing in terms of more traditional
philosophy. For example now I have been looking at Saint and Selms
logic. I've been looking and thinking a little bit about
Whitehead. I've been thinking and looking at the Talmud. These are
just older antique references but they form a kind of
constellation that I can proceed from. I'm also thinking about
electrical circuits and the way that circuits and their nodes add
up to in various ways in various configurations to it various
numbers of branchings. There's always an electrical connection.
What we do is based on electrical connections. From one end of

Re: [NetBehaviour] Gravel Maraboutage

[Johannes Birringer via NetBehaviour]

thanks to all of you who wrote feedback on my small film,
it's much appreciated and encouraging; 

i just finished rehearsal in the dance studio with Zhi Xu, who's working
in his last year for the phd, on a piece called "Unexpected Bodies."  
We were literally the only people in the theatre building, it all feels like a 
ghost town.

it's all becoming more and more unexpectable.
best wishes to you all out there 
Johannes Birringer


From: NetBehaviour on behalf of 
Edward Picot via NetBehaviour 


I really enjoyed this! I kept thinking it was finished, and then it
would start something new; and I kept thinking I knew where it was
going, and then it would change direction. Beautifully composed: every
shot has a really nice shape to it. I loved the poem at the end.

Many years ago, early one morning when there was nobody around,  I saw a
man doing Tai Chi in the car park outside the surgery where I work. It
reminded me of that.

Edward

On 09/11/2020 21:43, Johannes Birringer via NetBehaviour wrote:
> dear net list:
>
> sharing my new performance work with you,
> &   I welcome your feedback
>
> ‘Gravel Maraboutage'
>   a/v work,  13:11 min 2020
>
> https://www.youtube.com/watch?v=UlfTUpFYP48=youtu.be
>
>
> thank you for watching
>
> Johannes Birringer
> DAP-Lab, London
>
> ___
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Re: [NetBehaviour] Gravel Maraboutage

[Johannes Birringer via NetBehaviour]

dear net list:

sharing my new performance work with you, 
&   I welcome your feedback

‘Gravel Maraboutage'
 a/v work,  13:11 min 2020

https://www.youtube.com/watch?v=UlfTUpFYP48=youtu.be


thank you for watching

Johannes Birringer
DAP-Lab, London

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Re: [NetBehaviour] good news

[Johannes Birringer via NetBehaviour]

is it decided (in the US)?  finally? can we breathe?
I am glad and hope that peace will come
best
J


From: NetBehaviour  on behalf of 
Max Herman via NetBehaviour 
Sent: 07 November 2020 18:20
To: NetBehaviour for networked distributed creativity
Cc: Max Herman
Subject: [NetBehaviour] good news


No matter what, beauty and love are stronger than lies and hate.

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Re: [NetBehaviour] Basis

[Johannes Birringer via NetBehaviour]

Alan, what beautiful music and image you share with us, thank you, and
hang in there, allow your body to breathe through your playing.
yes there is a thin thread or threshold, we all can see that;
but the mail-in ballots will be counted; and there's got to be
an end to the absurd shenanigans.
best
Johannes


From: NetBehaviour  on behalf of 
Alan Sondheim 
Sent: 05 November 2020 15:48
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] Basis



Basis

http://www.alansondheim.org/basis.jpg
http://www.alansondheim.org/basis.mp3

Well today after the election and at this point my anxiety is
through the roof but in order to ground myself last night I was
just playing t e r z guitar and I've came across it just happened
I came across a small sequence that had been in my mind for at
least half a century. And I thought I'd better record this
immediately. I had played something similar on the base sauce.
Saws s a z. But I hadn't really been able to come to grips with
it. Originally I heard it on a 78 record that I found in
Providence Rhode Island and gave to Brown University. It was an
Ethiopian record. And the tune the song has stayed with me since
then. So finding it and it's very simple finding it under the terz
guitar was a side at least in a small part of the universe as a
basis for feeling that things might turn out all right. It's been
the worst couple of days I think we've had in a long long long
long long time. It seems that there was a choice being made
between fascism and democracy and fascism has on its side the idea
of raw power and judicial shenanigans. It seems on our side is
only mail-in ballots to consider. And then they case I can just
say it's taking a toll and a rather brutal toll on my body and on
the bodies of everyone I know at this point. We feel we're living
in the regime that could easily turned into a form of outright
fascism related to nazism and its use of propaganda and it's the I
don't know the word attraction of Refugees and People of Color and
Jews and Muslims and anyone who is not white Christian and male.
It's very hard to live like this day in and day out. We don't get
out because of covid. The illness is getting to us. So here is the
basis which was for a few moments and kind of calming calming
calming tune her melody but really more like a kind of root
structure for everything I do and it just occurred and I played it
with the recorder balanced on my knee. I didn't want to move and
forget anything about this tune. I hope it does something for you.
It did for me. Thank you for listening.



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Re: [NetBehaviour] ‘insisting to remember’

[Johannes Birringer via NetBehaviour]

dear Antye (AGF), 
thank you for sharing your new soundpoem, 
it cuts into the skin, and is indeed disturbingly powerful, especially as it 
builds up the urgency  of the multiplied and resonating voices, a kind of 
lament chorus. The protest you express, against femicide, is like a powerful 
quilt, an intensifying, and endless protest against such violence against 
women's bodies;
I listened to the video link version, and was not sure about the visual graphic 
stream. But the color brought up largely buried memories, and associations,
to a Diamanda Galás vocal concert I witnessed in Chicago in the early 90s, her 
Plague Mass, where she performed with her body covered in the red color of 
blood.
Maybe that association also came because you mentioned the older lament 
traditions in cultures where women (in Greece for example) come to mourn a 
deceased, on behalf of the family? and I connected that to Antigone (yes, it's 
her brother she buried, I realize). 

regards
Johannes Birringer
dap-lab


From: NetBehaviour  on behalf of 
Edward Picot via NetBehaviour 
Sent: 25 October 2020 19:11


That's really powerful.


On 25/10/2020 12:48, AGF poemproducer wrote:
> dear net list
>
> sharing my new sound work with you
> I welcome your feedback
>
> ‘insisting to remember’
> a/v work 13.54min 2020
> #feministsonictechnologies
> https://rec-on.org/insistingtoremember.html
>
> direct video link
> https://rec-on.org/video/InsistingToRemember241020.mp4
>
> thank you for listening
> agee
>
>
>
>
>
>
>
> ⟿ REC-on ↭  rec-on.org
> twitter: @reconsound
> email: so...@rec-on.org
>
> recon - short form audio
> https://rec-on.org/recon.html
>
> ↳ r1 ON OPPRESSION
> https://rec-on.org/onoppression.html
>
> ↳ r2 ON FEMICIDE
> “insisting to remember”
> rec-on.org/onfemicide.html
>
> ↳ r3 ON FRONTEX
> https://rec-on.org/onfrontex.html
>
> ↳ r4 ON DIRECT DEMOCRACY
> https://rec-on.org/ondirectdemocracy.html
>
>
> FEMINIST SONIC TECHNOLOGIES
> #feministsonictechnologies
> https://rec-on.org/feministsonictechnologies.html
>
> °1 @seaisthenewland
> https://rec-on.org/seaisthenewland.html
> in urdu: https://karachibeachradio.net/blogpost.php?id=8=urdu
>
> FST °2 'insisting to remember’ by AGF
> https://rec-on.org/insistingtoremember.html
> https://rec-on.org/video/InsistingToRemember241020.mp4
>
>
> AUDIO COLLECTIFNESS
>
> Sukiotoa O Namau °1
> @sukitoaonamau
> https://rec-on.org/sukitoaonamau.html
>
> Meira Asher °2
> @meiraasher
> https://rec-on.org/meiraasher.html
>
> @resonatecoop
> beta.resonate.is/artists/12205
>
> +
>
> sitemap
> https://rec-on.org/index-sitemap.html
> ___
> NetBehaviour mailing list
> NetBehaviour@lists.netbehaviour.org
> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour


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Re: [NetBehaviour] Distant Movements @NODE

[Johannes Birringer via NetBehaviour]

thanks Annie 

for letting us know, about your new Distant Movement
- especially in  these times we are experiencing, your work has
been an inspiration, also for my students.  We started to work
in the studio again tentatively, under our masks. I could not breathe
well during the warm ups...

with regards
Johannes Birringer



From: NetBehaviour  on behalf of 
Annie Abrahams via NetBehaviour 
Sent: 06 October 2020 09:27
Subject: [NetBehaviour] Distant Movements @NODE

Do you want to join us to examine what it means to «dance together» in an 
environment where bodies are entangled with machines?

Join us Oct 8 16h CEST for a 20 min long Distant Movements session in the frame 
of the Choreographic Coding Lab Online meetup organised by Naoto Hiéda for 
NODE20<https://20.nodeforum.org/program/?lectureId=H3LLol0HIwTrMCuqOlY3=IwAR36vBChUELjTqKTAv2UONYMA7elp2lUPUR17DCq715ckwWJeoJIa4cesTc>.

8/10 16h – 16h20 Paris time

[image]

Online.
Find URL<https://aabrahams.wordpress.com/2020/09/30/distant-movements-at-node/> 
here<https://aabrahams.wordpress.com/2020/09/30/distant-movements-at-node/>.

You will be guided into movement by Daniel Pinheiro, Muriel Piqué and Annie 
Abrahams.
We will privilege:
an inner gaze / body awareness
slowness, in order to favor the perception of the experience
awareness of the presence of others, even if you don’t see them (the session 
will be recorded)

You can’t do anything wrong

We will start with an activation of the body through “balancing” with the eyes 
open – we will close our eyes …

During the last 10 minutes only qualitative incentives:
don’t forget to breathe
your toes move too
remember flexibility

Open to all.

