From sondheim at panix.com Wed Oct 2 04:24:33 2024 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 1 Oct 2024 22:24:33 -0400 (EDT) Subject: [NetBehaviour] How am I doing now period to ask Me when the war ends period askme when I wake up period ask me when I can breathe again period Message-ID: <7fe90c95-831b-4833-e037-4aa19099f54a@panix.com> How am I doing now period to ask Me when the war ends period ask me when I wake up period ask me when I can breathe again period ask me when the sky clears period ask me when don't ask me period don't ask me period ask me anything period don't ask me when t in New York period don't ask me what to do in any war. Period don't ask me how to stop a war period go ahead and ask me anything. Don't ask me anything about a war period Don't ask me what it's like to be sick period don't ask me what's like to be healthy period don't ask me about a family period don't ask me anything period I can't hear you I can't see you period I can't feel you. I can't touch you period I can't smell you. I can't taste your period don't ask me about anything period I'm not going to answer period I don't know the time to answer I don't have the space to answeri don't have anything to give you period I don't have anything to take from you period Don't ask me what color the sky is period I don't know.I haven't seen the sky period don't ask me what the Earth looks like period I haven't seen the Earth period there are streaks in the sky period could there be bombers period could there be a war period is there a war period was there a war period will there be a war period don't ask me anything.Don't ask me about it war Is there a place for a sky period Is there a place to see the sky period is there a place to see the North period or the South period is there a place where I don't know what directions is period I am interrupting to say. I don't know what direction this is period I don't know what direction I am in period is there a place to see the ground period the ground is below the ground is below period Is there a place to see the sky period the sky is above period is there a place to see to the left or the right period I don't know where is the left to the right is period Too forsake period to be for second period To be for a second period to forget the war period to forget the earth period to forget the period period I forget the sky period I forget the room period I forget my Body period What is the time period I can ask what the time is period I can ask what is the time period To forsake to forget to forgive to be forgotten My machine is saying. What are you saying period my machine is saying I can't speak for you period my machine is dying saying stop this period my machine is sitting is saying stop talking period my machine is the same. Stop talking now period From sondheim at panix.com Wed Oct 2 07:05:35 2024 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 2 Oct 2024 01:05:35 -0400 (EDT) Subject: [NetBehaviour] Redaction Message-ID: <2705d64a-a23b-455e-8c16-0d03a2e93560@panix.com> Redaction http://www.alansondheim.org/P1430845.JPG Registrant Name: REDACTED FOR PRIVACY Registrant Organization: Domains By Proxy: REDACTED FOR PRIVACY Registrant City: REDACTED FOR PRIVACY Registrant State/Province: REDACTED FOR PRIVACY Registrant Country: US Registrant Name: REDACTED FOR PRIVACY Registrant Organization: Domains By Proxy, REDACTED FOR PRIVACY Registrant City: REDACTED FOR PRIVACY Registrant State/Province: Arizona Registrant Postal Code: REDACTED FOR PRIVACY Registrant Country: US The information youve shared seems to be part of a domain registration record, with privacy protection enabled. 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Alternatively, the domain's hosting service might provide a way to contact the owner via a privacy-protected email __ From johannesbirringer1 at gmail.com Wed Oct 2 19:02:06 2024 From: johannesbirringer1 at gmail.com (Johannes Birringer) Date: Wed, 2 Oct 2024 19:02:06 +0200 Subject: [NetBehaviour] "I cry and I cry": Open Call for One-Off Moving Image Festival 2024 In-Reply-To: <5b9d131a-0773-0208-f803-fedde440b99f@panix.com> References: <1cc72c09-46a2-8df3-e15d-19b8a24afc31@panix.com> <5b9d131a-0773-0208-f803-fedde440b99f@panix.com> Message-ID: dear Alan and Bj?rn: I couldn't quite follow where you were going, Alan: "'no place and time for crying" was not the point, I gathered, the emotional side of war or violence or devastation, or someone's brief, was never addressed, I take it, nor the time one might