Oregon Literary Review
First Issue of Oregon Literary Review, "an online collection of literature, hypertext, art, music, and hypermedia." http://www.oregonlitrev.org/v1n1/OregonLiteraryReview.htm
Critique on a Digital Scale
Mycritique of David Budbill's "Moment to Moment," (Copper Canyon Press, 2000), including his new book, "While We've Still Got Feet." (Copper Canyon Press, 2005): http://web.pdx.edu/~pdx00282/Critique/intro.htm -Joel
Fw: IAJS new book: Lee Bailey
The Enchantments of TechnologyLee BaileyA rollicking romp through our hidden assumptions about modern, technological existence In The Enchantments of Technology, Lee Worth Bailey erases the conventional distinction between myth and machine in order to explore the passionate foundations concealed in technological culture and address its complex ethical, moral and social implications. Bailey argues that technological society does not simply disenchant the world with its reductive methods and mechanical metaphors, then shape machines with political motives, but is also borne by a deeper, subversive undertow of enchantment. Addressing examples to explore the complexities of these enchantments, his thought is full of illuminating examinations of seductively engaging technologies ranging from the old camera obscura to new automobiles, robots, airplanes, and spaceships. This volume builds on the work of numerous scholars, including Jacques Ellul and Jean Brun on the phenomenological and spiritual aspects of technology, Carl Jung on the archetypal collective unconscious approach to myth, and Martin Heidegger on Being itself. Bailey creates a dynamic, interdisciplinary, postmodern examination of how our machines and their environments embody not only reason, but also desires. LEE WORTH BAILEY is an associate professor of religion at Ithaca College. His books include The Near Death Experience: A Reader, with Jenny Yates, and Anthology of Living Religions, with Mary Pat Fisher.THE ENCHANTMENTS OF TECHNOLOGY is a Jungian (and post-modern) analysis of technology using the term "enchantments" rather than "unconscious." The publisher's web page for the book URL is _http://www.press.uillinois.edu/s05/bailey.html_.Lee was awarded an Humanities Ph.D. with David Miller when he was at Syracuse and is now at Ithaca College in upstate New York.
Rhetorics of Place special issue of Reconstruction (5.3)]
We are proud to announce the latest issue of Reconstruction: Studies in Contemporary Culture (vol.5, no.3), Rhetorics of Place at http://www.reconstruction.ws ISSN: 1547- 4348. This themed issue is edited by Michael Benton, G. Wesley Houp and Melissa Purdue. Included in this issue are: Editorial: Michael Benton, Rhetorics of Place: The Importance of Public Spaces and Public Spheres http://www.reconstruction.ws/053/benton.shtml Essays: Joy Ackerman, A Politics of Place: Reading the Signs at Walden Pond http://www.reconstruction.ws/053/ackerman.shtml David Burley, Pam Jenkins, Joanne Darlington, Brian Azcona, Loss, Attachment, and Place: A Case Study of Grand Isle, Louisiana http://www.reconstruction.ws/053/burley.shtml Patrick Howard, Nurturing Sense of Place Through the Literature of the Bioregion http://www.reconstruction.ws/053/howard.shtml Bruce Janz, Whistler's Fog and the Aesthetics of Place http://www.reconstruction.ws/053/janz.shtml Joy Kennedy, The Edge of the World http://www.reconstruction.ws/053/kennedy.shtml Michael Kula, What Have Bagels Got to Do With Midwesternness? http://www.reconstruction.ws/053/kula.shtml John Shelton Lawrence and Marty S. Knepper, Discovering Your Cinematic Cultural Identity http://www.reconstruction.ws/053/lawrence.shtml Harry Olufunwa, The Place of Race: Ethnicity, Location and 'Progress' in the Fiction of Chinua Achebe and Ralph Ellison http://www.reconstruction.ws/053/olufunwa.shtml Anthony M. Orum, All the World's A Coffee Shop: Reflections on Place, Community and Identity http://www.reconstruction.ws/053/orum.shtml Lynda H. Schneekloth and Robert. G. Shibley, Placemaking: A Democratic Project http://www.reconstruction.ws/053/schneekloth.shtml Review Essays: Danny Mayer on Ethan Watter's Urban Tribes: A Generation Redefines Friendship, Family and Commitment http://www.reconstruction.ws/053/mayer.shtml Matthew Ortoleva on McComiskey and Ryan's City Comp: Identities, Spaces, Practices http://www.reconstruction.ws/053/ortoleva.shtml Rania Masri on Joel Weishaus' Forest Park: A Journal http://www.reconstruction.ws/053/masri.shtml Christine Cusick on Joel Weishaus' Forest Park: A Journal http://www.reconstruction.ws/053/cusick.shtml Matthew Wolf-Meyer on Cadava and Levy's Cities Without Citizens http://www.reconstruction.ws/053/wolfmeyer.shtml Reviews: Marilyn Yaquinto on Peter Bondanella's Hollywood Italians: Dagos, Palookas, Romeos, Wise Guys, and Sopranos http://www.reconstruction.ws/053/yaquinto.shtml In line with our efforts to foster intellectual community, Reconstruction also hosts a message board dedicated to interaction between authors and readers, and between readers themselves, hoping to affect a more communal approach to, and understanding of, academic journals and intellectual thought and action. Please take the time to participate in this experiment in community. Additionally, submissions for our future issues are also being actively solicited: http://www.reconstruction.ws/info.htm Please see editorial guidelines as published on the site for further information regarding contributions to Reconstruction. Reconstruction is a peer-reviewed journal, and indexed in the MLA International Bibliography. We are also currently seeking reviewers: If interested, a short email listing qualifications and interests should be mailed to Michael Benton at: [EMAIL PROTECTED] If you would like to receive our newsletter, with important updates, new reviews, and notifications about calls for papers and forthcoming issues, please join our community list at: http://reconstruction.ws/mailman/listinfo/community_reconstruction.ws Thank you in advance for your time and your participation. Reconstruction: Studies in Contemporary Culture http://www.reconstruction.ws --- Report list problems to [EMAIL PROTECTED] Yahoo! Groups Links * To visit your group on the web, go to: http://groups.yahoo.com/group/webartery/ * To unsubscribe from this group, send an email to: [EMAIL PROTECTED] * Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/
Re: The Colorfields of Battle
Mark: It's interesting to me how much art history you've absorbed. Best, Joel - Original Message - From: mwp [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Saturday, August 20, 2005 11:20 AM Subject: The Colorfields of Battle The Colorfields of Battle, or Greenberg’s Revenge 2005 http://www.kunst.no/bjornmag/mpphp2004/Medals2005.jpg mwp
Re: First Psalm of David in the first Hebrew letter Aleph
August: Beautiful! -Joel - Original Message - From: August To: WRYTING-L@listserv.utoronto.ca Sent: Friday, August 19, 2005 7:11 PM Subject: Re: First Psalm of David in the first Hebrew letter Aleph Bless ed i s the man t hat walketh not in the c ounsel of th e ungodly, nor standeth in the w ay of sinners, nor sitteth in the seat of the scornfu l. But his delight is in the law of the LORD; and in his law doth he meditat e day and night. And he shall be like a tree plan ted by the rivers o f water, that bringeth forth his fruit in his season ; his leaf also shall not withe r; and whatsoever he d oeth shall prosper. The ungod ly are not so but are like the chaff which the wind driveth away. Therefor e the ungodly shall not stand in the judgment, n or sinners in the congregation of the righteous. For the LORD knoweth the way of the righteous but the wa y of the ungodly shall perish. Blessed is the man that walketh n ot in t he counsel of the ungodly , nor s tandeth in the way of sin ners, n or sitteth in the seat o f the scornful. But his delight isin the law of the LORD; and in his law doth he meditate day and night. And he sh all be like a tre e planted by the rivers of water , that br ingeth forth his fruit in his season; his leaf also shall not withe r; and wh atsoever he doeth shall pro sper. Theungodly are not so but are like the c haff which the wind drive th away. The refore the ungodly shall not stand in the judgment, nor sinner s in the congr egation of the righteous . For the LORD knoweth the way of the r ighteous but the way of the ungodly shall perish. Blessedis the man that walketh not in the counsel of the ungodly, nor st andeth in the way of sinners, nor sitteth in the seat of th e scornful. But his delig ht is in the law o f the LORD; and in his law doth he meditat e day and night. And he shall be like a tre e planted by the rive rs of water, that br ingeth forth his frui t in his season; hi s leaf also shall n ot wither; and what soever he doeth s hall prosper. The ungodly are not so but are like the chaff which th e wind driveth away. Therefore t he ungodly shall not stand in the judgment, nor sinne rs in th e congregation of the r ighteou s. F August HighlandOnline Studiowww.august-highland.com
Re: Listserv command
Sheila: Ryan's away. But Alan is never further from the Net than his fingers can reach. -Joel - Original Message - From: Sheila Murphy [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Wednesday, August 17, 2005 10:58 AM Subject: Re: Listserv command I think that Ryan is away on vacation - maybe Alan can help? (come to think of it, Alan may be away, too) --- Joel Weishaus [EMAIL PROTECTED] wrote: Can someone tell me how to get this Listserv to carry out a command. It keeps telling me that it's receiving my instructions in the subject box, not in the message box, where I've been (correctly) writing it. Am I, perhaps, leaving something out? My understanding is that it doesn't want your name or e-mail address, just [EMAIL PROTECTED] and the command. Thanks! -Joel
Re: THEDGESOFGOGH 01
This is terrific. Like Chuck Close on acid. No, like terrific. -Joel - Original Message - From: mwp [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Wednesday, August 17, 2005 3:03 PM Subject: THEDGESOFGOGH 01 THEDGESOFGOGH 01 After Van Gogh 2005 The subject this time is a famous painting by Vincent Van Gogh. Its pixels are spread out over 10-30x the space of the original, then the result is repeatedly subjected to the Find Edges filter in Photoshop. Pic: http://www.kunst.no/bjornmag/mpphp2004/VangWhite022005.jpg Detail of pic (upper left-hand corner): http://www.kunst.no/bjornmag/mpphp2004/VangWhite02detail2005.jpg mwp
Re: GCAC presents Artist in Residence Alan Sondheim (fwd)