You are welcome
Annie

ps
26/09 – 24/10 Distant Feelings is presented in 
APPEARANCE<https://www.upstreamgallery.nl/exhibitions/194/appearances> 
Exhibition, Upstream Gallery. Curated by Josephine Bosma.

09/10-12/12 The Big Kiss and Constallations - the vidéo presented in MELTING 
POINT<https://acces-s.org/agenda/archives/festival/2020/1165-festival-20/>, 
expo Accès)s(, Bel Ordinaire, Pau.

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Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

correct link:https://findersrecords.com/UPC/602508645600

apologies




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

https://findersrecords.com/UPC/60250864560

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

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

[Johannes Birringer via NetBehaviour]

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

https://findersrecords.com/UPC/60250864560

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

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

[Johannes Birringer via NetBehaviour]

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


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

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


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

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

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


Hi Michael and all:

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

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


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

Re: [NetBehaviour] go tell it to the mountains

[Johannes Birringer via NetBehaviour]

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


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

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

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


Hi Michael and all:

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

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


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

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

with regards
Johannes Birringer

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

Cheers Johannes! Thanks for sharing it. It struck me that the final thing 
transcended in a number of interesting ways the original idea which had a 
quality of a ‘rather good wheeze’ about it, something light and fun and 
amusing. T

Re: [NetBehaviour] online performance of 4' 33"

[Johannes Birringer via NetBehaviour]

thanks Michael

rather wonderful and curious.  And I shared your link with friends and 
colleagues
(from music and theatre) who had alerted me last week to a streaming of 
Stockhausen's 6-hour
 "Mittwoch aus Licht"  --  Birmingham's first staging of an opera that was 
previously considered unstageable;  truly extraordinary and could be of 
interest. It’s being streamed on Saturday from 5pm

https://www.birminghamopera.org.uk/coming-up?fbclid=IwAR3tWZDsGRgPhDfg5FmT35wDA1pAa3fM2t4QnTfOhwKqf01dT1RfhMt-2II

you probably have heard of the helicopter string quartet, part of "Mittwoch aus 
Licht".
well it's in here (https://vimeo.com/435367416)

they apparently flew it.

best
Johannes Birringer




From: NetBehaviour  on behalf of 
Michael Szpakowski 
Sent: 03 July 2020 15:25
To: netbehaviour new netbehaviour
Subject: [NetBehaviour] online performance of 4' 33"

Hi
I just participated in this Zoom performance of Cage's 4' 33'' organised by the 
splendid Red Note Ensemble. I play sopranino recorder doubling mbira in the 
second movement .
https://www.youtube.com/watch?v=UMAz9V-65Zo

cheers!
Michael


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Re: [NetBehaviour] suggestions -course on Internet Culture and Community

[Johannes Birringer]

Dear Alan and all
what an interesting question, I don't remember that we've discussed (or shared 
info and syllabi) teaching or pedogical strategies much here before, and it
is a timely issue, Alan, since as you may know many of those of us who also 
teach are now being asked, by the universities and art schools, to prepare what 
they call 'dual delivery', i.e. some presence teaching and some online 
teaching. If you plan to do a course on internet culture & community, can you 
perhaps tell us a bit more what you imagine this to mean for your own practice? 
I mean you mentioned a few things, but net history is different from specific 
art or telematic practices as they may have evolved in between music or dance 
or network artists or those working across media and digital and filmic/video 
arts and activisms (just think of the Electronic Disturbance Theatre or 80s and 
90s precursors (networked performances) to the more current and what you call 
'in time' things (and Second Life or other virtual and game related or mixed 
reality/VR things, or the kind of performances that ADaPT did or Annie Abramans 
and others are doing now, there must be a uge amount of examples, though I have 
not seen many or any books. But there's got to be a "history" of list servs and 
communities, for example the kind of networked art curated/discussed on the 
CRUMB list on curating digital art [www.crumbweb.org], and each day I find out 
new things (no in the zoom  & teams era of constant-conferencing). Did you know 
there is a journal of video articles?

Journal of Embodied Research:  JER
https://jer.openlibhums.org/

in terms of books, a few I have collected, over the years.:

Brouwer, Jokje , and Arjen Mulder, Susan Charlton, eds. Information is Alive   
- Art and Theory on Archiving and Retrieving Data. Rotterdam: V2_Publishing/NAI 
Publishers, 2003.
Chandler, Annmarie and Norie Neumark, eds,  At a Distance: Precursors to Art 
and Activism on the Internet,  Cambridge: MIT Press, 2006.
Chun, Wendy Hui Kyong and Thomas Keenan, New Media, Old Media: A History and 
Theory Reader. London: Routledge, 2006. 
Critical Art Ensemble, Digital Resistance: Explorations in Tactical Media. 
Brooklyn, NY: Autonomedia, 2001.
de Medeiros, Maria Beatriz, ed., Arte e tecnologia na cultura contemporânea.  
Brasilia: Universidade de Brasilia, 2002.
Dixon, Steve Digital Performance: A History of New Media in Theater, Dance, 
Performance Art and Installation, Cambridge, MA: MIT Press, 2007.
Doruff, Sher, "Collaborative Culture,"  in Brouwer, J., Mulder, A. , Charlton, 
S., eds. (2003) Making Art of Databases. Rotterdam: V2_ Publishing/NAI 
Publishers, pp. 70-99.
Dreyfus, Hubert L., ON the Internet. New York:  Routledge, 2001. 
England, David, Schiphorst, Thecla, Bryan-Kinns, Nick (eds.) Curating the 
Digital:  Space for Art and Interaction. Basel: Springer 2016
Gere, Charlie, Community without Community in Digital Culture,  Basingstoke: 
Palgrave Macmillan, 2012.
Galloway, Alexander, Protocol: How Control Exists after Decentralization, 
Cambridge, MA: MIT Press, 2004.
Graham, Beryl and Cook, Sarah (2010),  Rethinking Curating Art after New Media. 
Cambridge, MA: MIT Press.
Grau, Oliver, ed.,  MediaArtHistories, Cambridge: MIT Press, 2006.
Hassan, Robert. Media, Politics, and the Network Society. Maidenhead: Open 
University, 2004.
Lovink, Gert , Dark Fibre:  Tracking Critical Internet Culture. Cambridge: MIT 
Press, 2002.
Lovink, Geert and Niederer, Sabine, eds., Video Vortex Reader: Responses to 
YouTube, Amsterdam: Institute of Network Cultures, 2008.  
Medeiros, M.B. de,  Corpos Informáticos:  arte, corpo, tecnologia. Brasilia: 
FAC, 2006.
Medosch, Armin.  Dive. An introduction to the World of Free Software and 
Copyleft Culture. Liverpool: FACT, 2003. 
Munster, Anna, An Aesthesia of Networks. Cambridge: MIT Press, 2013.
Rheingold, Howard, Smart Mobs:  The Next Social Revolution.  Cambridge, MA:  
Perseus Publ., 2002.
Rokeby, David (2019) “Perspectives on Algorithmic Performance through the Lens 
of Interactive Art,”  TDR 63.4, 88-98.
Salter, Chris Alien Agency: Experimental Encounters with Art in the Making, 
Cambridge: MIT Press, 2015.
Scholder, Amy & Jordan Crandall, eds., Interaction:  Artistic Practice in the 
Network. New York: D.A.P., 2001.
Stallabrass, Julian, Internet Art:  The Online Clash of Culture and Commerce. 
London: Tate Publishing, 2003.
Steyerl, Hito, The Wretched of the Screen, Berlin: Sternberg Press, 2012.
Tribe, Mark and Reena Jana, New Media Art, Köln: Taschen, 2007.
&
Bruns, Axel, Blogs, Wikipedia, Second lLfe and Beyond: From Production to 
Produsage, New York: Peter Lang, 2008.


Randall Packer and Galina Mihalova a few years ago taught a networked/online 
course out of Singapore that seemed fascinating (on Media and Perforrmance):

https://oss.adm.ntu.edu.sg/2016-da9005/about/

That outline and their syllabus might give you stimulus.

best
Johannes Birringer


_

Re: [NetBehaviour] Mpls today

[Johannes Birringer]

thank you Max
you have been a passionate and honest and outspoken witness and sharer, and I 
am sure everyone following the events and the protests
has had perhaps similar reactions or also reservations about reactions, I 
caught myself yesterday lashing our verbally, in impatience, at the
"kneeling" that's going on in Germany and elsewhere, but i meant it here, where 
professional athletes or showbiz people  (same thing) are
parading symbolic gestures, and I assume they have the best intentions, but we 
have commercials now parading the symbolic kneel down.
P
erhaps a discussion here about politics, rioting/anarchy, peaceful protest and 
civil change, and reflections on fear and privilege, are extremely helpful to 
us all, helpful in the best sense. Yet the conjunction of a pandemic, and 
racial violence, civil unrest, protest, and social division & economic 
collapses and unemployments now happening, it is a most ominous conjunction, 
and i am not sure at all what the answers are, to what particular questions 
each of us must face.
thanks again to all who have shared their views here,
regards
Johannes Birrringer


From: NetBehaviour  on behalf of 
Max Herman via NetBehaviour 
Sent: 07 June 2020 17:35
To: NetBehaviour for networked distributed creativity
Cc: Max Herman
Subject: [NetBehaviour] Mpls today


Hi all,

Just a note about the status here.

Things are quieter, certainly not normal but quieter.  Curfew was lifted the 
past two nights and no major return of violence has been reported in the major 
local news media.  Many businesses in the city are boarded up, but people are 
painting the plywood with art -- messages of pride, power, resistance, memory, 
grief, hope.  My street, about three blocks from the nearest building fires, is 
much quieter.  My family and friends are all physically safe, many having 
participated in the protests, with no property damage except a stolen car that 
was later recovered.  A surge of Covid-19 cases is predicted due to the close 
proximity of people during the protests, but many protesters wore masks and 
were of course outdoors so all are hopeful that cases do not increase.