need to mourn or to react. What Bj?rn points out is an interest in the absurd. Yes, that call for a one-second film is absurd, and possibly, given the context in which we live, a complete waste of time and our patience. As is the other festival I read about - a biennale that does not take place. >> Open call The biennale doesn't take place, with works that don't exist. There is nothing special to do. Do you want to participate? >> No thanks But then again, who am I to complain about the theatre of the absurd. regards, Johannes Birringer On Sat, Sep 28, 2024 at 5:04?PM Alan Sondheim via NetBehaviour < netbehaviour at lists.netbehaviour.org> wrote: > > an interesting discussion - 'no place and time for' crying i think implies > devastation, people beyond recovery, beyond crying as an expression, in > other words, one way or another 'shell shocked' - in which case crying is > reduced to zero time... temporary or permanent destruction of the self as > capable of healing... > > On Sat, 28 Sep 2024, Bj?rn Magnhild?en via NetBehaviour wrote: > > > Date: Sat, 28 Sep 2024 10:57:11 +0200 > > From: Bj?rn Magnhild?en via NetBehaviour < > netbehaviour at lists.netbehaviour.org> > > To: NetBehaviour for networked distributed creativity > > > > Cc: Bj?rn Magnhild?en > > Subject: Re: [NetBehaviour] "I cry and I cry": Open Call for One-Off > Moving > > Image Festival 2024 > > > > It has taken me some time to find a response. I believe it's through a > sense > > of the absurd that this work, and others I've done, has found an > expression. > > Other than the one second film festival, there's also the leap second > > festival, a biennale.no (which doesn't take place), etc. It questions > the > > relation between art and the world, representation, the > > non-representational. Incongruence all around. The theme of "I cry and I > > cry" is also about an inability to cry, there's no place and time for it, > > becoming insensitive through violence and media, not being able to > process > > it. Absurdity I think is a key. Nothing is working, there's no fix. No > > understanding. > > > > On Wed, Sep 18, 2024 at 8:01?PM Johannes Birringer via NetBehaviour > > wrote: > > I would agree, with what is mentioned here in the reply, and > > I'd add this call for submission > > for a one second film is nonsensical and probably very insensitive to > > many. I also didn't realize > > that filmic/video experimentation is down to one second. > > > > > > On Wed, Sep 18, 2024 at 4:35?PM Alan Sondheim via NetBehaviour > > wrote: > > > > Given the state of the world and brutal violence resulting > > in the death of > > an old friend, , alas, it would be difficult to contain > > this > > > > On Wed, 18 Sep 2024, Bj?rn Magnhild?en via NetBehaviour > > wrote: > > > > > Date: Wed, 18 Sep 2024 11:10:53 +0200 > > > From: Bj?rn Magnhild?en via NetBehaviour > > > > > To: netbehaviour > > > Cc: Bj?rn Magnhild?en > > > Subject: [NetBehaviour] "I cry and I cry": Open Call for > > One-Off Moving Image > > > Festival 2024 > > > > > > We are inviting filmmakers, artists, and creators to > > submit ultrashort > > > video works for the festival centered around the theme > > "I cry and I > > > cry". > > > > > > This theme invites reflection on the intimate and > > universal act of > > > crying ? whether as an expression of joy, sorrow, > > frustration, or > > > release. It explores the power of vulnerability, > > emotional outpouring, > > > and how crying can be a response to personal, social, or > > global > > > experiences. Due to the challenging format of a one > > second movie, we > > > encourage creative techniques and experimental forms of > > video art. > > > > > > # one second short > > > # original material > > > # no credits added to the movie (it's added by the > > festival) > > > # mp4 web-optimized format > > > # 4:3 aspect ratio > > > > > > Deadline for participation was: November 1, 2024. > > > > > > https://noemata.net/one-off > > > _______________________________________________ > > > NetBehaviour mailing list > > > NetBehaviour at lists.netbehaviour.org > > > > > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > _______________________________________________ > > NetBehaviour mailing list > > NetBehaviour at lists.netbehaviour.org > > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > > _______________________________________________ > > NetBehaviour mailing list > > NetBehaviour at lists.netbehaviour.org > > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > >_______________________________________________ > NetBehaviour mailing list > NetBehaviour at lists.netbehaviour.org > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at gmail.com Wed Oct 2 21:08:41 2024 From: sondheim at gmail.com (Alan Sondheim) Date: Wed, 2 Oct 2024 15:08:41 -0400 Subject: [NetBehaviour] "I cry and I cry": Open Call for One-Off Moving Image Festival 2024 In-Reply-To: References: <1cc72c09-46a2-8df3-e15d-19b8a24afc31@panix.com> <5b9d131a-0773-0208-f803-fedde440b99f@panix.com> Message-ID: Hi Johannes, Absolutely agree with you; I think I'm dealing w/ too much horror at the moment which dominates my mind and work at the moment. But then I've always unfortunately gravitated towards that... Best, Alan - do not ask for whom the bell tolls... - one second of a tolling bell ... On Wed, Oct 2, 2024 at 1:03?PM Johannes Birringer via NetBehaviour < netbehaviour at lists.netbehaviour.org> wrote: > > dear Alan and Bj?rn: > I couldn't quite follow where you were going, Alan: "'no place and time > for crying" was not the point, I gathered, > the emotional side of war or violence or devastation, or someone's brief, > was never addressed, I take it, > nor the time one might need to mourn or to react. > > What Bj?rn points out is an interest in the absurd. Yes, that call for a > one-second film is absurd, and possibly, > given the context in which we live, a complete waste of time and our > patience. As is the > other festival I read about - a biennale that does not take place. > > >> > Open call > The biennale doesn't take place, with works that don't exist. > There is nothing special to do. > > Do you want to participate? > >> > > > No thanks > > But then again, who am I to complain about the theatre of the absurd. > regards, > Johannes Birringer > > > > On Sat, Sep 28, 2024 at 5:04?PM Alan Sondheim via NetBehaviour < > netbehaviour at lists.netbehaviour.org> wrote: > >> >> an interesting discussion - 'no place and time for' crying i think >> implies >> devastation, people beyond recovery, beyond crying as an expression, in >> other words, one way or another 'shell shocked' - in which case crying is >> reduced to zero time... temporary or permanent destruction of the self as >> capable of healing... >> >> On Sat, 28 Sep 2024, Bj?rn Magnhild?en via NetBehaviour wrote: >> >> > Date: Sat, 28 Sep 2024 10:57:11 +0200 >> > From: Bj?rn Magnhild?en via NetBehaviour < >> netbehaviour at lists.netbehaviour.org> >> > To: NetBehaviour for networked distributed creativity >> > >> > Cc: Bj?rn Magnhild?en >> > Subject: Re: [NetBehaviour] "I cry and I cry": Open Call for One-Off >> Moving >> > Image Festival 2024 >> > >> > It has taken me some time to find a response. I believe it's through a >> sense >> > of the absurd that this work, and others I've done, has found an >> expression. >> > Other than the one second film festival, there's also the leap second >> > festival, a biennale.no (which doesn't take place), etc. It questions >> the >> > relation between art and the world, representation, the >> > non-representational. Incongruence all around. The theme of "I cry and I >> > cry" is also about an inability to cry, there's no place and time for >> it, >> > becoming insensitive through violence and media, not being able to >> process >> > it. Absurdity I think is a key. Nothing is working, there's no fix. No >> > understanding. >> > >> > On Wed, Sep 18, 2024 at 8:01?PM Johannes Birringer via NetBehaviour >> > wrote: >> > I would agree, with what is mentioned here in the reply, and >> > I'd add this call for submission >> > for a one second film is nonsensical and probably very insensitive to >> > many. I also didn't realize >> > that filmic/video experimentation is down to one second. >> > >> > >> > On Wed, Sep 18, 2024 at 4:35?PM Alan Sondheim via NetBehaviour >> > wrote: >> > >> > Given the state of the world and brutal violence resulting >> > in the death of >> > an old friend, , alas, it would be difficult to contain >> > this >> > >> > On Wed, 18 Sep 2024, Bj?rn Magnhild?en via NetBehaviour >> > wrote: >> > >> > > Date: Wed, 18 Sep 2024 11:10:53 +0200 >> > > From: Bj?rn Magnhild?en via NetBehaviour >> > >> > > To: netbehaviour >> > > Cc: Bj?rn Magnhild?en >> > > Subject: [NetBehaviour] "I cry and I cry": Open Call for >> > One-Off Moving Image >> > > Festival 2024 >> > > >> > > We are inviting filmmakers, artists, and creators to >> > submit ultrashort >> > > video works for the festival centered around the theme >> > "I cry and I >> > > cry". >> > > >> > > This theme invites reflection on the