[NetBehaviour] revrev falls

[Alan Sondheim]

revrev falls

http://www.alansondheim.org/roches51.jpg
http://www.alansondheim.org/revfal.mp4

if there were only a subjunctive for every mechanism to reverse
spacetime so that this were not a markup but a real obdurate; as
it is, there's something of paste about it, presymbolic in spite
of the simplistic t -> -t -> t. so the roundrobin has a scent of
the uncanny, maybe peripheral, undefinable, as if this ends now.
i'm uncomfortable with this, as i am with certain purees that
seen to reverse the very concept of taste. the idiocy of
reversal rides me, won't let go of me, such an vapid trick
smelling of lassitude, languor, dampness and wilting. why is
this such a fundamental magic, in spite of its everyday quality?
i'll sleep uneasily tonight, no closer to the answer than
ever. (i can approach this with shorter and shorter intervals
and someday i'll inhabit one of them, and just for a fraction of
a second, everything will turn odd sight and sound and i'll have
known, yes i'm younger now and you are president of an island
nation.)

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Re: [NetBehaviour] Accelerationist aesthetics

[Rob Myers]

On 22/04/16 03:27 AM, ruth catlow wrote:
> 
> Not that we all need to be in an unending frenzy of communication and
> exchange. More that we have ever-more nuanced ways to sense the
> significance of different kinds of participation: in a loop of unwitting
> participation and active collaboration and organisation.

I think this (and Simon & Pall's conversation) raises two important
points about "Accelerationism".

The first is that contemporary society appears to have speeded up
anyway. We can debate whether progress or the economy has stalled, but
our experience of life seems to involve the compression of time by
technology and by socioeconomic demands.

The obvious critic of this kind of speed and acceleration, as Paul
mentioned, is Virilio. Who I think relates speed to power in a way that
makes sense of our experience of it as disenfranchising.

Wanting to slow down from *this* kind of acceleration isn't a bad thing
and is in fact the end point of MAP/Fixing The Future -style
Accelerationism: let's get the machines to do the busy-work so we can do
something actually useful with our time instead.

The second is that Accelerationism isn't a historical epoch like
postmodernism or globalisation. It's a *strategy*.

If I was trolling I'd argue that if you're on the left you're either a
conscious or an unconscious accelerationist. But it's possible to do
things in an un-Accelerationist way - it's not an inescapable or
inevitable cultural condition.

What I think is worth reflecting on (even if only idly) in this
discussion is whether there is anything in one's own life or work that
this strategy would be productive for. What could each of us better
understand and reason about (in some sense) so as to be able to better
change it?

Both these points indicate something that Left Accelerationism has been
criticised for from various angles - it is a *selective* acceleration.

> I am currently showing a live networked video piece, I created with
> Gareth Foote, called /Time is Speeding Up/ at 20-21 Visual Arts Centre
> up in Scunthorpe as part of the show We Are Not Alone. I have no idea
> whether this is an Accelerationist artwork.

It's increasing our ability to perceive and reason about our situation,
so quite possibly.

> I agonized about the aesthetics of the work- at first- so un-"cool", so
> un-cyber - because the humans are so alive AND they make the work.
> But now I'm really happy with it and would like to assert a place for
> this almost folksy aesthetic (rather than a rush to slick, black
> fluidity) in post-capitalist art.

Bladerunner's lived-in street-culture future is paradigmatically cyber,
but I do know what you mean. The work is qualitative (or has a strong
qualitative element), and this is in contrast to the strong quantitative
bias of shiny information graphics and *some* proposals for
Accelerationist aesthetics.

- Rob.

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Re: [NetBehaviour] Accelerationist aesthetics

[Tom Kohut]