Horrific stories going back to the 1980's are emerging about a culture of 
sadism, brutality, and impunity at the precinct where the officers who killed 
George Floyd worked.  All four officers involved have now been charged and are 
in custody.  The officer who had his knee on George Floyd's neck for 8:46 is 
now charged with 2nd degree murder (up from 3rd) and the other three are 
charged with aiding and abetting 2nd degree murder.

Many reforms are being proposed for the entire police department, ranging from 
total disbanding to greater transparency.  Some are in force immediately and 
others have to wait for the legislature to meet.  Prospects for deep reform are 
uncertain because Minnesota, like much of the US, is profoundly divided between 
progressive and conservative.  Many groups such as the university here, local 
school system, park board, and artistic organizations are severing ties with 
the police department to support calls for reform.  From my vantage point the 
momentum for change is for now unavoidable, based on precedent from similar 
past events, but the further violence used by police against protestors is an 
indicator of the depth of the problem.

The stories I heard and was so concerned about at the start of the riots, i.e., 
non-peaceful actions by persons not from local communities of color, have a 
much more ambiguous truth factor after further investigation.  White people in 
camouflage, in cars/trucks with no license plates, were seen by the 
neighborhood watch in my neighborhood both before and after curfew and fled 
when approached.  I personally saw similar things.  Suspicious people and cars 
were seen lingering around the African-American church in my neighborhood 
multiple times, and fled when approached.  However the idea that such people 
formed a large part of the protests or rioting is being scaled back now and is 
under serious question.  This is a lesson to me in what kind of information I 
am biased toward and inclined to affirm for my own internal reasons.

The city and state will never be the same, and that is probably a good thing.  
Whether the forces of progress or reaction prevail here is of course unknown; 
it may well be a mixture.  Estimates of the property damage are $500m, making 
this the second-costliest instance of civic unrest in US history according to 
the main local newspaper, so my sense is that measures to prevent a second 
occurrence will be desired by all political stakeholders if only for economic 
reasons.

I'm sure that the pending criminal cases, rebuilding, and reform will be major 
stories here and across the US for the rest of the year and I don't feel 
qualified to be a quasi-journalist about them all.  I just don't have the 
knowledge or skill.  Covid-19, climate events, economic 

Re: [NetBehaviour] current story

[Johannes Birringer]

dear all,
it is not easy to read the reports coming from out friends in the united 
states, and the fear and anxiety i read in these posts you all shared. 
it's also not something I can easily integrate, having lived in Houston since 
1987, in my experience, as i was perhaps fortunate not to 
have been exposed to the violence you described, no matter the civil protests 
that we took part in, for gay rights, against the war, for women's rights
and pro choice and black lives matter, for the earth and future fridays, it 
seems an endless string of expressions needing be to renewed, for justice and 
survival,
and speaking up against disenfranchisement.  the protests I see as necessary 
for a civil society, since you have to have debate.  the provocation of civil 
war, under the time of this pandemic, and frayed health, social and economic 
systems/infrastructures, what do we make of this?

with regards
Johannes Birringer



From: NetBehaviour  on behalf of 
Alan Sondheim 
Sent: 02 June 2020 09:51


Helicopter still overhead. Believe it or not this was an organized attack
on the city, starting around 11:45 - the police knew about it ahead of
time. The attackers came in from Massachusetts, drove down, parked around
Westminster St. - maybe 200-300 (at around 3:30 in the morning the cars
started leaving); they were armed with sledgehammers, fireworks, etc. etc.
We knew as well it was coming. The Black Lives Matter march was earlier;
this piggybacked on it. They tried to burn the mall down and destroyed a
lot of businesses on our street. It's been hell. We're going to try to
sleep, I've taken a lot of pills. Very scary it, and different from the
way other cities were hit.

love to all, Alan

On Tue, 2 Jun 2020, Annie Abrahams via NetBehaviour wrote:

> Dear Alan,
>
> I hope you can stay safe
>
> with love to all
>
> Annie
>
> On Tue, Jun 2, 2020 at 9:16 AM Alan Sondheim  wrote:
>
>   Not hopeful here at all, lots of explosions, cars driving out of
>   the area
>   at high speed, people carrying loot in front of our place - all
>   started
>   around 11, we think our street's been hit bad but we can't go
>   out and look
>   tonight, too dangerous - we had to call the cops at one point as
>   people
>   were trying to break into the bars below us. It's toxic.
>
>   This definitely isn't protest, not at this hour, these people.
>   This is a
>   video game. Sirens still going on at 3:15, screeching tires,
>   people
>   running, carrying stuff.
>
>   - Alan
>
>   On Tue, 2 Jun 2020, Max Herman wrote:
>
>   >
>   > Stay safe Alan. I truly believe this is not protest, nor
>   anything to do with
>   > justice for George Floyd.
>   >
>   > There's footage now of a young white Chicago man handing out
>   explosive
>   > devices to people in my neighborhood last week telling them to
>   throw them at
>   > the police station. He livestreamed himself doing it if you
>   can imagine.
>   >
>   > Be hopeful too. The national guard being here has stopped the
>   insanity at
>   > night, not by any use of force but just by having some level
>   of civil
>   > authority present. They have behaved professionally. The
>   curfew has helped
>   > too, allowing police to find the violent instigators and get
>   fire trucks to
>   > the fires. The real protests are thriving during the day, with
>   wonderful
>   > grace. People are helping each other, connecting, and healing,
>   distributing
>   > food, cleaning up, and grieving.
>   >
>   >
>   >
>   >
>   >
>   >
>   
> >___
>   _
>   > From: NetBehaviour
>on behalf
>   > of Alan Sondheim 
>   > Sent: Tuesday, June 2, 2020 1:06 AM
>   > To: NetBehaviour for networked distributed creativity
>   > 
>   > Subject: Re: [NetBehaviour] current story
>   >
>   >
>   > It's our turn now, riots and fire downtown central Providence,
>   a few
>   > blocks from here. We knew about it ahead of time. There were
>   warnings.
>   > Looting in a relatively poor city. We can hear explosions
>   going off, what
>   > sounded like fireworks and gunfire. I can't think straight. I
>   want to get
>   > the hell out of this country. This is way beyond protest, this
>   is
>   > ultraviolence here. Louder explosions now.
>   >
>   &g

Re: [NetBehaviour] Confusion Entanglement, philosophy, poetics

[Johannes Birringer]

hello all:
the postings on this list, very often, amaze me, and I can't put my finger on 
it. is this a writer's room of networked self-isolated artists, makers, 
solitudinists, thinkers?

thanks Alan for your text and image, the latter shot as you seem to imply, 
"entre chien et loup" (as French filmmakers call that blurry threshold time, 
between hope and fear, between the familiar and comfortable, the unknown and 
dangerous), stimulating Max's response which is about something quite 
different, his Solstizio Calvino.  The a-facticity of your writing, Alan, is 
wonderful and allusive to probably a old hebrew / biblical notion of where the 
word began or where things began begetting rules or Verbote. 

Theatre currently is verboten. Does anyone know the Segal Theatre Center ? I 
think its in New York City, and today and every day at 12 noon (EDT)  there are 
talks. Today's was with Rimini Protokoll - a company that produces documentary 
theatre pieces, radio shows and work in the urban environment in a diverse 
variety of collaborative partnerships  I thought, given how we may have 
more time to read or listen, being self-isolated and not mingling in urban 
environments (our town hall here today sent messengers around the little town, 
to each house, distributing free masks!), what would it be like, after theatre 
in black boxes, following Alan's references, to listen more to sound resonating 
through the wide canyons, just as light itself, scintillated and reflected from 
a myriad of surfaces, rough and smooth, at all angles and colorations. as we go 
deeper, into a not yet known, inconceivable world of sound and light

regards
Johannes Birringer

ps.
To watch the HowlRound Live Stream, click here:
https://howlround.com/happenings/livestreaming-segal-talks-rimini-protokoll-daniel-wetzel-helgard-haug-and-stefan-kaegi
To watch the Segal Facebook Live Stream: 
https://www.facebook.com/events/216616263120779/
To watch previous talks on the Segal YouTube Channel, click here: 
https://www.youtube.com/channel/UC7hiSnB3RRtJuyNbhfMwDdg 





From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 27 April 2020 19:04

Hi, the image was taken in the evening in downtown Providence, a block from us, 
twilight lighting. I wanted to create an almost afterimage, something not quite 
there, in relation to the text and the difference between protocol sentences 
and the inert real, which of course is absent from the image. This ties into 
the issues of facticity the text discusses.

Best, and thank you!, Alan

On Mon, Apr 27, 2020 at 1:50 PM Max Herman via NetBehaviour 
mailto:netbehaviour@lists.netbehaviour.org>>
 wrote:

Hi Alan,

I like this image -- though it is surprisingly frustrating to look at, as if 
I'm losing my sight, visual tinnitus? -- and the ideas in the text.
This past week I've been reading Hofstadter's Godel, Escher, Bach, chapter 4, 
titled "Consistency, Completeness, and Geometry" and it has also been 
confusing.  He discusses Godel's incompleteness theorem, Bach's unfinished "The 
Art of The Fugue" and his "Little Harmonic Labyrinth," layers of stability in 
visual perception, and explicit vs. implicit meaning, also including an 
old-time print of a labyrinth.  A lot of content for one chapter!
[...]
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Re: [NetBehaviour] How is everyone?

[Johannes Birringer]

dear all, dear Alan
I imagine all these circumstances we hear about are all different yes. You were 
"inside" for 13 days? Why?  Police keeping you from going outside, waiting with 
fine? as my Romanian friends tell me, 500 Euro per infraction? I can hardly 
believe. thankfully, we don't seem to have enough police here.
Again, I can speak from here, a small village, countryside, forests, valley, 
river. My balcony reformed as painting studio, lots of repair work still to be 
done (fallen trees after storms, broken branches strewn across); and studying 
spring, sound of returned bumble bees, what is blooming, what is already dead, 
what is in-between.

here's a fictionalized conversation i just had with a friend whom I will call A.