Alan: Sounds terrific! Joel - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Monday, August 15, 2005 7:16 PM Subject: GCAC presents Artist in Residence Alan Sondheim (fwd) Come if you can! - Alan - The Grand Central Art Center presents: Alan Sondheim, our current Artist in Residence from New York will conduct a performance and discussion highlighting his work in analog, digital and online culture on Thursday, August 18, at 7:00 p.m. Admission is free and seating is on a first come, first served basis. The presentation is at the Center, 125 N. Broadway, Santa Ana, California. Information: 714-567-7233 or 714-567-7234 www.grandcentralartcenter.com _
Re: ANY WAY YOU SLICE IT
It's not your ideas, or the technique that carries them out.It's the subject you chose. Pollock's work has gathered a critique to itself that has yet to be plumbed, aswhat made him more than just someone who dripped paint onto canvas remains a mystery. I'd like to see more of what you're doing, but maybeusingother fulcrums. -Joel - Original Message - From: mwp To: WRYTING-L@listserv.utoronto.ca Sent: Sunday, August 07, 2005 9:03 AM Subject: Re: ANY WAY YOU SLICE IT That's okay, JW. Everybody is certainly welcome to critique the work any way you like. For me, the piece is somewhat about taking a known entity and plunging it ever more deeply into chaos through a rigorous, logical process that a guy like Pollock would have shunned. So it’s playing on various motivational “poles” that are forced to coexist in an uneasy equilibrium. I think maybe the original would make this aspect clearer -- the web image is a drastic reduction.With this and other works, I seem to be in the process of creating a collection of Photoshop filters that don’t really do anything that anybody would ever use. If art can be said at times to be about taking something useful and rendering it useless by pointing it to it as art (the Duchamp methodology), then my designing a Photoshop-type filter (they aren’t yet filters, but could be) that nobody would ever find a reason to use and saying that it’s art seems to be an updated extension of that idea, yes? Ah, well, it amuses me at least. I can’t expect everybody to share my sensibility.And thanks jmcs3. It’s always welcome to hear from you!mOn Aug 7, 2005, at 8:35 AM, Johan Meskens CS3 jmcs3 wrote: 'neither is your commentit is not about the 'one' piece, it is about the flow of experimentsjmcs3Joel Weishaus wrote: As someone who likes your work, I don't find this piece interesting.-Joel- Original Message -From: "mwp" [EMAIL PROTECTED]To: WRYTING-L@listserv.utoronto.caSent: Saturday, August 06, 2005 9:29 PMSubject: ANY WAY YOU SLICE ITANY WAY YOU SLICE ITAFTER Jackson Pollock’s Blue Poles2005JP’s Blue Poles, subjected to 3 modifications. First, it is sliced anddisplaced in the vertical direction over 16 steps, then 16 steps in thehorizontal direction, then both. The image link shows the 3 processesstacked one on top of the other, along with the original Blue Poles atthe very top.http://www.kunst.no/bjornmag/mpphp2004/JPBP16Slx2005.jpgmwp
Re: Heinrich Heine [H]
Anything on Schiller? - Original Message - From: Lanny Quarles [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Friday, July 22, 2005 9:44 AM Subject: Heinrich Heine [H] Here in France, my German name Heinrich was translated into Henri just after my arrival in Paris. I had to resign myself to it and, finally, name myself thus in this country, for the word Heinrich did not appeal to the French ear and the French make everything in the world nice and easy for themselves. They were also incapable of pronouncing the name Henri Heine correctly, and for most people my name is Mr. Enri Enn; many abbreviate this to an Enrienne, and some call me Mr. Un rien (a nothing). Heinrich Heine and his French misfortune with the letter H.
Re: Heinrich Heine [H]
No. I need Schiller. Thanks away. -Joel - Original Message - From: Lanny Quarles [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Friday, July 22, 2005 12:06 PM Subject: Re: Heinrich Heine [H] no, but how about a little Kokoschka.. CHORUS (Question) Why are you not good? Why are you not good? CHORUS (Answer) Because they simply should have existed but they wanted to persist in appearance. or perhaps Benn. In war and peace, at the front and in the occupied zone, as an officer and a doctor, between racketeers and aristocrats, before padded or barred cells, beside beds and coffins, in triumph and decline I never escaped the trance-like idea that nothing was real. - Original Message - From: Joel Weishaus [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Friday, July 22, 2005 11:52 AM Subject: Re: Heinrich Heine [H] Anything on Schiller? - Original Message - From: Lanny Quarles [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Friday, July 22, 2005 9:44 AM Subject: Heinrich Heine [H] Here in France, my German name Heinrich was translated into Henri just after my arrival in Paris. I had to resign myself to it and, finally, name myself thus in this country, for the word Heinrich did not appeal to the French ear and the French make everything in the world nice and easy for themselves. They were also incapable of pronouncing the name Henri Heine correctly, and for most people my name is Mr. Enri Enn; many abbreviate this to an Enrienne, and some call me Mr. Un rien (a nothing). Heinrich Heine and his French misfortune with the letter H.
Re: Rebus 01--became what it beheld
Like Michael McClure, the mystique of abstract expressionism fascinated me. It still does. This came before Andy Warhol introduced mass production into art, when the artist still agonized over a painting or sculpture like Giacometti over the perception of distance. To these artists, art was a life-force. It is true, of course, that they dreamed of fame and fortune, but they took it as a dream, and, having nothing to lose, they painted what they felt, not what the market requested. That was in the beginning. Although many of the abstract expressionists were active politically, little of this seeped into their actual work. I'm wondering whether direct political practice in the arts is what in later generations watered so much of it down into clichés. Most of it is not on the level of Goya, after all. It's not even the mythic fabric of Beuys' life. -Joel - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Tuesday, July 19, 2005 9:10 PM Subject: Re: Rebus 01--became what it beheld I think re: the art of the 70s - there were people like Tony Rickaby and Smithson of course who worked publicly; it was also an era of public sculpture. I'm not sure the dividing lines are this clear at all - look at Buren, Beuys' coyote piece, etc. There was a lot of political/conceptual art in the 70s as well; it's just not that well-known now as the canon- makers are busy rewriting history/working through 'genre.' - Alan ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt - revised 7/05 )
Re: Rebus 01--became what it beheld
- Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Thursday, July 21, 2005 11:09 AM Subject: Re: Rebus 01--became what it beheld of course but was it ever different? abstract expressionism grew out of other movements, there are artists we think are good and artist we don't think are good. i do think you might be romanticizing, or pollock for example might have been romanticizing. -Of course I'm romanticizing! Artistic practice is romantic. Or else, why do we do it? i also want to mention that for many of the conceptualists i've known, or performance artists, or what-have-you, art has been just as much of a challenge and obsession and investigation, just as difficult, if not more so since so often new media were and are also brought into play -Of course you're right. -Joel On Thu, 21 Jul 2005, Joel Weishaus wrote: Like Michael McClure, the mystique of abstract expressionism fascinated me. It still does. This came before Andy Warhol introduced mass production into art, when the artist still agonized over a painting or sculpture like Giacometti over the perception of distance. To these artists, art was a life-force. It is true, of course, that they dreamed of fame and fortune, but they took it as a dream, and, having nothing to lose, they painted what they felt, not what the market requested. That was in the beginning. Although many of the abstract expressionists were active politically, little of this seeped into their actual work. I'm wondering whether direct political practice in the arts is what in later generations watered so much of it down into clichés. Most of it is not on the level of Goya, after all. It's not even the mythic fabric of Beuys' life. -Joel - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Tuesday, July 19, 2005 9:10 PM Subject: Re: Rebus 01--became what it beheld I think re: the art of the 70s - there were people like Tony Rickaby and Smithson of course who worked publicly; it was also an era of public sculpture. I'm not sure the dividing lines are this clear at all - look at Buren, Beuys' coyote piece, etc. There was a lot of political/conceptual art in the 70s as well; it's just not that well-known now as the canon- makers are busy rewriting history/working through 'genre.' - Alan ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt - revised 7/05 ) ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt - revised 7/05 )
Re: Rebus 01--became what it beheld
- Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Monday, July 18, 2005 11:47 PM Subject: Re: Rebus 01--became what it beheld Wow this is incredible. First of all Holzer showed for a long time only in alternative spaces like Franklin Furnace which had nothing to do with art world theory or power at all. She distributed work for free at that point. Pasting slogans around town to get noticed. My take on her work is diametrically opposite yours; there's nothing unfortunately to talk about... except to say that she has excited numbers of people in the past and present; I think she's an absolutely brilliant writer. She's the American Idol of the Art World. Thirty million people voted. -Joel
Re: Rebus 01--became what it beheld
You got that right. -Joel - Original Message - From: Lanny R. [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Tuesday, July 19, 2005 9:12 AM Subject: Re: Rebus 01--became what it beheld i'd rather see a giant robotic poseiden-aquarium full of jet black mermen-dandies with phosphorescent gill-lace sauntering down fifth avenue declaring an invasion by Atlantis. Ah the trident, how its titanium sings in the asphalt!