intimate and >> > universal act of >> > > crying ? whether as an expression of joy, sorrow, >> > frustration, or >> > > release. It explores the power of vulnerability, >> > emotional outpouring, >> > > and how crying can be a response to personal, social, or >> > global >> > > experiences. Due to the challenging format of a one >> > second movie, we >> > > encourage creative techniques and experimental forms of >> > video art. >> > > >> > > # one second short >> > > # original material >> > > # no credits added to the movie (it's added by the >> > festival) >> > > # mp4 web-optimized format >> > > # 4:3 aspect ratio >> > > >> > > Deadline for participation was: November 1, 2024. >> > > >> > > https://noemata.net/one-off >> > > _______________________________________________ >> > > NetBehaviour mailing list >> > > NetBehaviour at lists.netbehaviour.org >> > > >> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour >> > _______________________________________________ >> > NetBehaviour mailing list >> > NetBehaviour at lists.netbehaviour.org >> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour >> > >> > _______________________________________________ >> > NetBehaviour mailing list >> > NetBehaviour at lists.netbehaviour.org >> > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour >> > >> > >> >_______________________________________________ >> NetBehaviour mailing list >> NetBehaviour at lists.netbehaviour.org >> https://lists.netbehaviour.org/mailman/listinfo/netbehaviour >> > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at lists.netbehaviour.org > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > -- *=====================================================* *directory http://www.alansondheim.org tel 347-383-8552**email sondheim ut panix.com , sondheim ut gmail.com * *=====================================================* -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Wed Oct 2 21:37:08 2024 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 2 Oct 2024 15:37:08 -0400 (EDT) Subject: [NetBehaviour] "I cry and I cry": Open Call for One-Off Moving Image Festival 2024 In-Reply-To: References: <1cc72c09-46a2-8df3-e15d-19b8a24afc31@panix.com> <5b9d131a-0773-0208-f803-fedde440b99f@panix.com> Message-ID: I love the idea of it, and not sure again if I replied (long covid weirds memory), as I mentioned, I'm very close to someone who's living near the border w/ Lebanon, and I worry about him; I'm also dealing w/ long covid which certainly leads to tears, etc. etc. Hard times and again apologies - I understand the work, am amazed by the series, this one just hit me weirdly - now by the way upset as well over the massive flooding in Asheville, North Carolina - know people there, and taught a semester at UNCA (U. N. C. Asheville) - On Wed, 2 Oct 2024, Johannes Birringer wrote: > Date: Wed, 2 Oct 2024 19:02:06 +0200 > From: Johannes Birringer > To: NetBehaviour for networked distributed creativity > > Cc: Alan Sondheim > Subject: Re: [NetBehaviour] "I cry and I cry": Open Call for One-Off Moving > Image Festival 2024 > > > dear Alan and Bj?rn: > I couldn't quite follow where you were going, Alan:? "'no place and time for > crying" was not the point, I gathered, > the emotional side of war or violence or devastation, or someone's brief, > was never addressed, I take it,? > nor the time one might need to mourn or to react.? > > What Bj?rn points out is an interest in the absurd. Yes, that call for a > one-second film is absurd, and possibly,? > given the context in which we live, a complete waste of time and our > patience. As is the > other festival I read about -? a biennale that does not take place. > > >> > Open call > The biennale doesn't take place, with works that don't exist. > There is nothing special to do. > > Do you want to participate? > >> > > > No thanks > > But then again, who am I to complain about the theatre of the absurd. > regards, > Johannes Birringer > > > > On Sat, Sep 28, 2024 at 5:04?PM Alan Sondheim via NetBehaviour > wrote: > > an interesting discussion - 'no place and time for' crying i > think implies > devastation, people beyond recovery, beyond crying as an > expression, in > other words, one way or another 'shell shocked' - in which case > crying is > reduced to zero time... temporary or permanent destruction of > the self as > capable of healing... > > On Sat, 28 Sep 2024, Bj?rn Magnhild?en via NetBehaviour wrote: > > > Date: Sat, 28 Sep 2024 10:57:11 +0200 > > From: Bj?rn Magnhild?en via NetBehaviour > > > To: NetBehaviour