A.  Are you good at handling eccentricities?
J.   I'd hope so. The more real the better, those eccentrics.
A.  Where did you jog today?
J.   Chapel hill, forest, then a clearing. I met a black horse, surprisingly, 
and talked to him. Very interesting elegant animal, it made beautiful sounds.
A.  What did he say to you?
J.   I did not speak the language, I filmed him, then the owner showed up to 
feed the two horses on the pasture. He permitted the photographs and we had a 
good chat, his name is Kurt, he knows my brothers. He's an attorney with 2 
horses.
A.  An attorney with 2 horses does sound different and yes..lovely.
J.  The sounds the black horse made were a kind of breathing out loudly through 
the nose. i do not know the english word
A. hmm
J.  Neighing?
A. Neighing would be the loud shrill shivering sound they make no?
J.  How interesting, no, the one he made was low, like after an orgasm, from 
the lower abdomen.
A. But I've heard these short heavy breathing sounds they make..I know what you 
mean...

this is what I meant

regards
Johannes


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 14 April 2020 20:17
To: NetBehaviour for networked distributed creativity
Cc: Alan Sondheim
Subject: Re: [NetBehaviour] How is everyone?

I love that you write "nothing of importance happens online" and "everything is 
very real" and here we're inside now for 13 full days, tomorrow we can go out, 
but where? avoiding people, heading towards some construction a couple of 
blocks away maybe. There's something amazing about the flatness of it all, and 
that's helped the music, do listen if you can to the few I put up yesterday, 
tomorrow a piece with two shakuhachi playing maybe three tones mainly, could go 
on forever, we get to look down our street for maybe half a kilometer in each 
direction from the 4th floor window, we're as close to non-existence as 
possible...

Best, Alan

On Tue, Apr 14, 2020 at 3:08 PM Johannes Birringer 
mailto:johannes.birrin...@brunel.ac.uk>> wrote:
dear all
i am trying to read but cannot quite concentrate, and thus give up. I thank 
those  of you send some great music (I loved Alan Sondheim's qifteli dirge , 
and perhaps we can also sometimes share some images, paintings? Thanks also for 
some of the videos. I think I sent you the link to my last Moon dance/film, but 
it was too long, Danielle Imara suggested.

Having started to read Daniel's longer post, I am relieved to report it is not 
so for me, at all:

[He writes]>>pandemic.where we are faced to cope with just being online, 
where everything happens online>>

in fact the opposite is the case. everything is clearly observed, close, and 
far, in the countryside where i am (having left Houston and London, and crossed 
over the channel and the various new-old EU borders, back to the little 
Saarland), everything is very real, nothing of importance happens online.

with regards
Johannes Birringer
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Re: [NetBehaviour] How is everyone?

[Johannes Birringer]

dear all
i am trying to read but cannot quite concentrate, and thus give up. I thank 
those  of you send some great music (I loved Alan Sondheim's qifteli dirge , 
and perhaps we can also sometimes share some images, paintings? Thanks also for 
some of the videos. I think I sent you the link to my last Moon dance/film, but 
it was too long, Danielle Imara suggested. 

Having started to read Daniel's longer post, I am relieved to report it is not 
so for me, at all: 

[He writes]>>pandemic.where we are faced to cope with just being online, 
where everything happens online>>

in fact the opposite is the case. everything is clearly observed, close, and 
far, in the countryside where i am (having left Houston and London, and crossed 
over the channel and the various new-old EU borders, back to the little 
Saarland), everything is very real, nothing of importance happens online.

with regards
Johannes Birringer
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Re: [NetBehaviour] How is everyone

[Johannes Birringer]

thanks all, for sharing thought and videos/images (Michael's garden, 
shardcore's song, Alan's birds), I almost think
in times like these perhaps the less said the better?  but then I would have 
missed your comments on what you're working
on or how communities in Brazil resist their governments, or how you circle 
your private garden. I really liked Danielle's post - thank you!

>>. Have formed an online communication with a small circle of old friends 
>>most of whom live alone. This is leading to immediate creative use of ZOOM, 
>>collaborative projects and sharing in new ways. This has become important. Am 
>>concerned that people are too screen based though and not taking advantage of 
>>this opportunity to experience themselves in quiet. No planes passing.>>

this moved me. 

I have nothing much to add, except wanting to share film I made of our last 
dance, "mourning for a dead moon,"  i realized it ought to be short to be 
palatable,
& one ought to see the invisible cryptogamicCoat, in the first scene, but 
neither problem I was able to solve.

https://youtu.be/I66-b21y8oE

stay safe, warm regards
Johannes Birringer
dap-lab
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Re: [NetBehaviour] Cranes and Blackbirds

[Johannes Birringer]

yes, i agree wholeheartedly, thank you Alan for sending us these images, 
sounds, and your reflections
on the cranes calling (to whom to they call) on these fields & the air over 
nebraska, and now you spotted the blackbirds 
in colorado, your missive from the nature lands out west are most welcome, and 
you do mention the current health crisis 
in the cranes post, the surreal lock-downs we experiences in the metropoles and 
states, the rising anxieties.  
I welcome the reports you send more and more, as I try to stem the tide of 
daily emergency messages 
(i only have wifi at the university office, so i sneak into forbidden lockdown 
buildings, along dark ghost corridors) 
to retrieve messages from management. students have dispersed, some apparently 
made it home before 
the borders of their countries closed. 

those of us who teach creative arts have been asked to become distanced digital 
teachers. 
we call out to the dispersed.
 
we zoom. we may all have learnt a little from annie abrahams and her partners' 
'distant feelings' and 'distant movements' 
so glad i already got some practice with their sessions.  

distant utterings, here, how long will we able to sustain the distancing? 

warm regards
Johannes Birringer
dap-lab




From: NetBehaviour  on behalf of 
Alan Sondheim 

Thank you so much!
Best, Alan, hunkered down in a blizzardy Aurora, Colorado :-)

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Re: [NetBehaviour] book ends black exits

[Johannes Birringer]

dear all
hoping that others might feel comfortable joining in, and not letting this here 
slowly dissolve after an exhausted duologue, one of the ending questions in 
Max's post (before the poem), i propose, is worth repeating:

>>..given the difficult state of the planet does it make any sense to try to 
>>formulate a new theory and practice of the aesthetic to help compensate or 
>>ameliorate the crises, as has sometimes occurred for humanity in times of 
>>drastic change?  Or, would such attempts at "theories," "practices," 
>>"formulations," and "newness" all be ill-advised meddling in the natural flow 
>>of things and lives? >>

You say this at the end, after you began with a references to murderous time 
(and a murderous time we do live in), >>"Time's passing destroys opportunities 
-- doors that disappear forever, as in what is perhaps the most devastating 
line in Exit West " when we migrate we murder people from our lives.">>

the difficult state of our planet has not only provoked protests and extinction 
rebellion, and young people striking and taking time off school to demonstrate, 
it has also been driving other debates, i note, among students in my theatre 
groups, on race and inequality; some have objected to the attention awarded to 
Greta Thunberg, and proposed a "deblanchiment" of climate protest. 

The term "blanchiment" I stumbled across when reading a shocking historical 
research article on Les Tirailleurs Sénégalais, black soldiers recruited from 
African colonies who served under french commanders for about a hundred years; 
the "Senegalese Tirailleurs" (this included other African servicemen) saw 
extensive service in West Africa, Italy, Corsica, then Germany during World War 
II, as well as in the liberation of southern France. In fact, these men were 
first used by the French in colonial wars (19th century), then in WW 1, and 
they fought in the second world war, and were a vital component of the army 
that deGaulle rebuilt (alongside the Résistance fighters) and then conjoined 
with Allied Forces.  they made up about 10 percent i think , in the end, of the 
french army. After the Liberation of France, the Tirailleurs concluded their 
service in Europe, being replaced with newly recruited French volunteers on the 
order of Charles de Gaulle - a process known as "blanchiment." The complicated 
process of discharge and repatriation of the Tirailleurs, coupled with the 
hardships faced in the winter of 1944–1945, led to several incidents of 
violence, most notably the Thiaroye massacre in 1944. French army opened fire 
on French army and killed hundreds.

I was going to mention new theories /aesthetics that have indeed cropped up, in 
CPS (Critical Plant Studies), but leave comments for later, just mentioning a 
call for contributions to a new issue of the journal "Performance Philosophy." 
I did not know about this new interdisciplinary field claiming that advances in 
botanical science, combined with increasingly urgent political concerns about 
the present and future conditions of plants and plant-human relationships, have 
resulted in a desire in and across scientific and arts/humanities communities 
to better understand, communicate, and value plant life and lives. 
Valuing all lives, this is promising..  

regards
Johannes Birringer







[Max schreibt]

Also now wondering if a book is a door, a door a book?  Both person-shaped, 
both networks and in time's network.  Network/book/door/person/time?




Sent: Thursday, February 20, 2020 10:23 AM

Hi Johannes,

Sorry for this delayed reply but my laptop wasn't working for a couple of days.

The idea about past acquaintance is an interesting one.  I had that sense in 
2017 about Calvino when I first read Six Memos, as if he had been a longtime 
colleague, even though I had never read any Calvino before then.  I also 
recently experienced this about Leonardo da Vinci, after visiting Florence last 
summer.  In both cases, there was something about mystery giving way to 
familiarity that characterized the change.  Once I felt like I "got" what they 
were trying to communicate, there was a sense that this connection "had been 
there all along."