Hi Ruth,

That really is a very interesting piece, and particularly germaine to the
questions of accelerationist aesthetics in its developments of *times*. The
speed of the humans flashing in and out of the camera contrasting with the
permanence of the wall and, for me at least, the slightly foreboding
messages on the wall that suggested a sort of Zeno's paradox effect: each
day you are alive is 1/7 of the week that you were alive which is 1/4 of
the month etc.
But I do wonder if, name nonwithstanding, if accelerationism and
accelerationist aesthetics means something a bit more than just the
cultural registration of speed. After all, Jonathan Swift in *The Tale of
the Tub* is, among other things, about the massive over-proliferation of
books, news media and popular (admittedly printed) culture, and that was in
the relatively sedate 18th century. I forget who mentioned the futurists,
but Benjamin Noys, who initially coined the term accelerationism to
describe that late 60s conjunction of Deleuze, Lyotard and
Baudrillard in "Marxist heresy," has a short geneaology in *Malign
Velocities* about the "fetishization" of speed, or speed as a cultural
imperative. Obviously, grounding any sort of cultural movement in the
Italian futurists is pretty dangerous (facism, but also anti-feminism,
pro-imperialism and militarism with the racisms that go along with that).
And I agree that the Nick Land solution -- mass suicide by communication
overload -- is unpalatable to say the least and doesn't make a whole lot of
sense in terms of constructing any sort of political culture. To get to the
point: is there something specific about this particular moment now that
makes accelerationism possible as a political aesthetic?
One thing that occurs to me by way of response to that question is related
to the aftermath of the 2008 financial crash, when it appeared that the
prognostications of the first wave of accelerationists had partly came
true: namely, that the accelerations inherent in capitalism, specifically
the tendency to mobilize more surplus labour and resources at greater rates
of efficiency and abstraction, would exacerbate the system's inherent
contradictions to a catastrophic point. Only partly came true though: the
system did not collapse but massively reorganized itself (all those
would-be John Galts suddenly all too happy to accept government bail-outs,
massive expropriation of assets from the poor). This required a
recalibration of the theses of that first wave of accelerationists, a
recalibration that perhaps either is reflected in art, or in which art
participates?

On Fri, Apr 22, 2016 at 5:27 AM, ruth catlow 
wrote:

> Hi Tom,
>
>  I like where you take this question of accelerationist aesthetics.
> >So the question that accelerationism poses might be something like: what
> sort of coordination can/should exist between a post-capitalist political
> program and art?
>
> I think/hope that there are a number of people preparing to join this bit
> of this discussion soon.
>
> For me, in politics as in art, a successful encounter is one that moves
> diverse people to seek agency (on their own terms) within contemporary
> culture; and that acts as a spur for joyful, mutualist acts.
>
> Not that we all need to be in an unending frenzy of communication and
> exchange. More that we have ever-more nuanced ways to sense the
> significance of different kinds of participation: in a loop of unwitting
> participation and active collaboration and organisation.
>
> I am currently showing a live networked video piece, I created with Gareth
> Foote, called *Time is Speeding Up* at 20-21 Visual Arts Centre up in
> Scunthorpe as part of the show We Are Not Alone. I have no idea whether
> this is an Accelerationist artwork.
>
> The image capture software is designed to reproduce the sensation that we
> have of how time speeds up as we get older. A webcam takes a new image
> every 3 or 4 minutes and adds it to a 3 minute looping video. The video is
> becoming more dense over time- and so the images of individual gallery
> visitors are gradually being crushed out of memory, like dead leaves into
> oil.
>
> See it live here ( we are now on day 44 approx 17fps)
> http://gtp.ruthcatlow.net/
> And after 8 days (at 3fps)
> https://embed.ascribe.io/content/1PHX3XJid9Erh5rCTNgf6L2M15ePL39Ror
>
> I agonized about the aesthetics of the work- at first- so un-"cool", so
> un-cyber - because the humans are so alive AND they make the work.
> But now I'm really happy with it and would like to assert a place for this
> almost folksy aesthetic (rather than a rush to slick, black fluidity) in
> post-capitalist art.
>
> Cheers
> Ruth
>
> On 21/04/16 23:09, Tom Kohut wrote:
>
> Regarding what an accelerationist aesthetics might resemble (or the set of
> things which m ight be grouped via family resemblance as an
> "accelerationist aesthetics"), there's the June 2013 *EFlux* which was
> devoted to exactly this question. In 

[NetBehaviour] Auto-Re: Accelerationist aesthetics

[土木建筑学院]

 
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[NetBehaviour] Accelerationist aesthetics

[ruth catlow]

Hi Tom,

 I like where you take this question of accelerationist aesthetics.
>So the question that accelerationism poses might be something like: 
what sort of coordination can/should exist between a post-capitalist 
political program and art?