Re: Rebus 01--became what it beheld
Cioran is a strange bird, as he was pathological, yet my studio is feathered with his writing. -Joel - Original Message - From: Lanny R. [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Tuesday, July 19, 2005 1:00 PM Subject: Re: Rebus 01--became what it beheld Everything is pathology, except for indifference. E. M. Cioran I pride myself on my capacity to perceive the transitory character of everything. An odd gift which spoiled all my joys; better: all my sensations. I have decided not to oppose anyone ever again, since I have noticed that I always end by resembling my latest enemy. E. M. Cioran By all evidence we are in the world to do nothing. E. M. Cioran Consciousness is nature's nightmare. E. M. Cioran Criticism is a misconception: we must read not to understand others but to understand ourselves. E. M. Cioran It is not worth the bother of killing yourself, since you always kill yourself too late. E. M. Cioran Life is merely a fracas on an unmapped terrain, and the universe a geometry stricken with epilepsy. E. M. Cioran Nothing proves that we are more than nothing. E. M. Cioran Philosophy: Impersonal anxiety ; refuge among anemic ideas. E. M. Cioran To want fame is to prefer dying scorned than forgotten. E. M. Cioran We derive our vitality from our store of madness. E. M. Cioran
Re: [webartery] Re: State of new media from strawberry fields forever -
Alan: Difficult to reply in this format to all that you've said, but I'll give it a try. -Of course many artists are forgotten. How many artists must have been in Paris during the first half of the century of whom we've never heard, some of them must have been as talented as the ones we know. But, they contributed nonetheless. And even now sometimes another is suddenly discovered. And what about the anonymous artists before the signature became identified, the tribal artists. Are they less important? What I'm saying is that being attached to your name is valuable when you're alive, the ego spurs one on. But after you're gone, if you're known or unknown, what's important is that your work seeped into the culture. -As for the Art World. Maybe in New York something interesting is happening, but where I live I don't see it. What I do see is what's on the web. -Science and technology are kissing cousins. Nuclear weapons, for example, were, are, developed by physicists, chemists, and engineers. Medicine, NASA, there are many joint projects. The line between them is scumbled. -By not paying attention to wars I don't mean to ignore them. I mean, don't feed them. Work instead on developing a network of human cooperation, not competition, which is what feeds capitalism, and the hellfires of war. Can postmodernism finally mean the end of modernism's competitive, combative, spirit? The dark side of Picasso. The internet seems to at least open us to this possibility. It would be nice to think that at least the Experimental Arts--and this should be a genre in itself--can aspire to an alternative to capitalism, and thus war. -Joel - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: [EMAIL PROTECTED]; [EMAIL PROTECTED] Sent: Monday, July 18, 2005 10:12 AM Subject: [webartery] Re: State of new media from strawberry fields forever - On Mon, 18 Jul 2005, Joel Weishaus wrote: Alan: This must be answered, and not just by me, as it touches on so much of what I, and I guess others who work almost exclusively in the digital, have thought and think about. Let's start at a signpost, this one being the Paleolithic caves. Did the people who painted these caves think their work would last forever? I doubt that they even thought about it, or had a concept of longevity. They followed their spirit and did what they had to do. We think on a different time-scale, but we still follow our spirit and do what we have to do. We also, at least I also, think radically different; the cave example isn't that relevant to me (although it might be to others). What I'm on about is whether net art makes any difference to others beyond net artists; museums pay attention to it, etc., but it seems somewhat stillborn outside of the hothouse of its webpages and creation. The future of the internet will have to take care of itself. I suspect it will go on expanding, getting faster, more prevalent in the average person's life. Our work, then, will be considered pioneering. What we say and make will be annotated into a history of the medium. Our work will probably be forgotten! I can already think of a number of web artists no one knows about at this point - you can see this sort of fast-forward activity in the newsgroups. For years I followed the Monster Truck Neutopians; I doubt there's much reference to them at this point. In fact most art doesn't 'come out in the wash' - look at conceptual art and see how many artists are remembered (beyond the usual LeWitt and Weiner). History integrates the differentiated noise of the now; in the process, events and names are necessarily forgotten. I don't follow the mass media, corporate concerns, or even the Art World--I have no idea anymore what's being written in Art in America or Artforum, et al., because when I did I found that there's nothing happening there, that what's interesting is happening here. Well of course that depends on one's viewpoint; there are a lot of painters who would feel the opposite! As for contributions, who knows? At least we're not part of the political rabble or what these days passes for journalism--talk about entertainers! Our work is to tend the Promethean Fire, and I think we are doing it with distinction, We are honoring the artists who came before us, not by bidding on their paintings, but by, as they did, biting on the Gordian Knot. I worry we might be part of the political rabble; discussions among artists aren't any more astute than any other group... Nor do I think science is more important to the future of the species than is our work. Like art, science is a journey with no end; while technology is more often applied to war and profiteering than to anything the species really needs. No wonder so many people are running to churches, to another generation of evangelists who rip-off their pocketbooks while they're looking upwards to Jesus.With all the science and technology, more people feel disconnected
Re: State of new media from strawberry fields forever -
Well, you usually take the opposite view to mine, that's why we're friends. -Joel - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Monday, July 18, 2005 12:00 PM Subject: Re: State of new media from strawberry fields forever - On Mon, 18 Jul 2005, Joel Weishaus wrote: -Of course many artists are forgotten. How many artists must have been in Paris during the first half of the century of whom we've never heard, some of them must have been as talented as the ones we know. But, they contributed nonetheless. And even now sometimes another is suddenly discovered. And what about the anonymous artists before the signature became identified, the tribal artists. Are they less important? What I'm saying is that being attached to your name is valuable when you're alive, the ego spurs one on. But after you're gone, if you're known or unknown, what's important is that your work seeped into the culture. Again, bringing up tribal artists; at least for me, we're living in a very different time. I honestly don't feel connection; I assume you do. I also don't think that work _does_ seep - I'd like to believe that, but there's really little evidence. Perhaps in advertising, design, but certainly not in terms of edginess/philosophy... -As for the Art World. Maybe in New York something interesting is happening, but where I live I don't see it. What I do see is what's on the web. I see a fair amount that's interesting to me, out here, in NY, etc. Not a huge amount, but enough. -Science and technology are kissing cousins. Nuclear weapons, for example, were, are, developed by physicists, chemists, and engineers. Medicine, NASA, there are many joint projects. The line between them is scumbled. I have a very different reading of science - a reading which is neo-platonic and rather complex, and would be good for an evening. It's too long to write here; needless to say, I don't agree, although of course the line between scientists and technologists/engineers is blurred. -By not paying attention to wars I don't mean to ignore them. I mean, don't feed them. Work instead on developing a network of human cooperation, not competition, which is what feeds capitalism, and the hellfires of war. That's what Bohm tried to do - and fell into a suicidal depression at the start of the Gulf War... Can postmodernism finally mean the end of modernism's competitive, combative, spirit? The dark side of Picasso. The internet seems to at least open us to this possibility. It would be nice to think that at least the Experimental Arts--and this should be a genre in itself--can aspire to an alternative to capitalism, and thus war. Well, this isn't my reading either of postmodernism - but the Net seems to me to be just as competitive and arrogant as anything else. Artists coops do work for a time, both online and offline, but even they tend to decay. - Alan -Joel
Re: Rebus 01