I might venture to call this "the ambiguous benevolence of time," a phrase that 
occurred to me regarding Exit West.  Time's passing destroys opportunities -- 
doors that disappear forever, as in what is perhaps the most devastating line 
in Exit West "when we migrate we murder people from our lives."  However time 
can also bring new doors (a cliche) or allow a return to memory as Saeed's 
father did after his mother was killed.  Yet this pro/con aspect of new events 
is only the forward roll so to speak.

What if there is some kind of complexity that prolif

Re: [NetBehaviour] Some of Cross-Country Trip

[Johannes Birringer]

dear friends
safe trip to you both!
(yet the algorithm is watching you)

regards
jb



From: NetBehaviour  on behalf of 
Alan Sondheim 


Some of Cross-Country Trip

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

We'll be on the road from early March through the end of April /
beginning of May. Packing's stressful. The texts have slowed
slightly. My health suffers from aporia. We'll be driving between
7000-8000 miles, carrying clothes, medicines, tech, musical
instruments, radios. We're going through Omaha, Denver, Salt Lake
City, Grants Pass, Vancouver (WA), Victoria (BC), Rochester, in no
particular order. My dreams are emptied of detail except for, as
you might imagine, space and somatic ghosting. I wake anxious for
the country. We'll have daily computer access. Wave to us on the
way.

Taking more or less -

CDs - Textbook of Thinking? - 4 copies??
FSF, LIMIT, Threnody, Avatar Woman, Dragon and Phoenix
(5 each of FSF, LIMIT, Dragon; 4 each of Avatar, Threnody)
etc. - more than these if possible

camera - Panasonic - instructions - cable - charger - Adapters
in camera case: Tecsun, earphones, H4n, cables, Sony memorecorder
binoculars, shortwave

instruments: harmonica, 3 dan moi, 8 string uke, flute, viola,
Chinese chi? shakuhachi?, picks - or Martin terz instead of uke?

computer: Lenovo - screen wipes - 500g external drive, 4 flash drives
-- in case, paper copies of texts, books,  etc., Azure's computer,


Azure's songs :
-- and the rest of them --

Azure's Ipod and earbuds, laptop, kindle

NETBOOK! - try to avoid netbook? check out
WORK ON LINUX PROGRAMS FOR DEMOS!

==
2 Umbrellas
reusable grocery bags
humidifier
plastic box and dish towel for humidity

AAA - maps and guidebooks and triptiks

==

Clothing (not optional)
Hygrometer, car humidifier,

No weapons.

==


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Re: [NetBehaviour] book question and exits

[Johannes Birringer]

Hallo Max and all:

sometimes a conversation like this evolves, or jumps out perhaps, I am not sure 
whether others would read what might appear like a duologue about some book; 
yet I feel something strangely beautiful in the memory you evoked about the 
pit, the dark hole into which you threw these paper missives to be buried with, 
well with what? trampled under foot, unnoticed perhaps or not realized, your 
responses to the doors as transit ways, gifts, temporal shifts (the 
destinations i had recalled from the book were all wrong, i think the 
protagonists slip away to Mykonos, then London, and then "Marin" in California, 
I think Amsterdam is mentioned as well, and a dream of seeing the deserts in 
Chile)  well the way in which you speculated on what we might have read 
or how these various black or otherwise doors figured in "Exit West" -- and 
then your references to other paintings and color landscapes -- all this made 
me feel as if I knew you and we had been acquainted for a long time.

so this also can be netbehavior, to dream and reflect sharing something that 
perhaps is very personal (seeking refuge perhaps, not wanting to be shared), 
and yet resonates with others. I mentioned last Thursday, badly mooded, on my 
facebook page that I recommend lovers to see Pina Bausch's "Bluebeard - While 
Listening to a Tape Recording of Béla Bartók’s 'Duke Bluebeard’s Castle'" (if 
they happen to be in London, and London before as Hamid frighteningly 
visualizes the island becoming under operational control of nativists 
reclaiming Britain for Britain [p./ 132]) -- an early Bausch dance from 1977 
which is quite brutal in its exploration of the small, and larger cruelties 
exchanged between men and women, and amongst men, and amongst women, and in the 
stage set for Blaubart there are doors (7) but they do never open and if you 
were to force them open them you'd find corpses of the murdered -- And a dark 
passage way, I now realize, also stands in the threshold space to the 
underground, the lower depths of Bong Joon-ho's "Parasite"  - out from it 
emerges a "ghost", someone who had been hiding below. The ghost causes trauma 
and is trauma.  

The migrants through time motif also struck me as a cruel one if I think of 
black doors and red lights as deadly, now that I just finished reading a an 
article about the refugee crisis by Cole Moreton, a writer/broadcaster 
apparently in residence in a lighthouse in East Sussex, and he reports on the 
hundreds of refugees who'd come across the Channel over the last year, their 
perilous journey in tiny boats, or a sinking dinghy, to be fished out of the 
water and delivered to Border Force holding pens.  Apparently those migrants 
who set off on their journey in France were told by the smugglers to look ahead 
to the other side, the white cliffs and a red light (on a high UHF mast at 
Church Hougham near Dover). The tiny red light implies a crossing under 
cover of night, in the dark, and when the storm comes you probably won't make 
it. 

so that dark light is not Rothko's sublime meditative color field. and fiction 
or fantasy, how important is it or does it remain? (I don;t know the Six Memos, 
but Calvino's "Invisible Cities" was my fictional blueprint for my first dance 
piece I choreographed upon arriving in Houston, way back. I had no real idea of 
Texas, and so had to invent it, as best as one can arriving on a different 
shore, and after a less perilous journey than made by those who migrate across 
Texas borders at night from the south. 

what did you think of he odd door image on the cover of the book?

regards
Johannes Birringer



 Max Herman schreibt
Sent: 17 February 2020 16:56

Hi Johannes,
These are great images, and congrats on getting the right access for the 
under-construction photos!  Such moments are very helpful to have in one's 
internal collection I think.

It reminds me of a time some years ago when they were building a new addition 
to the local modern art museum, which was to be very contemporary and 
innovative.  There was a large open pit at one point as they dug out the 
foundation, which I liked a lot.  Just a large pit surrounded by a chain link 
fence.  Not being much of a photographer I wasn't sure how to "note" this in a 
way that would preserve my thoughts, impressions, associations, and the visual 
memory; say, which is perhaps to say, the story and image?  I knew the pit 
would soon fill in.  To somehow capture the transience of the moment, my own 
ambiguous emotional state (which was was what it was at the time for myriad 
reasons both utterly and completely separate from the pit and somehow 
reflective of it), and to articulate the "stage setting" as it were, I opted to 
try for a gesture or partially vague action.  This was to throw a lot of small 
pieces of marked paper into the pit from

Re: [NetBehaviour] book question

[Johannes Birringer]

hello:

Ahmed Saadawi’s hallucinatory novel Frankenstein in Baghdad, and Mohsim Hamid's 
Exit West,
i have to say I was impressed and mesmerized reading these novels
The "Exit West" intrigued me much, as I started to read it during what was 
called the "refugee crisis" in Europe,
basically a large wave of migration, partly caused by the sectarian and 
military conflict in Syria, well, refugees
were all over, and when I tried to imagine what it must be like to live in a 
war torn land, or city, i got captivated by Hamid's story of
the two young people who come to imagine fleeing. the image that I told my 
theatre students to explore and work with
was Hamid's metaphor of the black door.  This door idea is wonderful, a rumor 
spreads in the city that people are seeing black doors
, or door frames, and when you walk through them, you exit, so to speak, and 
you end up in a very different place, california,
miami, stockholm, berlin...  What a strange and interesting magical realist 
image.

regards
Johannes Birringer


From: NetBehaviour  on behalf of 
Max Herman via NetBehaviour 
Sent: 13 February 2020 18:02
To: NetBehaviour for networked distributed creativity
Cc: Max Herman
Subject: [NetBehaviour] book question


Has anyone read Exit West?  It was the last selection in my local book club and 
pretty interesting from the standpoint of networks I think.

I've only read half of it so far though.  
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Re: [NetBehaviour] Lecture on Live Art featuring Maria Chatzichristodoulou

[Johannes Birringer]

Please join us in next week's Brunel Performance Research Seminar:


Wednesday February 5: 5:00 PM - 6:30 PM
Drama Studio, Gaskell Building 048, Cleveland Rd, Uxbridge,  UB8 3PH

Maria Chatzichristodoulou (School of Arts/Creative Industries, South Bank
University):

"Live Art in the UK: Shaping a Field”


This presentation will pose questions around the nature of Live Art as a 
cultural phenomenon within
the British art scene and the cultural specificity of its identity. It will set 
out to reflect on the process
of shaping a cultural sector and consider some of the forces, parameters, 
circumstances and events
that gave rise, directly or indirectly, to the conditions which were needed for 
Live Art to emerge as a
particular set of practices, distinct from visual arts or theatre. It will do 
this through presenting the
viewpoints of three "creative catalysts," which have played an important part 
in the emergence and
continuous development of Live Art. Those are: the Live Art Development Agency 
(London),
Compass Live Art (Leeds) and SPILL Festival of Performance (London and Ipswich).

The presentation will also introduce the edited collection Live Art in the UK, 
published in December
2019 by Bloomsbury.



Research Seminar Coordinator: Johannes Birringer
Contact: +44 (0)1895 267 343
Check our series at:
http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html

+++

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Re: [NetBehaviour] Performance talk at Brunel University London

[Johannes Birringer]

dear all:
please join us for the first autumn 2019 event in our Performance Research 
Seminar series, featuring

Alan Sondheim (Providence, Rhode Island)

"Somatic Ghosting"

Wednesday October 23:  5:00 PM - 6:30 PM
Drama Studio, Gaskell Building 048 (Cleveland Rd)
Brunel University London



Alan Sondheim will explore the somatic - bodies in relation to music making 
(possibly demonstrating this live, also talking about the dutar and Uyghurs 
(and showing a video of his dutar playing, with Azure Carter singing 'Human 
Smoke'), and then open that up to the grit of the body in relation to altered 
mocap - show/talk about video - then into the material from virtual worlds, the 
‘America piece’, as well as those pieces where the land changes "losing" the 
avatar. The talk may also veer into discussing refugees, genocides, a far cry 
from the safety of digital / virtual representation – and what to do with 
brutality, strongmen – when nothing makes sense in the political theatre and we 
are working w/in the senseless. Sondheim will also address the ideas of 
malleability input /transformation / output- in relation to 1. 
Constraints--what bodies do--reading the inputs and outputs - 2. Related to 
gamespace--edgespace—blankspace - 3. Related to real bodies, bodies under 
stress--the analogic, idiotic real.