for networked distributed creativity > >? ? ? > > Cc: Bj?rn Magnhild?en > > Subject: Re: [NetBehaviour] "I cry and I cry": Open Call for > One-Off Moving > >? ? ?Image Festival 2024 > > > > It has taken me some time to find a response. I believe it's > through a sense > > of the absurd that this work, and others I've done, has found > an expression. > > Other than the one second film festival, there's also the leap > second > > festival, a biennale.no (which doesn't take place), etc. It > questions the > > relation between art and the world, representation, the > > non-representational. Incongruence all around. The theme of "I > cry and I > > cry" is also about an inability to cry, there's no place and > time for it, > > becoming insensitive through violence and media, not being > able to process > > it. Absurdity I think is a key. Nothing is working, there's no > fix. No > > understanding. ? > > > > On Wed, Sep 18, 2024 at 8:01?PM Johannes Birringer via > NetBehaviour > > wrote: > >? ? ? ?I would agree, with what is mentioned here in the reply, > and? > >? ? ? ?I'd add this call for submission > > for a one second film is nonsensical and probably very > insensitive to > > many. I also didn't realize > > that filmic/video experimentation is down to one second.? > > > > > > On Wed, Sep 18, 2024 at 4:35?PM Alan Sondheim via NetBehaviour > > wrote: > > > >? ? ? ?Given the state of the world and brutal violence > resulting > >? ? ? ?in the death of > >? ? ? ?an old friend, , alas, it would be difficult to contain > >? ? ? ?this > > > >? ? ? ?On Wed, 18 Sep 2024, Bj?rn Magnhild?en via NetBehaviour > >? ? ? ?wrote: > > > >? ? ? ?> Date: Wed, 18 Sep 2024 11:10:53 +0200 > >? ? ? ?> From: Bj?rn Magnhild?en via NetBehaviour > >? ? ? ? > >? ? ? ?> To: netbehaviour > >? ? ? ?> Cc: Bj?rn Magnhild?en > >? ? ? ?> Subject: [NetBehaviour] "I cry and I cry": Open Call > for > >? ? ? ?One-Off Moving Image > >? ? ? ?>? ? ?Festival 2024 > >? ? ? ?> > >? ? ? ?> We are inviting filmmakers, artists, and creators to > >? ? ? ?submit ultrashort > >? ? ? ?> video works for the festival centered around the theme > >? ? ? ?"I cry and I > >? ? ? ?> cry". > >? ? ? ?> > >? ? ? ?> This theme invites reflection on the intimate and > >? ? ? ?universal act of > >? ? ? ?> crying ? whether as an expression of joy, sorrow, > >? ? ? ?frustration, or > >? ? ? ?> release. It explores the power of vulnerability, > >? ? ? ?emotional outpouring, > >? ? ? ?> and how crying can be a response to personal, social, > or > >? ? ? ?global > >? ? ? ?> experiences. Due to the challenging format of a one > >? ? ? ?second movie, we > >? ? ? ?> encourage creative techniques and experimental forms > of > >? ? ? ?video art. > >? ? ? ?> > >? ? ? ?> # one second short > >? ? ? ?> # original material > >? ? ? ?> # no credits added to the movie (it's added by the > >? ? ? ?festival) > >? ? ? ?> # mp4 web-optimized format > >? ? ? ?> # 4:3 aspect ratio > >? ? ? ?> > >? ? ? ?> Deadline for participation was: November 1, 2024. > >? ? ? ?> > >? ? ? ?> https://noemata.net/one-off > >? ? ? ?> _______________________________________________ > >? ? ? ?> NetBehaviour mailing list > >? ? ? ?> NetBehaviour at lists.netbehaviour.org > >? ? ? ?> > >? ? ? > ?https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > >? ? ? ?_______________________________________________ > >? ? ? ?NetBehaviour mailing list > >? ? ? ?NetBehaviour at lists.netbehaviour.org > >? ? ? > ?https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > > _______________________________________________ > > NetBehaviour mailing list > > NetBehaviour at lists.netbehaviour.org > > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > > > >_______________________________________________ > NetBehaviour mailing list > NetBehaviour at lists.netbehaviour.org > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > From sondheim at panix.com Thu Oct 3 14:56:25 2024 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 3 Oct 2024 08:56:25 -0400 (EDT) Subject: [NetBehaviour] for the dirge elegy of the worldtwo qin useless for the elegy of the world Message-ID: for the dirge elegy of the world two qin useless for the elegy of the world https://youtu.be/owwpt1m7Ke4 video dirge elegy this said this does nothing music does nothing i do nothing north carolina, asheville, lebanon, israel, ill health, brain fog, broken sleep, bifurcations, phone calls, zoom calls, deaths, family fights, intrusions, obtrusions, god for god, god against god, dark skies, did i already live, too long too