I don't get this. But then, I never got Jenny Holtzer either. -Joel - Original Message - From: mwp [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Monday, July 18, 2005 3:30 PM Subject: Rebus 01 Rebus 01 2005 Words are replaced with the first image that appears in Alltheweb’s image search. If a word appears more than once, the next image in the list is selected so that there is no repetition of images. For this initial experiment, I borrow one of Jenny Holzer’s most famous Truisms, to see what comes out: ABUSE OF POWER COMES AS NO SURPRISE http://www.kunst.no/bjornmag/mpphp2004/abuseofpowercomes.jpg mwp
Re: Rebus 01
Holtzer gave a lecture at The University of New Mexico when I was a curator at the Art Museum there. Frankly, I found her work superficial, with no more depth of language or ideas than the Evening News. But I may be in the minority here. -Joel - Original Message - From: Lanny R. [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Monday, July 18, 2005 5:43 PM Subject: Re: Rebus 01 I have seen a large room done by Holzer at the DMA but none of the outdoor or in situ public works. She was an inspiration when I was a 19yr old college student studying video and computer art in the 80's on the Amiga at UTA in Arlington. We all liked to do little text scrolling pieces which were take-offs of her sign work. the piece itself is an essay in the material transduction of language within the domain of culture-as-code. through this kind of gesture mark is able to realize pierce's indexicality or thirdness, of language. by grounding the mechanics of referentiality within the instrumentality of code, we are able to not only grasp concretely the materiality of language but the pervasive cultural paradigms which haunt our every thought once it has become externalized and entered into the eternal circulation of images which has become capitalism's informatic schitzo- polis. I thinks its an excellent little bit of conceptual formalism. very cleanly cut parameters, as usual w/ mark. lq considering the public spaces that holtzer's truisms occup(y)ied, the pop nature of these images is very rich. family dog, family photo internet porn, video games . . . what's there not to get? input processed to output. an equation right? jUStin On 7/18/05, Joel Weishaus [EMAIL PROTECTED] wrote: I don't get this. But then, I never got Jenny Holtzer either. -Joel - Original Message - From: mwp [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Monday, July 18, 2005 3:30 PM Subject: Rebus 01 Rebus 01 2005 Words are replaced with the first image that appears in Alltheweb's image search. If a word appears more than once, the next image in the list is selected so that there is no repetition of images. For this initial experiment, I borrow one of Jenny Holzer's most famous Truisms, to see what comes out: ABUSE OF POWER COMES AS NO SURPRISE http://www.kunst.no/bjornmag/mpphp2004/abuseofpowercomes.jpg mwp
Re: the real horror
Oh yes. This is first-rate. -Joel - Original Message - From: Bob Marcacci [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Monday, July 18, 2005 5:40 PM Subject: the real horror another machine doing the same thing they whisper what was he like before words and all that other stuff started coming out those arrangements does he think he makes music he makes lists or he doesn't it's simple another machine held at his ear they whisper in the whirring clicking purring silence as he speaks into his cell -- Bob Marcacci
Re: 39,000 Iraqis killed in fighting - study (fwd)
It's not about numbers, but that violent solutions to human conflicts have gone on too long. When do we grow up? - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Wednesday, July 13, 2005 9:39 PM Subject: 39,000 Iraqis killed in fighting - study (fwd) -- Forwarded message -- Date: Wed, 13 Jul 2005 16:04:44 -0400 (EDT) From: [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: 39,000 Iraqis killed in fighting - study 39,000 Iraqis killed in fighting - study Mon Jul 11, 2005 7:43 PM BST By Irwin Arieff Reuters UK http://today.reuters.co.uk/news/newsArticleSearch.aspx?storyID=191558+11-Jul-2005+RTRSsrch=death+iraqi UNITED NATIONS (Reuters) - Some 39,000 Iraqis have been killed as a direct result of combat or armed violence since the U.S.-led invasion, a figure considerably higher than previous estimates, a Swiss institute reported on Monday. The public database Iraqi Body Count, by comparison, estimates that between 22,787 and 25,814 Iraqi civilians have died since the March 2003 invasion, based on reports from at least two media sources. No official estimates of Iraqi casualties from the war have been issued, although military deaths from the U.S.-led coalition forces are closely tracked and now total 1,937. The new estimate was compiled by the Geneva-based Graduate Institute of International Studies and published in its latest annual small arms survey, released at a U.N. news conference. It builds on a study published in The Lancet last October, which concluded there had been 100,000 excess deaths in Iraq from all causes since March 2003. That figure was derived by conducting surveys of Iraqi mortality data during the war and comparing the results to similar data collected before the war. The government rejected The Lancet's conclusions shortly after their publication. The Swiss institute said it arrived at its estimate of Iraqi deaths resulting solely from either combat or armed violence by re-examining the raw data gathered for the Lancet study and classifying the cause of death when it could. Its 2005 small arms survey generally concludes that conflict deaths from small arms have been vastly underreported in the past, not just in Iraq but around the globe. The total number of direct victims of such weapons likely totaled 80,000 to 108,000 during 2003, for example, compared to earlier estimates by other researchers of 27,000 to 51,000 deaths from small arms that year. INACCURATE ESTIMATES The undercounting is due mainly to a paucity of hard data and an over-reliance by analysts on estimates based on government and media accounts of wars, which are often inaccurate, according to the 2005 survey. The number of indirect deaths around the world that can be blamed on small arms has also been underestimated, as these types of weapons typically trigger significant social disruption that leads to malnutrition, starvation, and death from preventable disease, according to the survey. Depending on the nature of the conflict, small arms cause between 60 percent and 90 percent of all direct war deaths, the study said. Following a formula developed at the United Nations, the small arms survey covers a broad range of hand-held arms, ranging from pistols and rifles to military-style machine guns, small mortars and portable anti-tank systems. The survey's release coincided with the opening of a weeklong U.N. conference intended to assess progress on a U.N. action plan for cracking down on the illicit global trade in small arms, adopted in 2001. While worldwide public attention is riveted on the devastating potential of biological, chemical and nuclear weapons, small arms typically carried by a single individual are the real weapons of mass destruction, said Ambassador Pasi Patokallio of Finland, the conference's chairman. Heavy concentrations of small arms in a region are often enough to fuel a conflict, the small arms survey said. In the tense Middle East, for example, private gun ownership is widespread and on the rise, and representatives of several governments have expressed concern that gun violence is becoming a major threat to public safety and a source of regional instability, the survey reported. It estimated that 45 million to 90 million small arms were in the hands of civilians across that region. © Reuters 2005. All rights reserved. Republication or redistribution of Reuters content, including by caching, framing or similar means, is expressly prohibited without the prior written consent of Reuters. Reuters and the Reuters sphere logo are registered trademarks and trademarks of the Reuters group of companies around the world. Close This Window ___ portside (the left side in nautical parlance) is a news, discussion and debate service of the Committees of Correspondence for Democracy and Socialism. It aims to provide varied material
Re: 39,000 Iraqis killed in fighting - study (fwd)
No, these are acts of adolescents playing grown-up. - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Thursday, July 14, 2005 10:07 AM Subject: Re: 39,000 Iraqis killed in fighting - study (fwd) We _are_ grown up. This is us. Alan On Thu, 14 Jul 2005, Joel Weishaus wrote: It's not about numbers, but that violent solutions to human conflicts have gone on too long. When do we grow up? - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Wednesday, July 13, 2005 9:39 PM Subject: 39,000 Iraqis killed in fighting - study (fwd) -- Forwarded message -- Date: Wed, 13 Jul 2005 16:04:44 -0400 (EDT) From: [EMAIL PROTECTED] Reply-To: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: 39,000 Iraqis killed in fighting - study 39,000 Iraqis killed in fighting - study Mon Jul 11, 2005 7:43 PM BST By Irwin Arieff Reuters UK http://today.reuters.co.uk/news/newsArticleSearch.aspx?storyID=191558+11-Jul-2005+RTRSsrch=death+iraqi UNITED NATIONS (Reuters) - Some 39,000 Iraqis have been killed as a direct result of combat or armed violence since the U.S.-led invasion, a figure considerably higher than previous estimates, a Swiss institute reported on Monday. The public database Iraqi Body Count, by comparison, estimates that between 22,787 and 25,814 Iraqi civilians have died since the March 2003 invasion, based on reports from at least two media sources. No official estimates of Iraqi casualties from the war have been issued, although military deaths from the U.S.