Bio
A pioneer of the virtual, Alan Sondheim has worked for decades across music, 
sound and the visual. Drawing on a range of sources from his lexicon of digital 
objects and artefacts, this presentation will tour the territories and 
interzones of his practice, staking out ideas and sharing his unique 
perspective on our twenty-first-century conditions. Sondheim's books include 
the anthology Being on Line: Net Subjectivity (1997), Disorders of the Real 
(1988), .echo (2001), Vel (Blazevox, 2004-5), Sophia (Writers Forum, 2004), The 
Wayward (2004) and "Writing Under" (2012), as well as numerous other chapbooks, 
ebooks, and articles. His video and filmwork have been widely shown. Sondheim 
was an Eyebeam resident. He co-moderates several email lists, including 
Cybermind, Cyberculture and Wryting. In 2012 he was a presenter and active 
participant at the CyPosium, a one-day online symposium on cyberformance. He is 
the developer of the concept of codework wherein computer code itself becomes a 
medium for artistic expression. His poetico-philosophical writings deal with 
the notion of embodiment and presence in cyberspace,

++
Forthcoming talks:

Wed, Nov 13, 2019: 15:00 PM - 6:30 PM
Kareem Khubchandani (Theatre, Tufts University)
“B1nary C0des: Dancing Dichotomies in Bangalore's Gay Nightlife”

Wed  Nov. 27, 2019  5:00 PM - 6:30 PM
Anna Semenova-Ganz  (Universität Hamburg)
“Performativity of things and their material regimes”

Entry is free

++

Research Seminar Coordinator: Johannes Birringer
Contact: +44 (0)1895 267 343
Check our series at:  http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html
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Re: [NetBehaviour] sound in the construction zone

[Johannes Birringer (Staff)]

hi Alan

interesting idea, playing/going  with the traffic! 
I was editing some rehearsal footage this morning
from last year (when i attended Station House Opera's final rehearsals for "At 
Home in Gaza and London")
and there is this beautiful monologue by an actress in London and an actress in 
Gaza (superimposed),
in English and Arabic but accompanied by a horrible noise track, now I remember 
there were jackhammers 
for construction right outside the windows.

I'll take the scene to a workshop on "Telematics and Migration" in Bucharest. 
Will report later.

regards
Johannes Birringer

From: NetBehaviour  on behalf of 
Alan Sondheim 
Sent: 29 May 2019 00:58
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] sound in the construction zone



sound in the construction zone

http://www.alansondheim.org/working.JPG
https://youtu.be/DoNPzqbbMSI VIDEO
http://www.alansondheim.org/working.mp3

window construction in 'our place' and here we go with traffic
sounds, construction sounds, some sort of local mayhem. during
the breaks, electric. i keep playing, largely by myself; we
hope tomorrow, Azure and i with Jessica again. it's a very fast
guitar. it's raining out. later, back to texts and the dreaming
of a literary life.


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Re: [NetBehaviour] broken thought tests

[Johannes Birringer]

thank you for responding Alan, and, i feel, in your response, you begin to 
ponder the question of working (as a weaving) with others as I had questioned 
your loneliness and unheard/unseen-ness. 

Your work resonates, and aggravates surely, as many here on the list probably 
feel charmingly disoriented and inspired and encouraged by the continuous 
outpourings of your texts, poems, aphorisms, images, and music. One cannot keep 
up, and so I sometimes find or relocate your broken remarks weeks later.

did you write on voting, midterm?

that is over now, i saw joyous report, and misgivings, and i read misgivings 
here too, every day, and cannot keep up with the failures of the imagination; 
meanwhile, I saw that Performing Arts Journal, in its current issue, remembers 
Reza Abdoh, the theatre artist (died in the 90s), and his work with others, Dar 
A Luz. The last piece i saw of them, in New York, was 'Quotations from a Ruined 
City." behind barbed wire. 

Now you speak of DIWO, i did not really know this expression; the friends and 
collaborators one works with are generous, this is my experience, and 
generosity is perhaps a crucial notion here, along with the passion and the 
preparation you mention (Foofwa) , which spoils us, and your broken tests are 
also partly credited to Azure, so you are fortunate in not being alone, nor 
isolated; the networked behaviors you address make me wonder, here, how many of 
us work alongside (Mark how many subscribers has this list?), and Alan you 
mention Finsbury Park where you came last year, but there are so many parks and 
studios, and if I had time I would love to meet/visit other studios more, and 
learn (share) coding more.  

Currently, a sound artists, A-Kin, whom I am working with, is helping me to 
re-activate the Sensestage Minibees, wearable sensors I got hold of from STEIM 
a few years ago but never really managed to get to work on my Mac - has anyone 
worked with the minibees?  well, we are almost there with the new Max patch to 
see whether they are useful, meaningful.  Laurie Anderson, in that same PAJ 
issue, talks about her dabbling with VR in 'The Chalkroom' (which she made with 
Hsin-Chien Huang), saying she finds, often, that new technologies are clumsy, 
and the goggles certainly were when she first tried to work with them. But she 
felt she could develop something, slowly, some stories in VR, along with her 
collaborator (via Skype, they live in different places). "it's a wonderful way 
to work on ideas," she says about skyping with others developing a new piece.

So, Alan, why don't we work on something for next year (I am planning a dance 
about the moon eclipse)...

regards
Johannes Birringer


From: NetBehaviour  on behalf of 
Alan Sondheim via NetBehaviour 
Sent: 04 November 2018 02:59


A beautiful weaving here, and I hope that my theory/exegesis/whatever hasn't 
disrupted the flow of poetics that also underlies what I do, what you do.
The viola-garb is almost clown-like, which is necessary for de/markating of 
course. All of this work, and yours too, and dance/theater is almost always 
DIWO, networked, I think.
Which is why, at least when I worked with Foofwa for example, I felt that our 
work with others was also DIWO. There's a question of skill as well. Who are 
the O? For me, there's a huge range but I know when I work with skillful 
musicians, or dancers, or actors, it can be a great relief; something emerges 
that's the result of relief in relation to the body. Years ago, I worked with 
untrained performers in works that involved acting; I think the results were 
clumsy at times. Then I was able to work with a professional actress, and the 
emergence gave me more freedom. On the other hand, working with non-actors, 
something else emerged, a kind of energy and experimentation... With musicians, 
though, I can get frustrated if they're not able to listen. I know this is 
often against the grain. There are questions here, then, what level of skill? 
Who are the O? How should this be as broad as possible? Or the opposite? Coding 
is another example; I've learned so much from generous skillful people! So many 
people have shared their code, for example, in Second Life, or years ago taught 
me the finer points of being a nuisance in IRC. Again, then, who are O? If I 
involve community in general (and in curating I do deeply; in my own work, it's 
more difficult), what is gained? What might be lost? Surely identity politics 
plays a role here; if I did a piece in Finsbury Park, I'd want to involve 
everyone who would want to participate!

I keep going back to Foofwa, who spoiled me. When we worked on a performance, 
say for a ten minute video, he'd warm up for at least a couple of hours. And 
then working together was fantastic; it was deeply open collaboration, he 
seemed capable of anything...

And now he does danceruns on the streets of various cities and the public joins 
in, a

Re: [NetBehaviour] Shadows of the Dawn part 2: June 13 Workshop, Artaud Center, London

[Johannes Birringer]

Dear all:   We invite you to participate in the second laboratory

"Shadows of the Dawn:  Migration   and the Indeterminacy  of Community & 
Immunity"  -  13 June 2018

at Artaud Performance Center (Brunel University) 


How do we confront a transcultural survival politics and better understanding 
of migration and hospitality? The aim of these two workshops is to incite 
debate and practical knowledge exchange between fields  – theatre, social 
works, education, human geography, political science, ethnography, media arts – 
on pressing questions regarding notions of “imagined communities” during the 
current resurgence of ethno-nationalism, exemplified by xenophobic hostilities, 
divergent responses to the so-called refugee crisis, Britain voting to leave 
the European Union, the election of Donald Trump, the rise of right wing 
populism on the European continent. During the symposia-workshops, participants 
will consider interlinked focal points that deal with community and immunity.

•   Natural History of Migration/Immunity and Biopolitics
•   Racism and Patriotism / Institutional and Systemic Sexual Violence
•  Security, Nationness, Ethno-futurism, and the Theatre of Resistance

Activities include scholarly presentations/shorter provocations, workshops and 
practice-based performances or fieldwork/film to be presented at our Artaud 
Theatre – the workshop aims at integration of practice and research.