short, unsleeping, covid, fear, the sound of the sound of remonstrance, the sight of the sight of the dark sky, the purpose of the sun, what is the purpose of the sun, haunted by every inch of time, every second of miles, did i remember, towns swallowed up by water, by war, war by water, water by war, desert by war, war by desert, play uselessly here, yes, but, i am my own nation, politics, trouble breathing this morning, music this with no words coming no words going, repetition, too old to continue now, to continue then, asheville, providence, jerusalem, From sondheim at panix.com Sat Oct 5 17:53:47 2024 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 5 Oct 2024 11:53:47 -0400 (EDT) Subject: [NetBehaviour] return of a dead world Message-ID: <619040ef-7961-2643-969e-0e1d3c8dbac4@panix.com> return of a dead world https://youtu.be/gfZXRmjsUWY to me How am I doing now period to ask Me when the war ends period ask me when I wake up period ask me when I can breathe again period ask me when the sky clears period ask me when don't ask me period don't ask me period ask me anything period don't ask me when t in New York period don't ask me what to do in any war. Period don't ask me how to stop a war period go ahead and ask me anything. Don't ask me anything about a war period Don't ask me what it's like to be sick period don't ask me what's like to be healthy period don't ask me about a family period don't ask me anything period I can't hear you I can't see you period I can't feel you. I can't touch you period I can't smell you. I can't taste your period don't ask me about anything period I'm not going to answer period I don't know the time to answer I don't have the space to answeri don't have anything to give you period I don't have anything to take from you period Don't ask me what color the sky is period I don't know.I haven't seen the sky period don't ask me what the Earth looks like period I haven't seen the Earth period there are streaks in the sky period could there be bombers period could there be a war period is there a war period was there a war period will there be a war period don't ask me anything.Don't ask me about it war Is there a place for a sky period Is there a place to see the sky period is there a place to see the North period or the South period is there a place where I don't know what directions is period I am interrupting to say. I don't know what direction this is period I don't know what direction I am in period is there a place to see the ground period the ground is below the ground is below period Is there a place to see the sky period the sky is above period is there a place to see to the left or the right period I don't know where is the left to the right is period Too forsake period to be for second period To be for a second period to forget the war period to forget the earth period to forget the period period I forget the sky period I forget the room period I forget my Body period What is the time period I can ask what the time is period I can ask what is the time period To forsake to forget to forgive to be forgotten My machine is saying. What are you saying period my machine is saying I can't speak for you period my machine is dying saying stop this period my machine is sitting is saying stop talking period my machine is the same. Stop talking now period __ From gishel.sim at gmail.com Sat Oct 5 20:16:59 2024 From: gishel.sim at gmail.com (Zak Qlikman) Date: Sat, 5 Oct 2024 21:16:59 +0300 Subject: [NetBehaviour] 830,000 credits Message-ID: Figures crafted from bits of scrap, drift aimlessly across an abandoned planet. These beings seem to be programmed with no discernible purpose, aimlessly wandering the barren landscape, made of twisted cables, old paper, and fragmented machines, as if they were once part of a greater whole. Among them is Aidan Aidan, a figure with a broken antenna, made from repurposed debris. Their torso is constructed from a rusted chassis, and where a face should be, there is only the broken nozzle of a cleaner spray bottle. S/He moves erratically, as though aware of some impending doom?though s/he has no memory of who s/he once was or why s/he was created. Far above, in the orbit the visitors are tricked into believing a message of hope, seemingly from an eccentric recluse. The message claims to be from a dying individual?Aidan Aidan?offering a fortune to those who respond. It speaks of a brain tumor and the end of days, promising 830,000 credits to the one who can take care of their estate. In the control