[NetBehaviour] Emerging -
sondheim at panix.com
Tue Sep 10 00:22:15 CEST 2019
Image courtesy of WVU, Foofwa d'Imobilite, others
AR by Will Pappenheimer
This isn't a standard presentation, not even by my standards:
1. The theme is almost non-existent, something always in the
background. There's a need to 'chase it down' - and 'it' is
diffuse, multiple, a conglomerate of micro-biomes - traces left
2. There are examples which overlap/underlap - there's a kind of
persistence, a residue - the subject matters wanders, just out of
reach. (We saw the muskrats at early dawn, late dusk, watched them
from a distance, their features indistinct in the near-dark. Their
communicaton seemed based on touch, more than anything else.) It's
like that - a theme that crosses digital media, analog worlds, body
issues, uncanny imagings within the 'idiotic real' -
3. A theme of bodies always as ghosts, some examples -
a. I'm walking down the street, engrossed _in_ my cellphone, I'm
staring at it, concentrated, my vision and attention narrowly
focused on the screen.
b. Trump's splatter semiotics - tweets presented at high-speed,
traditional news media unable to keep up - literally at a loss -
his broken discourse dominating everything - as if the media were
unaware of the ghost in the room -
c. Gray Barker in 1950s West Virginia invents the 'men in black'
meme, creates fake flying sauces, 'flies' and photographs them - at
the same time collecting images he half believes in - at the same
time turning the 'men in black' into pornographic memes - "Gray
Barker (May 2, 1925 December 6, 1984) was an American writer
best known for his books about UFOs and other paranormal phenomena.
His 1956 book They Knew Too Much About Flying Saucers introduced
the notion of the Men in Black to UFO folklore. Recent evidence
indicates that he was skeptical of most UFO claims, and mainly
wrote about the paranormal for financial gain. He sometimes
participated in hoaxes to deceive more serious UFO investigators."
Archives in Clarksburg, WV.
d. The ontology of images is no longer among 'real,' 'analog,'
'digital,' 'fake,' 'authentic,' and so forth - but is on the order
of a miasma of representations - what changed all this is the
ability to alter a single pixel of an image without altering any
others - the 'crackling' of the digital image - and what changed
all this are the modes of transmission themselves - from tcp/ip
through blockchain through the imminence of the alterity of the
other through the skeains of satellites and other modes of
e. Serres' parasite has invaded content; becomes content; _is_
content; every observation is simultaneously noise and broken,
f. The markings which characterize the body now characterize only
its carapace, its striations. The body exists as data-base
insertions, with a troubling horizon of the somatic - flesh, blank
g. Among the hyper-collapse of resources, the politics of desire
becomes the desires of politics; the presence of bodies translates
into flows; the other face of real deprivations transforms into
genocidal collapse; and the faces of strongmen, increasingly
evident, dominate through violent and fictional totalizations.
h. The sky is the mirror of the strong, the silent violence of
i. The faces we see are our own: i.e. digital tagging, and no
longer our own: i.e. alexa: the flows of material and economic
goods (blockchain, traditional finance, intelligence) depend less
and less on us, much less our 'good will'; this is all debris,
j. absorbed and disseminated by the dynamics of the single pixel
and the chaotic absorption and degradation of the image/imaginary
k. The image absorbs its imaginary; the imaginary absorbs its
image: somatic ghostings.
The first section of http://www.alansondheim.org/ica6.rtf
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