Wednesday  June 132:00 PM - 9:oo PM
Symposium-Workshop no. 2

14:oo  Welcome     Johannes Birringer & Maria Kastrinou

14:15 - 16:oo   Workshop 1
Mark Neocleous,  Joanna Zylinska,  Fouad Marei

1615 - 18:15   Workshop 2
Maria Kastrinou, Adam Ramadan, Effi Plexousaki  and Mariza Dima

18:45 - 21:oo   Workshop 3Theatre of Resistance:
 conducted with Fereshteh Vaziri Nasab,
 Niloofar Bijanzadeh, Taghrid Choucair-Vizoso & Johannes 
Birringer

  Poetry:   Nouri al-Jarrah:  Boat to Lesbos: Elegy to the 
daughters of Na’sh 

   Film:  Olga Danylyuk:  Letters to the Unknown Friend from New 
York

  Interactive SoundArt Performance: Lambros Pigounis: Sacrificial 
Mirror



ALL WELCOME   /  contact:
Performance Research Coordinator:  johannes.birrin...@brunel.ac.uk   //   +44  
(0)1895 267 343

Artaud Performance Center-  Brunel University London   / supported by the  
Institute of Environment, Health and Societies  / Arts & Humanities

website: http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html

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Re: [NetBehaviour] query about politics - stories from exile

[Johannes Birringer]

thank you Alan, and Edward,

I was not sure whether a small turn to fiction might help (to carry on from 
Michael, who gave us a hard hitting and activist reply, which I understand
but i don't share the optimism of, perhaps, nor would I know what Adorno 
criticized in other's thinking) - - 

I found the short story from Di Benedetto's 'Stories from Exile' illuminating 
and evocative, as a historically bent/contorted fable, that in a sense also 
commented, for me, on English ( and US) colonialist politics and also maverick 
activism, perhaps.
Yet the time of mavericks that create real rain (change) is not this time.  We 
are left, I fear, with tears.
Mar chiquita. 

regards
Johannes


From: NetBehaviour [netbehaviour-boun...@lists.netbehaviour.org] on behalf of 
Alan Sondheim [sondh...@panix.com]
Sent: 04 May 2018 21:57
To: NetBehaviour for networked distributed creativity
Subject: Re: [NetBehaviour] query about politics - stories from exile

This is fascinating to me; I've been in a swarm of locusts avoiding a
wildfire in Utah. I was one or two or many with the locusts.
And Garrick? For some reason I've felt strangely haunted by him. And by
Rachel for example, and definitely Bernhardt, these figures who have left
almost no trace (there are some very late recordings of Bernhardt's voice
which is astonishing), who cast shadows that haunt the imaginary of the
theater, or theater's doubles -

- Alan

On Thu, 3 May 2018, Johannes Birringer wrote:

> (may I respond to Michael and Alan's posts again?)
>
>
> In the story ?Orthopterans,? from the collection Stories from Exile
> (1983), waiting becomes a form of patience about meaning or choosing, a
> matter of not rushing to choose the version of the past that you wish to
> have as a prelude to your present.
>
> 'Not even Borges', we are told, 'can be expected to cleave to a strict
> chronological order.' Or to a single tale when various good ones are on
> offer.
>
> A plague of locusts in the pampas causes serious lateness in the
> ordinarily very punctual, English-run rail service from Buenos Aires to
> Mendoza. How did the locusts get there? A person called ?the professor?
> brought them to pollinate the flowers, but they just multiplied instead.
> When was this? ?Who can say?? the local informant replies. ?Could be ?
> when the Indians camped out in these parts, or even before.?
>
> In that case the professor was perhaps a witch doctor. Myths have a
> flexible sense of time. In any event the man wanted to make amends for
> his mistake, and promised to bring water to the largely non-arable land.
> His method was unusual. He reappeared with a figure whom ?the population
> couldn't help but see ? as a magician who would make it rain more than
> before.?
>
> They were wrong, but on the right track.
>
> The man was an English actor. Learning this the locals hoped he was a
> comic actor ? if he couldn?t produce water at least he could make them
> laugh.  The man ? his name was Garrick, so he was either the famous
> thespian himself or a helpful alternative avatar ? said his acting was
> ?comic and otherwise?  and proceeded to entertain his audience ?with
> stories, gags, wit, impersonation, much brilliance, and occasional
> grimaces, but tactful ones, without any sort of exaggeration.?
>
> The people laughed until they cried, their tears forming a river, ?and
> in that way, through the magic of joyous tears, lakes, lagoons and other
> deposits which, if they are large enough, are given the name of mar
> chiquita, spread across the vastness of Spanish America.?
>
> Mar chiquita means ?tiny sea.?  Orthoptera is the order of insects to
> which locusts belong. What do they have to do with Garrick?s act?  The
> narrator?s opening line is an answer of a kind: ?I?ll tell it the way
> they told it to me.?
>
>
>
> (from Antonio Di Benedetto's Stories from Exile)
>
>
> regards
> Johannes
>
>
> 
> From: NetBehaviour [netbehaviour-boun...@lists.netbehaviour.org] on behalf of 
> Michael Szpakowski [m...@michaelszpakowski.org]
>
> Hi Alan
> What is really significant about all this, though, is that this shocking 
> racism has cost the Home Secretary, one of the high offices of the British 
> State, her job, and it has transformed the terms of the debate on race here.
> Even in sleepy old Harlow -where anti racist campaigners have been regularly 
> abused in the past couple of years- I know, I've been threatened and even 
> spat on - a campaign stall last Saturday calling for Rudd's ( and May's) 
> resignation was warmly supported.
> The local MP ( from May's party) and his supporters were campaigning nearby 
> for this Thursday local elections..
> They packed up when we started shouting -'

[NetBehaviour] Shadows of the Dawn" - research workshops - Artaud Performance Center, Brunel University London, 18 April & 13 June 2018

[Johannes Birringer]

Dear all

Would you like to participate in two laboratories/symposia at our Artaud 
Performance Center (Brunel University)? – we still have places open,  please 
contact me if you are interested in joining
our research guests/artists and some very provocative  performance collectives:


"Shadows of the Dawn:  Migration 
and the Indeterminacy  of Community & Immunity"


 18 april and 13 june 2018 

 Artaud Performance Center-  Brunel University London   / supported by the  
Institute of Environment, Health and Societies  / Arts & Humanities


How do we confront a transcultural survival politics and better understanding 
of migration and hospitality? The aim of these two workshops is to incite 
debate and practical knowledge exchange between fields  – theatre, social 
works, education, human geography, political science, ethnography, media arts – 
on pressing questions regarding notions of “imagined communities” during the 
current resurgence of ethno-nationalism, exemplified by xenophobic hostilities, 
divergent responses to the so-called refugee crisis, Britain voting to leave 
the European Union, the election of Donald Trump, the rise of right wing 
populism on the European continent. During the symposia-workshops, participants 
will consider interlinked focal points that deal with community and immunity.

•   Natural History of Migration/Immunity and Biopolitics
•   Racism and Patriotism / Institutional and Systemic Sexual Violence
•  Security, Nationness, Ethno-futurism, and the Theatre of Resistance

The planned activities include scholarly presentations/shorter provocations, 
workshops and practice-based performances or fieldwork demonstration/film to be 
presented over the two symposia in April and June 2018. Format and 
compositional method of the Series are intended to be open and innovative as 
well: curatorial propositions will be solicited from invited guests and 
volunteer participants.

  [1] Wednesday April 18  /  Wednesday  June 132:00 PM - 9:oo PM

14:oo  Welcome Johannes Birringer & Maria Kastrinou

14:15 - 16:oo   Workshop 1
  Yohai Hakak,  Emma Wainwright, Anne Chappell

16;15 - 18:15   Workshop 2
  Goran Sergej Pristaš, Tomislav Medak, Daniele 
Rugo  

18:45 - 21:oo   Workshop 3 
  conducted by Iraqi Bodies 
Rite of Exile by Iraqi Bodies, directed by Anmar Taha and Josephine 
Gray* 
 *Iraqi Bodies’ visit is 
supported by the Swedish Arts Grants Committee

[2]  Symposium 2 -  June 13, 2018

14:oo  Welcome Johannes Birringer & Maria Kastrinou

14:15 - 16:oo   Workshop 1
Mark Neocleous,  Joanna Zylinska,  Fuad Marei

1615 - 18:15   Workshop 2
  Maria Kastrinou, Adam Ramadan, Effi 
Plexousaki  and Mariza Dima

18:45 - 21:oo   Workshop 3 
  conducted with Caridad Svich,  Fereshteh 
Vaziri Nasab  
 Nilofaar Bijanzadeh, Taghrid Choucair-Vizoso & Johannes 
Birringer 

   Film:  Olga Danylyuk:  Letters to the Unknown Friend from New 
York 
   Interactive SoundArt Performance: Lambros Pigounis: Sacrificial 
Mirror


ALL WELCOME   /  contact:   
Performance Research Coordinator:  johannes.birrin...@brunel.ac.uk   //   +44  
(0)1895 267 343 

website: http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html
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Re: [NetBehaviour] call for papers and artwork- international dance congress in Karlsruhe

[Johannes Birringer]

Call for Papers, Panels, Posters, Artists Talks, Lecture Demonstrations,
Performances, Artworks, and Participation in the 2018 annual symposium of the 
Gesellschaft für Tanzforschung,

October 5-7, 2018, in Karlsruhe, Germany.


Tanz der Dinge / Things that dance

http://www.gtf-tanzforschung.de

The current wave of new materialisms has brought attention to things that move 
or are moved, “vibrant matter,” objects, physical phenomena, machinic or 
animated agents and assemblages, the labor of apparatuses and intra-actions 
between human and nonhuman forces – passages in the “political ecology of 
experience” that link new dance philosophies (Erin Manning/Brian Massumi’s 
Thought in the Act) with choreographic, theatrical, sonic and media 
installation practices, and recurrent interests in hybrid material performance 
and puppetry with political theories (Jane Bennett’s Vibrant Matter: A 
Political Ecology of Things), ethnographic and social science studies, as well 
as postcolonial and critical race theories (on the materiality of liquid 
blackness, for example, and historically specific and located sensorial 
experience and affect).

Materiality and myth in dance are subject to a shift in meaning which 
privileges "epistemic things" (Hans-Jörg Rheinberger, Experimentalsysteme und 
epistemische Dinge, 2006): before the object is charged with meaning, the inner 
dynamics of matter defines a new focal point for performance aesthetics. Object 
oriented, immanent philosophies of art and performance are part of this 
pressing concern with materials, plasticities, the lives and deaths of entities 
formerly known as passive objects, inanimate things, inert matter.  The 
synthesis of sound, rhythm, movement and materiality  returns us to a 
conception of choreography that recover collective, symbiotic creativity of 
ritual dances.