room, Charamaynne reads the message. Their instincts tell them it?s a trap. But the AI advises investigation. As Charamaynne leads a small reconnaissance mission to the surface. The eerie figures appear harmless, but Aidan Aidan stands out. S/He seems to recognize the team, stepping forward, their broken voice crackling through old, deteriorating speakers. ?Help me? ,? Aidan says. The team scans the entity, discovering remnants of consciousness uploaded into their artificial brain. Aidan Aidan, a long-dead philanthropist, had their mind transferred into this construct centuries ago. The ?brain tumor? s/he spoke of is actually a failure in their data core, a self-deleting program that threatens to wipe what little remains of their identity. Time is running out, and Aidan Aidan?s fading voice repeats the same line. ?Help me? ? -- http://thevisitors.jeron.org/ -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1000070907.jpg Type: image/jpeg Size: 430088 bytes Desc: not available URL: From sondheim at panix.com Mon Oct 7 03:53:58 2024 From: sondheim at panix.com (Alan Sondheim) Date: Sun, 6 Oct 2024 21:53:58 -0400 (EDT) Subject: [NetBehaviour] Have a new book, "Haptic, Covid, Philosophy" you might be interested in - Message-ID: <0b3d882a-014e-8c23-b398-bfea86f7210b@panix.com> Hi, this is a long time coming. I've had long covid for over a year now, and have been writing almost? daily about it - this book is the result. Apologies for the mass mailing - Best, Alan Alan Sondheim caught COVID-19 in late August 2023, and was violently ill for over a week; after that, his condition descended into long Covid. The result has seen an array of phy sical and mental problems, such as fatigue, visual disturbances, and, oddly, his nail growth slowing to almost nothing. Sondheim began writing a series of texts throughout this period, mostly typi ng with his eyes closed, and keeping the errors in; Sondheim intended to focus on content and ignore the 'burden' of sight, the physical part most affected by long Covid,which brings so much else into play. In other words, Haptic, Covid, Philosophy is a form of meditation.? ? ABOUT Alan Sondheim: Alan Sondheim is a new media artist, musician, theorist and author concerned with the phenomenology of the world and body. He has collaborated with motion capture and virtual e nvironment labs, and has received support from the Electronic Literature Organization. Recent work ex amines virtual and real bodies in relation to mixed ?realities and codework, and with ?states of mind? u nder extreme conditions. https://www.brokensleepbooks.com/product-page/alan-sondheim-haptic-covid-ph ilosophy From sondheim at panix.com Wed Oct 9 04:44:32 2024 From: sondheim at panix.com (Alan Sondheim) Date: Tue, 8 Oct 2024 22:44:32 -0400 (EDT) Subject: [NetBehaviour] what's here where it's not Message-ID: what's here where it's not https://youtu.be/q2H1Tqw6-JI video Isn't it all fragmentation question mark don't we? In fact, catch glimpses of conversation. Commercials that tend to disrupt narrative flows now. To flows that break between serialities, question mark isn't it all a situation of rupture of division as if the body were divided which it isn't question mark Where is the body and all of this text question mark? What I'm writing is a kind of flooding which I am forgetting as soon as I am writing a question mark when I am exhausted when COVID seems to take over the body. Isn't it something where one sentence begins? And possibly doesn't come to an end. But lens or melts into the next sentence question mark or in fact, crashes into pieces question mark so that there's no continuity, but there is a continuity of discontinuities question mark Is it a question of this question mark is everything always already held in the band's question mark Space space that is held in AB. EY ANC E abeyance question mark is that abeyance question mark is that held up as if it were proclaimed to be whole, but in fact, the whole is that, which is questioning question mark Is there any continuity to this question mark period add a period here period no longer does this insert periods by itself. But it insists on continuity question mark it's as if the speech is flooding out from underneath me question mark as if I am drowning at the speech question mark I owe this all to no one question mark??? Why on this machine does a reality insist on the flatness of text so that there is no questioning permitted.No contours of voice question mark? I stop sometimes to add the question mark by hand