-led coalition forces are closely tracked and now total 1,937. The new estimate was compiled by the Geneva-based Graduate Institute of International Studies and published in its latest annual small arms survey, released at a U.N. news conference. It builds on a study published in The Lancet last October, which concluded there had been 100,000 excess deaths in Iraq from all causes since March 2003. That figure was derived by conducting surveys of Iraqi mortality data during the war and comparing the results to similar data collected before the war. The government rejected The Lancet's conclusions shortly after their publication. The Swiss institute said it arrived at its estimate of Iraqi deaths resulting solely from either combat or armed violence by re-examining the raw data gathered for the Lancet study and classifying the cause of death when it could. Its 2005 small arms survey generally concludes that conflict deaths from small arms have been vastly underreported in the past, not just in Iraq but around the globe. The total number of direct victims of such weapons likely totaled 80,000 to 108,000 during 2003, for example, compared to earlier estimates by other researchers of 27,000 to 51,000 deaths from small arms that year. INACCURATE ESTIMATES The undercounting is due mainly to a paucity of hard data and an over-reliance by analysts on estimates based on government and media accounts of wars, which are often inaccurate, according to the 2005 survey. The number of indirect deaths around the world that can be blamed on small arms has also been underestimated, as these types of weapons typically trigger significant social disruption that leads to malnutrition, starvation, and death from preventable disease, according to the survey. Depending on the nature of the conflict, small arms cause between 60 percent and 90 percent of all direct war deaths, the study said. Following a formula developed at the United Nations, the small arms survey covers a broad range of hand-held arms, ranging from pistols and rifles to military-style machine guns, small mortars and portable anti-tank systems. The survey's release coincided with the opening of a weeklong U.N. conference intended to assess progress on a U.N. action plan for cracking down on the illicit global trade in small arms, adopted in 2001. While worldwide public attention is riveted on the devastating potential of biological, chemical and nuclear weapons, small arms typically carried by a single individual are the real weapons of mass destruction, said Ambassador Pasi Patokallio of Finland, the conference's chairman. Heavy concentrations of small arms in a region are often enough to fuel a conflict, the small arms survey said. In the tense Middle East, for example, private gun ownership is widespread and on the rise, and representatives of several governments have expressed concern that gun violence is becoming a major threat to public safety and a source of regional instability, the survey reported. It estimated that 45 million to 90 million small arms were in the hands of civilians across that region. © Reuters 2005. All rights reserved. Republication or redistribution of Reuters content, including by caching, framing or similar means, is expressly
Re: Gorgona/Gorgona: Prison Isle/Nature Preserve
Lanny: I've read (and re-read) The Nervous System: Homesickness and Dada, which I photocopied many years ago from the Stanford Humanities Review #1 (1989). You're welcome to make a copy, if you wish. Have also read parts of Mimesis and Alterity, and Shamanism, Colonialism, and the Wild Man. I think I've quoted from both these books. -Joel - Original Message - From: Lanny Quarles [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Sunday, July 10, 2005 3:58 PM Subject: Re: Gorgona/Gorgona: Prison Isle/Nature Preserve Was thinking about this today: The FICTION-OF-PHILOSOPHY: As in the fiction-of-crime, the category encompasses both `philosophical fiction' and that aspect of philosophy which encounters fiction as a mode of inquiry. Philosophical fiction would include the novels of Bataille, Ballard, Gibson, Sartre; works of Jabes, Michaux, Lautreamont, Karl Kraus; poetry of Lucretius, Susan Howe, Holderlin; the philosophical micro-narratives of Baudrillard, Nietzsche, and Barthes; Lingis' exhilerated accounts of the other/ gender, Kathy Acker's deconstruction of sexualities and politics, and other writers/writings too numerous to mention... And wondered if anyone here has read Michael Taussig's _The Magic of the State_ or any of his books which seem to particularly embrace the above? I hadn't read any, and was wondering what people thought of the work. His books are: Devil and Commodity Fetishism in South America My Cocaine Museum Law in a Lawless Land: Diary of a Limpieza Defacement: Public Secrecy and the Labor of the Negative Mimesis and Alterity: A Particular History of the Senses Shamanism, Colonialism, and the Wild Man : A Study in Terror and Healing The Nervous System The Magic of the State
Re: fast forward from 1720 to the KRONOS PROJECTOR 2005 (fwd)
Talan: Did I ever tell you that the Vasulkas are old friends of mine. I curated a show of Woody's at the University of New Mexico Art Museum years ago, while Steina had an installation in a galley on campus. Afterwards, helping Woody--I tell this story somewhere in Reality Dreams--carry the monitors to his truck, I said, Why are these so heavy? He replied, There's a lot of shit inside. -Joel - Original Message - From: Talan Memmott [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Wednesday, July 06, 2005 10:52 PM Subject: Re: fast forward from 1720 to the KRONOS PROJECTOR 2005 (fwd) kinda next generation Vasulka-like On Wed, 6 Jul 2005 22:10:19 -0400 Alan Sondheim [EMAIL PROTECTED] wrote: -- Forwarded message -- Date: Wed, 6 Jul 2005 16:48:26 -0700 (PDT) From: Gerald Jones [EMAIL PROTECTED] To: Projectory [EMAIL PROTECTED] Subject: fast forward from 1720 to the KRONOS PROJECTOR 2005 * now Fast Forward -- from 1720 to The Khronos Projector 2005 The following website offers demos of a new technology to be shown at the upcoming SIGGRAPH in LA at the beginning of Aug. The Khronos Projector, being developed in Japan, by Alvaro Cassinelli Masatoshi Ishikawa is an interactive display technology where the audience, by touching the projection screen, can send parts of the image forward or backwards in time. They also have video clips posted showing it in action. http://www.k2.t.u-tokyo.ac.jp/members/alvaro/Khronos/Khronos_Projector.htm as ever, Gerald
Fw: [museumnewsletter] Big Sheep Call for partic ipation (English) / Big Sheep Appel à particip ation (FRANÇAIS)
- Original Message - From: arteonline [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, July 05, 2005 4:41 PM Subject: [museumnewsletter] Big Sheep Call for participation (English) / Big Sheep Appel à participation (FRANÇAIS) ENGLISH Big Sheep Call for participation Big Sheep a collaborative and copyleft project by Regina Celia Pinto and Isabel Saij. The cloning and remixes have already started! Then, we like to invite you to visit our blog at: http://bigsheep.blogspot.com/ And to send us original works or derivative works related to the theme sheep. The project aims to develop a new kind of collaborative work: all the creations made for Big Sheep are placed under a copyleft license: http://artlibre.org/licence.php/lalgb.html Concretely you can join us in 3 ways: a)- make an original work (drawing, photo, text, animation, sound,...) related with our theme (sheep) and send it to us with your copyleft agreement (see above the link to the license). Very important: you need to have a complete copyright on your creation in order to put it under copyleft! For instance you can't copyleft photo(s) downloaded from internet without the permission of the holder (s) of the copyright (s). b)- take one (or several) work(s) from our blog: http://bigsheep.blogspot.com/ Then: modify it, write a text, add a sound...and send us your derivative work with your copyleft agreement. Note: this derivative work will be placed under the copyleft license! c)- participate in the blog Big Sheep(http://bigsheep.blogspot.com/) with your comments. Send your works here: [EMAIL PROTECTED], subject: Big Sheep Technical aspects: Multimedia and Image Files: JPG, GIF, MOV, SWF , AVI, max 640 X 480 pixels and not more than 300 kb. Text files: RTF, not more than two A4 pages. Sound: MP3 max 300 kb More information Concept: http://arteonline.arq.br/blog/important.htm History of Big Sheep http://bigsheep.blogspot.com/ - Sheep's Parade %% FRANÇAIS Big Sheep Appel à participation Big Sheep un projet collaboratif et copyleft par Regina Celia Pinto et Isabel Saij. Les clones et remaniements d'images ont déjà commencé. Nous vous invitons à venir sur notre blog: http://bigsheep.blogspot.com/ et à nous envoyer des travaux originaux ou dérivés en relation avec notre thème du mouton. Le projet tend à développer une nouvelle sorte de travail collaboratif: toutes les créations réalisées pour Big sheep étant placées sous licence copyleft: http://artlibre.org Vous pouvez concrètement nous rejoindre de 3 manières: a)- en faisant un travail original (dessin, photo, texte, animation, son,...) relatif à notre thème du mouton et en nous l'envoyant avec votre consentement copyleft (voir lien ci-dessus). Très important: il vous faut avoir le copyright intégral sur votre création pour la mettre sous copyleft! Vous ne pouvez pas par exemple copylefter des photos téléchargées