Along with the traditional morphology of objects to dance and musical 
instruments
the examination of danced things and choreographic / musical repurposed objects 
moves on to factors of artificial intelligence and sensor technologies in 
current dance aesthetics. Contemporary questions about the agency of objects 
and the forces of materialization have increasingly blurred the borders 
modernity had erected between the animate and the inanimate.

Reviewing current dance research and publications intensifies the impression of 
a vibrant neomaterial / epistemic turn, a “call of things” in dance which in 
turn calls for critical  reflection. The symposium addresses vibrant matter and 
lively materials, reconfigurations of human and inhuman forces, social 
choreographies and choreographjc objects, animatedness and the agencies of 
assemblages as a means of thinking about performance experiences and movement 
potentials across a range of interdisciplinary practices and theoretical 
discourses.

Deadline of submission: 15 March 2018. Please send original proposals 
(abstracts, 500 words max, please include a short CV) to the curators:
Prof. Johannes Birringer &
Dr. Josephine Fenger.
Contact: johannes.birrin...@brunel.ac.uk  /
josephinefen...@googlemail.com.



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Re: [NetBehaviour] The Participatory Act of Giving up Control

[Johannes Birringer]

Hi Randall

thanks for sharing this, and also alluding to the Networked Practice Online 
Symposium that you all have planned, it seems like a very interesting event.

Now the report you published, which seems to comment on critics's responses to 
the "Kidnap" piece, does not at all jive with discussions I recently
took part in, and I personally admit to feeling appalled at some of the more 
manipulative immersion theatre practices that are currently en vogue
or seem to have sprung up, in the experience economy and from providers of 
immersive fun or humiliation reality-TV (locking audience up, coralling and 
coercing them,
faking existential crises, provoking traumatic experiences), testing whatever 
limits they are testing now in live art;

being kidnapped, i would have thought, desiring to surrender and give up 
control (?), is not an aesthetic trial run or "existentialist" prototype you 
can sell as "political performance"? 
or can you?


respectfully
Johannes Birringer
dap-lab


From: NetBehaviour [netbehaviour-boun...@lists.netbehaviour.org] on behalf of 
Randall Packer [rpac...@zakros.com]
Sent: 29 January 2018 02:46
To: NetBehaviour for networked distributed creativity
Subject: [NetBehaviour] The Participatory Act of Giving up Control

Here I discuss Matt Adams & Blast Theory's controversial performance work 
Kidnap, in which spectators paid £10 to enter a lottery in the hope of being 
kidnapped: a classic exposé on the participatory act of giving up control. Matt 
is a keynote for the upcoming Art of the Networked Practice Online Symposium. 
This blog feature was based on essays by Maria Chatzichristodoulou and Steve 
Dixon, both participating in the Symposium.

The Participatory Act of Giving up Control
https://thirdspacenetwork.com/symposium2018/participatory-act-giving-up-control/

Best,

Randall

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Re: [NetBehaviour] Music, moons apart

[Johannes Birringer]

Alan
you seem to be walking by the crackling fires or waves of something, river or 
burning pathway,
but your early lines in the text on music and instruments, and what i always 
considered your love for and curiosity
in instruments, made me think of you / of the other day.

I was in Houston and one quiet morning went to the Asia Society, a small marvel 
of a museum, and there they
had a fascinating exhibition on view, upstairs, i was nearly all alone and 
walked around " ART & ISLAM THROUGH TIME & PLACE".

I saw an instrument there that amazed me. 

A Sarinda, carved from a single piece of wood, with stretched animal hide, 
strung with gut, the instrument looked old and a little brittle
(created in India I believe), it is played with a bow, the wall text tells us.  
There is also an epigraph on the wall, nearby -

 'Should the moon meet us apart / May the Sun find us together'  

but it turned out to be by an Egyptian artist, not connected to the Sarinda.  
Have you played one, and if this one was several hundreds of years old, how 
would it sound?

The exhibit, if you are interested, features more than 100  works of art, and 
showcases the long history, vast geographic expanse, and amazing diversity of 
works of art in the Islamic world.
Two factors distinguish this exhibition: first, the inclusion of works from 
Southeast Asia and East and West Africa, areas largely overlooked in most 
exhibitions of Islamic art; and second, modern and contemporary works are 
featured side-by-side with historic objects. Works in the exhibition cover 
nearly all media, ranging from carpets to dress to jewelry, ceramics, glass, 
metal, paintings, prints, calligraphy and photographs. (museum website)
https://asiasociety.org/texas/exhibitions/wondrous-worlds-art-islam-through-time-place

with regards
Johannes Birringer


 Alan Sondheim [sondh...@panix.com] Sent: 23 January 2018 23:49

http://www.alansondheim.org/uv24.jpg
http://www.alansondheim.org/parlorrain.mp3
http://www.alansondheim.org/uv14.jpg

I create music because I find music a problem.
I play thinking about that problem, that set of problems.
For example, embodiment and sound.
For example, thought and sound.
Or the obdurate in music, or what constitutes attention.
Or the withdrawal of attention, and then, procedures.
Or not procedures but unconscious choice.
Which then returns to procedures and a kind of exhaustion.
Or the instrument itself, instruments themselves.
And what constitutes the tending of these instruments.
What constitutes their embodiment and sound.
And what of the thinking of these instruments.
Their obdurate.
The attentiveness necessary for the production of sound.
And what are the channels of sound through and around them.
What of their relation to us, their beings to us.
The semiotics of sound which is always already behind us.
The semiotics of silence which is always before us.
The sound which is yet to be produced.
The memory of sound which has been produced.
The memory of structure and of structures of structures.
The attentiveness to that memory.
The withdrawal of attentiveness from that memory.
And the unwieldiness of this situation.
Or these situations.
And the obdurate or dynamics of that unwieldiness.
So there is this set of problems and pleasure plays no part.
Or pleasure or unpleasure surrounds this set.
Surrounds this set as forgotten or as a diacritical mark.
The mark which tethers the music to the social or example.
Or to accomplishment for example.
Or the lack of accomplishment.
Or the aegis of failure or success.
So that I am not a musician or am a faux musician.
Or am a musician manque or a failed musician.
Or someone walking near a parapet in the fog.
The walkway along the bank of a nighttime river.
The sound of the water moving slowly.
The lights by which I insist this is not a program.
Nor programmatic music nor a lyric.
It is a walk by the Thames on a rainy night.
It is March 1824 and the moon is new.

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Re: [NetBehaviour] Performance Research Seminar (Brunel), Wed November 15: Katerina Paramana

[Johannes Birringer]

i n v i t a t i o n – please join us in our Research Seminar at Brunel:


Wednesday November 15:  4:00 PM - 5:30 PM
Drama Studio, Gaskell Building 048, Brunel University, Cleveland Rd. London UB8 
3PH


Katerina Paramana

"IDEA: THIS IS GOOD: On Neoliberal OverFlows and the Reconceptualization of
Economy"


It has been argued that the term ‘overflow’ – despite its changing meaning in
different fields, contexts and epochs – is always discussed in relation to 
scarcity, and
that all discourses of overflow have a moral dimension (Czarniawska-
Joerges and Löfgren 2012). In the contemporary moment, we witness, for example, 
a
scarcity of time and of stability in social relations and employment, and an 
overflow, a
great spillage, of neoliberal ethics and rationalities (which have contributed 
to
inequality, precariousness and injustice) into all areas of social life.

In this paper, Dr Paramana proposes a rupture with these ethics and
rationalities and the economic model itself, by suggesting a reconceptualision 
of the
term ‘economy’ on ethical terms. For this, based on a Byzantine era definition 
of the
term which she rehabilitates and extends, she argues for and proposes a 
redefinition
of the term ‘economy’ which points to an ethics of care and justice, and which
becomes the subject of the case study of this paper – her 
installationperformance
IDEA: THIS IS GOOD (Gasworks Gallery, London, 2014).

She begins by offering a discussion on the history, etymology and genealogy of
the term ‘economy’, and the changing ethics attached to the term from Ancient
Greece to the current times, drawing on texts on the history of economic 
thought and
on Michel Foucault’s, Jeremy Gilbert’s, and Wendy Brown’s thinking. She then 
traces
the process through which she arrives at the redefinition of the term and
discusses IDEA: THIS IS GOOD, which uses this redefinition as its conceptual 
base, as
an object within the work, and as that which characterises all the tasks 
created and
performed in it. The redefinition becomes a proposition that two spectators at 
a time,
working together to perform tasks, are asked to question, negotiate their 
individual
responses to it, and act according to their decisions. The work, opposing 
neoliberal
overflows, proposes the reconceptualization of economy on ethical terms and 
points
to the importance of the creation of what Gilbert (2014) refers to as spaces of
decision, affect, and creative possibility. It is such spaces, Paramana argues, 
that can
contribute to social change by initiating what Jean Lave and Etienne Wenger 
(1998)
refer to as ‘communities of practice’ and by producing what she refers to as 
ethical
encounters.


Bio
Dr Katerina Paramana is an artist and scholar, and a Lecturer in Theatre at 
Brunel
University London. Her research is concerned with the social, political, and 
ethical
dimensions of contemporary performance. Her writing has been published
with Contemporary Theatre Review, Dance Research, and Performance Research 
journals
and her performances have been presented in theatres and galleries in the US, 
UK, and
Europe (www.katerinaparamana.com).

++

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 labor and 
welfare issues?


Performance   Research 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.:  DAPLab.TV:  http://dance-tech.tv/videos/daplabtv/
Check our whole series at:  
http://people.brunel.ac.uk/dap/ResearchSeminarSeries.html

+

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