I think/hope that there are a number of people preparing to join this 
bit of this discussion soon.


For me, in politics as in art, a successful encounter is one that moves 
diverse people to seek agency (on their own terms) within contemporary 
culture; and that acts as a spur for joyful, mutualist acts.


Not that we all need to be in an unending frenzy of communication and 
exchange. More that we have ever-more nuanced ways to sense the 
significance of different kinds of participation: in a loop of unwitting 
participation and active collaboration and organisation.


I am currently showing a live networked video piece, I created with 
Gareth Foote, called /Time is Speeding Up/ at 20-21 Visual Arts Centre 
up in Scunthorpe as part of the show We Are Not Alone. I have no idea 
whether this is an Accelerationist artwork.


The image capture software is designed to reproduce the sensation that 
we have of how time speeds up as we get older. A webcam takes a new 
image every 3 or 4 minutes and adds it to a 3 minute looping video. The 
video is becoming more dense over time- and so the images of individual 
gallery visitors are gradually being crushed out of memory, like dead 
leaves into oil.


See it live here ( we are now on day 44 approx 17fps) 
http://gtp.ruthcatlow.net/
And after 8 days (at 3fps) 
https://embed.ascribe.io/content/1PHX3XJid9Erh5rCTNgf6L2M15ePL39Ror


I agonized about the aesthetics of the work- at first- so un-"cool", so 
un-cyber - because the humans are so alive AND they make the work.
But now I'm really happy with it and would like to assert a place for 
this almost folksy aesthetic (rather than a rush to slick, black 
fluidity) in post-capitalist art.


Cheers
Ruth

On 21/04/16 23:09, Tom Kohut wrote:
Regarding what an accelerationist aesthetics might resemble (or the 
set of things which m ight be grouped via family resemblance as an 
"accelerationist aesthetics"), there's the June 2013 /EFlux/ which was 
devoted to exactly this question. In it, Patricia MacCormack (In 
"Cosmogenic Acceleration: Futurity and Ethics") asks:
"[…] what is the qualitative difference between a nihilistic reading 
of acceleration as saturation without refined intensity [as in its 
90s, Nick Land versions], and an accelerationist aesthetic that does 
not equate speed with the too-fast replacements of capitalism, instead 
seeking intensity in all movement, and thus all movement as 
acceleration (even multidirectional)?"
I think this last point is particularly interesting insofar as it 
insists, as I think Rob Myers pointed out vis-à-vis Futurism, that 
speed is not an absolute quality, but is a relational concept. In this 
sense, no continents without islands.
I also wonder about how accelerationism's aesthetics relates to the 
larger question of political aesthetics. What I mean by this is: 
accelerationism, in its latest version, started off primarily as a way 
of naming a political tendency: how to best bring about a 
post-capitalist global situation using the tools which are available. 
Thus, not exactly an oppositional stance – we must smash capitalism – 
but rather a repurposing/hacking of the platforms that capitalist 
interests have made available and using them as weapons against that 
which impedes a transition to post-capitalism. Is aesthetics one such 
tool? I might point out that the 90s cyber version of accelerationism 
certainly had aesthetic investments (/Neuromancer/, /Blade Runner/, 
/Terminator/, etc.). So the question that accelerationism poses might 
be something like: what sort of coordination can/should exist between 
a post-capitalist political program and art?


Sent from my iPad

On Apr 21, 2016, at 3:11 PM, Rob Myers > wrote:


I think Haraway is a good historical example. Their Cyborg Manifesto 
was written against sclerotic essentialist-/eco- feminism and amidst 
the decline of left politics in the US during the Reagan era. They 
take the Cold War figure of the cyborg and re-purpose it to critique 
all of this. There are strong parallels to Srnicek & Williams' 
current argument that "folk politics" is insufficient to bring about 
political change.


I don't think that Accelerationist aesthetics are even slightly 
resolved yet, and that's a good thing. In "Accelerationist Art" I 
mention some examples and possibilities, particularly art that tries 
to exit the confines of Contemporary Art's simulacrum of freedom. 
Maybe we can come up with something here. :-) In general, 
Accelerationist aesthetics would presumably be about increasing the 
capabilities of our reason in/via art, which I think would require 
increasing the capabilities of our perception. One view of this would 
be something