d'internet sans permission du/des détenant(s) du copyright. b)- en prenant un ou plusieurs travaux de notre blog: http://bigsheep.blogspot.com/ et en le/les modifiant, en écrivant un texte, en ajoutant un son... et en nous envoyant le travail dérivatif avec votre accord copyleft. NB: Ce travail dérivatif sera lui aussi placé sous licence copyleft. c)- En participant au blog Big Sheep (http://bigsheep.blogspot.com/) par vos commentaires. Envoyez vos travaux à l'adresse suivante: [EMAIL PROTECTED] , sujet: Big sheep. Aspects techniques: Formats multimedia et image: JPG, GIF, MOV, SWF , AVI, max: 640 X 480 pixels et pas plus de 300KB. Format texte: RTF, pas plus de 2 pages A4. Son: mp3 max 300 KB Plus d'information Concept: http://arteonline.arq.br/blog/important.htm Histoire de Big Sheep http://bigsheep.blogspot.com/ - Sheep's Parade %% Regina Célia Pinto http://arteonline.arq.br http://arteonline.arq.br/library.htm http://bigsheep.blogspot.com (A NEW Blog - The Big Sheep! Big What?) Isabel Saij http://www.saij-netart.net http://www.saij-copyleft.net http://www.bibiche.net http://www.digressions.net http://www.saij-photos.net http://perso.wanadoo.fr/isabelsaij-net [Non-text portions of this message have been removed] Yahoo! Groups Links * To visit your group on the web, go to: http://groups.yahoo.com/group/museumnewsletter/ * To unsubscribe from this group, send an email to: [EMAIL PROTECTED] * Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/
Re: causative salutation
Lovely. - Original Message - From: Allen Bramhall [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Monday, July 04, 2005 8:21 AM Subject: causative salutation In a rainforest, young love, a restless dictation, swelters of words. These words, transcribed or conscripted, realize something in action. The action takes place sailing. Rivers inhale. the boat stutters in phrases of indignant rapprochement. Clearly a season begins. The people of Tangier have set limits. We read the news even now. Potency exhausts after all. posing for pictures at the end of Massachusetts, relying on something virtuous in saying so. Or backing up just to assert that fraction. A town at the end of Massachusetts, looking over to Tangier, desperate to be in place. The news of place then returns. Tired people in spirit detach possible inflictions from conflict. Wise cats and dogs roll into curves. The rainforest is have or enough. distance causes evaluation. Soon a tunnel thru to the heart of something else, which will ring Appalachian door harps. Spots on the sun as testaments for extra centuries. Looming over these messages the quality of mirage. the holiday isn't real.
Re: causative salutation
Peter: This is by Allen Bramhall. Just want to make sure you know this. -Joel - Original Message - From: Peter Ciccariello To: WRYTING-L@listserv.utoronto.ca Sent: Monday, July 04, 2005 12:17 PM Subject: Re: causative salutation I enoyed this Joel, Thanks. -Peter CiccarielloARTIST'S BLOG - http://invisiblenotes.blogspot.com/ - Original Message - Subject: causative salutation In a rainforest, young love, a restless dictation, swelters of words. These words, transcribed or conscripted, realize something in action. The action takes place sailing. Rivers inhale. the boat stutters in phrases of indignant rapprochement. Clearly a season begins. The people of Tangier have set limits. We read the news even now. Potency exhausts after all. posing for pictures at the end of Massachusetts, relying on something virtuous in saying so. Or backing up just to assert that fraction. A town at the end of Massachusetts, looking over to Tangier, desperate to be in place. The news of place then returns. Tired people in spirit detach possible inflictions from conflict. Wise cats and dogs roll into curves. The rainforest is have or enough. distance causes evaluation. Soon a tunnel thru to the heart of something else, which will ring Appalachian door harps. Spots on the sun as testaments for extra centuries. Looming over these messages the quality of mirage. the holiday isn't real.
Re: Beware Of 'Whitey' Bearing Gifts
I saw the concert on TV last night, the sea of white faces and the wealthy rock stars singing to them. The African-Americandoing a Jesus rap with a huge cross projected behind him, must have had Europeans shaking their heads in dismayover ignorant Americans, asit was Christianity importing slaves to America,Islamic Arabskidnapping and exportingthem, that brought original grief to that continent, andthat continues to this day in various horrific forms.Thus, the concert seemed to me to be a display of bad consciences,plus the usual egos andself-promotion. But I did like Dave Matthews, who at least is, or was,an African. -Joel - Original Message - From: [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Sunday, July 03, 2005 8:28 AM Subject: "Beware Of 'Whitey'" Bearing Gifts Click here: The Assassinated Press http://www.theassassinatedpress.com/"Beware Of 'Whitey'" Bearing Gifts And Fuck The Pop Music Simpletons:Debt Cut Means Foreclosure for Poorest Nations; Re-Establishment of Colonialism, Slavery:Deal Would Cancel $40 Billion in Loans In Return For Draconian Collateral Written Into IMF Agreements To Be Paid Upon Default; Privatization And Western Purchase Of De-Nationalized Mines, Utilities, Water Rights; No Unions Low Wages; No Healthcare; No Education; Land Forfeiture; No Commies Or Socialists Need Get Elected Here; Foreign Goods Push Out Indigenous Ones; IMF Managed Food Programs Destruction Of Indigenous Crops And Their Seeds, Replaced With Sterile Western Seed Requiring Hard Currency For Annual Purchase; Generic Drugs Produced By Africans To Fight Aids Outlawed So U.S. Drug Companies That Bill Gates Is Heavily Investigated In Make All The Money; Foreign Presence On National Bank And Currency Boards, Maintenance Of Cronyism With West, Structural Adjustment Loans, Foreign Military Presence, Consultant Fees For U.S. Cronies, Training Repressive Police Force And Army etc. etc. Ad Nauseam Until After A Few Years The Country And Its People Would Have Been Far Better Off If 'Whitey' Had Colonized Mars Or Been Taken Up In The Rapture Like He Fuckin' Promised Us He Would:Western Contractors Lined Up To Steal New Round Of Loans:Bono, Geldof: Wanton Debt Dupes Or Shilling For The IMF Thieves? Shouldn't They Stick To Writing And Producing Nursery Rhymes For Adults?"Along With Iraq, This Is Tony Blair's Legacy. We Can Only Ask---Who Brought The Rope!!"By PALL BULLSTAIN They hang the man and flog the womanThat steal the goose from off the common,But let the greater villain looseThat steals the common from the goose. ".at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful languageof power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribedgood; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first givingfree reign to this hubbub of voices"
Re: Tangier office
My autobiography, Reality Dreams, begins in Provincetown, but I don't see the tangent to Tangier, unless ironic. Of course, that's it. http://www.cddc.vt.edu/host/weishaus/Real/real-1.htm -Joel - Original Message - From: Lawrence Sawyer [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Sunday, July 03, 2005 2:31 PM Subject: Re: Tangier office I like Provincetown but haven't been to Tangier. Won't likely get there for some time. LS On Jul 3, 2005, at 2:10 PM, Allen Bramhall wrote: thanks for the picture. I actually wrote the thing after looking at the Tangier Journal that Lawrence Sawyer adverted. I believe Provincetown is as close as I've been to Tangier. or likely. Allen
Re: On the streets with the man who coined the word weblog
Miekal: Lovely. I'll forward this on. Onward, as Creeley liked to say. -Joel - Original Message - From: mIEKAL aND [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Sunday, July 03, 2005 3:13 PM Subject: On the streets with the man who coined the word weblog Robot Wisdom on the Street http://www.wired.com/wired/archive/13.07/posts.html?pg=6 A bum in a Google cap. Now there's a sign of the times, I think as he shambles toward me. He looks pretty much like any other tattered street person in San Francisco - long, windblown dirty-blond hair with a beard to match. Unbuttoned shirttails flapping in the afternoon breeze. But he's walking with someone I recognize - Andrew, a dapper writer I've known for years. We stop on the sidewalk, and Andrew introduces me to the guy in the Google cap: This is Jorn Barger, he begins. Another homeless blogger, his companion finishes. Jorn Barger. It takes me a moment to recognize the name. Barger is an online legend I've been following for a decade. He was the unstoppable Usenet poster who could carry on simultaneous debates about Ibsen, Chomsky, artificial intelligence, and Kate Bush. He was the keeper of the James Joyce FAQ. Barger's prolific posting made him famous, if not popular, in the proto blogosphere. Barger crossed over from Usenet to the Web in 1997 and set up his own site, which he dubbed the Robot Wisdom Weblog. He began logging his online discoveries as he stumbled on them - hence weblog. I barely understood what he was talking about, and still I read him giddily. Barger gave a name to the fledgling phenomenon and set the tone for a million blogs to come. Robot Wisdom bounced unapologetically from high culture to low, from silly to serious, from politics to porn. But unlike today's blabby bloggers, Barger steadily honed his one-paragraph posts into shorter and more compact bursts. By mid-2000, he'd shrunk Robot Wisdom into a list of links centered on a minimalist page. His style merged the ethereal brevity of haiku (another peculiar Usenet subgenre) with the restless topic-hopping of Joyce: Interesting pic from Spielberg's Kubrick's A.I. Israeli settler gets wrist-slap for kicking 10yo Palestinian to death Mount Fuji webcams jealous of popo's eruptions? Variable-star mira's mysterious horn My new theory of information density Fiendishly clever spam pitch Five years later, in the San Francisco afternoon, it's hard to reconcile these energetic and intellectually omnivorous posts with the anxious, awkward man on the sidewalk. Speaking quietly in sentences as short as his blog entries, Barger seems ready to implode. It turns out he has good reasons: Homeless and broke at age 53, he allowed the domain registration for robotwisdom.com to lapse and can't afford to re-up it. He has abandoned his Chicago apartment and is staying on Andrew's floor while he tries to get back on his feet. He's looking for work - sort of. After a few hands-in-pockets attempts at small talk, we give up. I continue up the hill. A few weeks later, I find out that Barger has recovered his domain - and Robot Wisdom pops back up online. I hunt him down for a pint at a local pub and he tells me he's moving on, this time to Memphis. He says he avoids the need for a job by living on less than a dollar a day. I was carrying a cardboard sign when we met that day, he tells me. I wasn't sure if I should show it to you. I figured if things didn't work out with Andrew I could pick up some change. On his panhandler sign, Barger had written: Coined the term 'weblog,' never made a dime. - Paul Boutin
Re: Open Letter from Jem Cohen
Is this a true story? -Joel - Original Message - From: ][mez][ [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Wednesday, June 29, 2005 12:18 AM Subject: Fwd: Open Letter from Jem Cohen Begin forwarded message: Hello. I'm attaching an open letter regarding an incident that took place in January. I was stopped from filming out of a train window and had my film confiscated and turned over to the Joint Terrorism Task Force and the FBI. I went to the ACLU, and have been assisted by a lawyer at the NYCLU (New York Civil Liberties Union). I wrote a piece about it and included the attached letter in the last issue of Filmmaker Magazine. Recently, the lawyer called to say that the FBI was returning the film, as it had been cleared by the authorities. When I went to pick it up, I found that the original box and reel had been sent back, but the reel was empty, save for a few inches of film. The matter remains unresolved, and for me, deeply disturbing. Most of us are inundated with email, and I had mixed feelings about sending yet another mass missive. Please forgive the intrusion. I'm not asking for you to do anything, and that includes write me back. I'm sending this simply because I feel that people should know about such incidents. You are welcome to pass along the attached letter, although I would prefer that my email address not be made entirely public. I would be glad to talk to the press about it, although an editor I spoke to at the New York Times suggested that it might not be of interest to the media because such incidents are becoming too commonplace. Thank you for having a look. Sincerely, Jem Cohen An open letter to the film and arts community: On January 7th, 2005, I was filming from the window of an Amtrak train going from New York to Washington D.C., and my film was confiscated by police, due to supposed national security concerns. At first, I was told by a ticket taker that I couldn't shoot because I was in the 'quiet car,' but when I got ready to move, he said I couldn't shoot at all. I explained that I was a filmmaker who'd done this for years, and politely asked to speak with someone else about it. I stopped filming, waited, and asked again, but no one came. When the train stopped in Philadelphia, at least four uniformed officers entered the car and demanded that I step off the train with the camera. They took my personal information and told me to give them the film from the camera. Not wanting to ruin it, I insisted on rewinding the roll, which I then gave up. Upon arrival in D.C., I was immediately met and questioned by more officials, this time out of uniform. My film has apparently been given to the Joint Terrorism Task Force, and then to the F.B.I. As of this writing, I have not been able to get it back. (I took my case to the American Civil Liberties Union, who are working on it). I'd been shooting in 16mm, using an old, hand-wound Bolex. I was filming the passing landscape as I've often done over the past 15 years. As a filmmaker who does most of my work in a documentary mode and often on the street, my role is to record the world as it is and as it unfolds. I build projects from an archive of footage collected in my daily wanderings, and in travels across this country and overseas. I film buildings and passersby, the sky, streets, and waterways; the structures that make up our cities, life as it is lived. I cannot pre-plan and attempt to obtain permits every time that I shoot; it is an inherently spontaneous act done in response to daily life and unannounced events. I believe that it is the work and responsibility of artists to create such a record so that we can better understand, and future generations can know, how we lived, what we build, what changes, and what disappears. This has been the work of documentarians and artists including Mathew Brady, Lewis Hine, Walker Evans, Helen Levitt, Gary Winogrand, Robert Frank, and so on. Street shooting is one of the cornerstones of photography itself, and it is facing serious new threats, some declared, many not. In New York, the MTA apparently intends to forbid all unpermitted photography of and from its trains and subways. I have heard about a film location scout in upstate New York being interrogated for hours, even after presenting clear documentation that he was working for a legitimate production company; about documentary crews having their license plates called in and being visited by the FBI; about photojournalists working for the New York Times being stopped from doing the work that they have always done. As a filmmaker, I am concerned about what this kind of clampdown means both to our livelihood and to the public, historical record. As a citizen, I am concerned about a climate in which a person can be pulled off of a train and have their property confiscated without warning or redress. I am also, frankly, concerned about terrorism, and genuine threats to our lives and
Fw: Gregori Maiofis
- Original Message - From: Greg Ulmer [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, June 14, 2005 6:21 AM Subject: Gregori Maiofis I received a post from an art critic doing a review of an exhibition of the work of Gregori Maiofis. The critic said that during an interview Maiofis said that Applied Grammatology had been an inspiration for some of his work. Asked to comment, I checked out the Website and filed the following paragraphs. fyi glue * Gregory Ulmer * web.nwe.ufl.edu/~gulmer University of Florida -- Forwarded message -- reviewing www.maiofis-wba.com/web/index.htm From a grammatological perspective, the art of Gregori Maiofis contributes to the tradition of the search for a universal language, perhaps commenting in general on the ruins or fragmentary survivals of this tradition. The basis for this reading of the oeuvre is the Tarot series, which serves as a key for the other works. Condensing most if not all of the wisdom epistemologies of Western civilization, Tarot in its popular spiritualist form is a remnant of the dream of a perfect language that motivated humanistic thought from Plato to Leibniz. In the eighteenth century this tradition lost credibility and went underground, or was pushed to the margins of culture by the rise of empirical science. The relevance of this tradition for today is what may be learned regarding the capacity of graphic imaging to produce a category system--a metaphysics--that does for digital media what Greek ontology did for alphabetic writing. The prototype for an image metaphysics during the Renaissance was the Egyptian hieroglyph; during the Baroque era it was the Chinese ideogram. However mistaken the understanding of these writing systems may have been, in both cases the result was a major innovation in arts practices (the emblem books, and vorticism, for example). Maiofis's series represent an exploration of atmospheres and moods evoked by image sequences, without the security of a cosmology. We are separated from the star, as Blanchot said in defining this era of dis-aster. Despite the superannuation of cosmology in contemporary knowledge, the astrological categories appropriated by Western wisdom traditions retain their categorical power. The Tarot anchor suggests the potential of an image to locate an archetype in contemporary collective memory, in the absence of any consensus. Maiofis's series are archeological in Foucault's sense--an archeology of image knowledge, suggesting the parameters of possible signification. The artists' role, in these conditions that Lyotard called the differend, is to invent new genres, new rules of linking from one node or sign to another, transversally, to map a potential network of relationships from which may emerge an unanticiapted coherence (what Ezra Pound called a vortex). This experiment in invention of genres is well underway in the career of Gregori Maiofis.
Re: view of the Tungurahua plume... (rogue-vogue)
Lanny: This reminds me to tell you that I did get Paternosto's book. It's sitting on the to be read stack. -Joel - Original Message - From: Lanny Quarles [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Friday, June 10, 2005 11:53 PM Subject: view of the Tungurahua plume... (rogue-vogue) view of the Tungurahua plume... she models the Huari Ceremonial Textiles headband, mantle, and tunic amidst the delapidated broughams which lead up to the mud tombs among the lesser hills later that evening reading from Alphonse Daudet's La Doulou she would have a vision of a vast interconnected webwork of headless torsos composed of sulphurous ochre lava - of a gown of diaphanous spittle which would grow from a suppurating emblem which would settle like a vaginal/virginal snowflake on her forehead and become a mouth to the foetus of her pineal eye - on the road from Banos she would cough incessantly nearly waking the drunken photographer who would mumble: The Black Giant is the center of every written O in history the sum of the space of every O ever written.. The basaltic O of time inborn.. O ... [On April 24th, incandescent blocks were projected from a crater glowing red, down the slope of the volcano.] ... they traveled on to Kuelap
Re: sq*sq / A
Alan: This sounds about right. Love to you, Joel - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Tuesday, May 31, 2005 6:21 AM Subject: Re: sq*sq / A The caves are infinite, the twisty passages long. On our subways, the children of a thousand nations. In our air, chemicals from a thousand bitter factories. There is no misery, the economy of books is free. Culture seeps through trees full of flocks of robins. A lone heron graced the botanical gardens. Like monk parakeets we fly above the rooftops. Ouroboros sustains us, persephone among us. Who can say we are not Han Shan? Even Han Shan cannot say he is Han Shan. On Mon, 30 May 2005, mIEKAL aND wrote: THE CAVE CHILDREN OF NEW YORK ARE NEVER FREE A dime is no longer than the air of misery the day of yearning forgot. Who twisted when mounting all ages of wobbling. Hurry border. Hurray fits sat. Avenue child anagram. Who alerted taxi is the criminal of media of fight of knife a document. Sense tense, cent tense. On May 30, 2005, at 11:01 PM, Lanny Quarles wrote: Never been to New York. You two sound like two New York ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt )
Re: mayan lullaby
"(lovely) wreckage" is what a civilization finally does. I wonder what ours won't consist of. If it isn't poetry, something valuable has been missed.It's all a lulla, anyway,bye Joel - Original Message - From: Michael Rothenberg To: WRYTING-L@listserv.utoronto.ca Sent: Saturday, May 28, 2005 8:07 AM Subject: mayan lullaby MAYAN LULLABY sabotage, footstep, slow flung back aga+st pressure } gravity atmosphere wheels ) unknown l=+g gear set }f al)g a marg+ c)crete halls echo : forest = floor throb : (lovely) wreckage: stumps, st)es, mortar bull rushes, tulle, deer geese apple tree + valley grove snow }:out warn+g fly+g objects libret:s, pianos, tubular bells w+d :ssed leaves low tide pools = high tide = boulders trucks = /moan ) coast highway :wards empt+ess } fill Michael Rothenberg[EMAIL PROTECTED]Big Bridgewww.bigbridge.org
Adam[i]n Paradise
The first page of several more? I'm not sure: http://web.pdx.edu/~pdx00282/Adam/text.htm -Joel
Re: Adam[i]n Paradise
Hi Alan: That's what I heard. Thus, a peaceful death. Benjamin at the border has always fascinated me, as he couldn't go forward or back. What his feelings must have been I think is one of the great tragedies in human culture. Would make a good play. -Joel - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Thursday, May 26, 2005 3:35 PM Subject: Re: Adam[i]n Paradise ah, really like this and hope there are more - and was it morphine? I remembered I didn't know - alan On Thu, 26 May 2005, Joel Weishaus wrote: The first page of several more? I'm not sure: http://web.pdx.edu/~pdx00282/Adam/text.htm -Joel ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt )
Re: Adam[i]n Paradise
Hi Lanny: Thanks. This is terrific. May lead me on. Let's do coffee soon. -Joel - Original Message - From: Lanny Quarles [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Thursday, May 26, 2005 5:33 PM Subject: Re: Adam[i]n Paradise an interesting Page on Benjamin and Portbou http://www.wbenjamin.org/portbou.html hadn't heard about Dani Karavan's monument. - Original Message - From: Joel Weishaus [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Thursday, May 26, 2005 4:31 PM Subject: Re: Adam[i]n Paradise Hi Alan: That's what I heard. Thus, a peaceful death. Benjamin at the border has always fascinated me, as he couldn't go forward or back. What his feelings must have been I think is one of the great tragedies in human culture. Would make a good play. -Joel - Original Message - From: Alan Sondheim [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Thursday, May 26, 2005 3:35 PM Subject: Re: Adam[i]n Paradise ah, really like this and hope there are more - and was it morphine? I remembered I didn't know - alan On Thu, 26 May 2005, Joel Weishaus wrote: The first page of several more? I'm not sure: http://web.pdx.edu/~pdx00282/Adam/text.htm -Joel ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt )
Re: Poetic terrorism will be next...
It's interesting that it says violence from the Klu Klux Klan and anti-abortionists has declined. This is not true. It's at its highest level ever, as now they have the nuclear option, with which they are threatening the democracy itself. -Joel - Original Message - From: mIEKAL aND [EMAIL PROTECTED] To: WRYTING-L@listserv.utoronto.ca Sent: Thursday, May 19, 2005 4:42 AM Subject: Poetic terrorism will be next... FBI, ATF address domestic terrorism Officials: Extremists pose serious threat WASHINGTON (CNN) -- Violent animal rights extremists and eco-terrorists now pose one of the most serious terrorism threats to the nation, top federal law enforcement officials say. Senior officials from the FBI and the Bureau of Alcohol, Tobacco, Firearms (ATF) and Explosives told a Senate panel Wednesday of their growing concern over these groups. Of particular concern are the Animal Liberation Front (ALF) and the Earth Liberation Front (ELF). John Lewis, the FBI's deputy assistant director for counterterrorism, said animal and environmental rights extremists have claimed credit for more than 1,200 criminal incidents since 1990. The FBI has 150 pending investigations associated with animal rights or eco-terrorist activities, and ATF officials say they have opened 58 investigations in the past six years related to violence attributed to the ELF and ALF. In the same period violence from groups like the Ku Klux Klan and anti-abortion extremists have declined, Lewis said. The ELF has been linked to fires set at sport utility vehicle dealerships and construction sites in various states, while the ALF has been blamed for arson and bombings against animal research labs and the pharmaceutical and cosmetics industry. No deaths have been blamed on attacks by those groups so far, but the attacks have increased in frequency and size, said Lewis. Plainly, I think we're lucky. Once you set one of these fires they can go way out of control, Lewis said. ATF Deputy Assistant Director Carson Carroll agreed with Lewis' assessment. The most worrisome trend to law enforcement and private industry alike has been the increase in willingness by these movements to resort to the use of incendiary and explosive devices, he said. The FBI also identified a British-based group, Stop Huntingdon Animal Cruelty, as a U.S. terror threat. The group targets Britain's Huntingdon Life Sciences Laboratory, which has an American facility in East Millstone, New Jersey. Last year a federal grand jury indicted seven people identified as members of the group on charges they vandalized company property and harassed lab employees and customers. Inhofe alleges PETA link Senate Environment Committee Chairman James Inhofe estimated the cost of damages from militant environmental and animal rights supporters at more than $110 million in the past decade. Just like al Qaeda or any other terrorist movement, ELF and ALF cannot accomplish their goals without money, membership and the media, the Republican senator from Oklahoma said. Inhofe said there was a growing network of support for extremists like ELF and ALF, and he singled out People for the Ethical Treatment of Animals for giving money to members of both groups. PETA claims more than 800,000 members. Its president, Ingrid Newkirk, declined to appear at the hearing, but general counsel Jeffrey Kerr denied Inhofe's allegation in a written statement. PETA has no involvement with alleged ALF or ELF actions. PETA does not support terrorism. PETA does not support violence, Kerr said. In fact PETA exists to fight the terrorism and violence inflicted on billions of animals annually in the meat, dairy, experimentation, tobacco, fur, leather, and circus industries. Skepticism from some Some committee members have expressed skepticism over the high level of concern toward environmental and animal rights extremists. The Department of Homeland Security spends over $40 billion a year to protect the home front, Sen. Frank Lautenberg said. After listing al Qaeda, Hamas and Hezbollah, the Democrat from New Jersey wanted to know who else the law enforcement agencies considered terrorists: Right to Life? Sierra Club? Lautenberg declared himself a tree hugger. And Sen. James Jeffords also issued a statement expressing doubt about the target of concern. Congress can't do much about individual extremists committing crimes in the name of ELF or ALF, but we can act to significantly enhance the safety of communities across the nation, the independent from Vermont wrote. ELF and ALF may threaten dozens of people each year, but an incident at a chemical, nuclear or wastewater facility would threaten tens of thousands.