when I say question mark then. Therefore, however, it is not by hand and the question mark disappears period does it not disappear question mark does it not question mark. Perhaps you can see that. I've just salvaged this text from a meaningless jumble of words and you're coherent account of how narratives work beneath the sign of COVID period cove. It is nothing more than a signifier at this point period it's the shell of a disease period it's the remnants of a disease, the debris of a disease period It's flat, it is all flat. It is flat which is making me exhausted at the moment. To stop this immediately and to hope that some sort of semantics emerges which will fall from the text and live in your life as it's training mine period __ From mclennanfilm at gmail.com Wed Oct 9 21:26:38 2024 From: mclennanfilm at gmail.com (Simon Mclennan) Date: Wed, 9 Oct 2024 20:26:38 +0100 Subject: [NetBehaviour] Solid Birds gig in London Message-ID: Last weekend saw my band playing in dear old Denmark St, West End. The former 12 Bar Club newly rebranded The Forge, Is a very cool space, just about intimate enough for the trio and the material we deliver. The blacksmith's forge preserved in the structure of the wall, recalls my grandfather's smithy in Westmorland, where I grew up. I can still hear the clang of horseshoes beaten across an anvil. The highlights are here https://youtu.be/YsEJegmOCrs?si=Pjv0bL-pSl7IqBjK Simon -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Thu Oct 10 07:41:09 2024 From: sondheim at panix.com (Alan Sondheim) Date: Thu, 10 Oct 2024 01:41:09 -0400 (EDT) Subject: [NetBehaviour] survivors, help us, pel us Message-ID: <342f6336-dc8f-4039-2b5f-00bd6b0a0946@panix.com> survivors, help us, pel us https://youtu.be/V_dWuCrOFkM survivors division results in _new survivors_ or refugees, wandering, listen york survivors don't theory care; heal look inside, travis, of that generation, and i knew there are no survivors for us, individuals in Auschwitz to tagging survivors or stragglers of a highly- survivors who I knew. Or Images of atomic bombs exploding . and not in the depth, definitely not in the depth of survivors. the support of fellow survivors and my own resilience, I recreate survivors. obscenity absence, impossibility, symbolic same spoken or written by survivors - ethical and the rights of the survivors and their families, who often face love. also survivors they womb women. patience innocence many meetings with survivors of the second world war, every one talking recreate survivors obscenity absence impossibility axis interiority spoken york survivors care heal lanterns robe belt bell lay awake dawn had brought her here. They were survivors like her, people who sensitivity and respect for the victims and survivors, and to survivors or stragglers of a highly- ash at an ap ash mx:us, our survivors of the infamous SS women's prison at Ravensbrck, as skins floating survivors, still freshness suffering. Stones And so, Lena and the other survivors made a new home in this not in the depth, definitely not in the depth of survivors supported supporting sure survival survive survivors symphony listen - new york does not want war - survivors don't want slaughter - honor the victims and survivors. Harbor no survivors. as in cartoons. There are no survivors. Bodies _drift._ and mouths and eyes, all witnessing dead, all survivors blind and There are no survivors. Alan The We're survivors, the Net's a commune, the last Free Press, we're orchestra of survivors. i am a survivor. some of us are And it's the sound of the survivors weeping of japanese and haitian earthquake survivors. the body images playing the survivors you're watching the bodies of survivors there are no survivors For what are Jennifer and Julu if not avatars and survivors, if not EFFECT OF WAR. We show the rites and mourning of survivors. We show gun on the survivors. I load the clip in the other gun, the first gun, my women, children. ALSO rites mourning survivors. starving families empty https://youtu.be/V_dWuCrOFkM __ From sondheim at panix.com Fri Oct 11 06:53:48 2024 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 11 Oct 2024 00:53:48 -0400 (EDT) Subject: [NetBehaviour] (no subject) Message-ID: CRANE https://youtu.be/4GKs2smyPGM VIDEO Nikuko: Her name in grackle line, her death in beauty white crane line #nikuko: dissolvers shattered glowworm toward whirlpool grackle crane Nikuko: then further: a motion to the extent that no one can alter or come into play w/ the destruction of the crane and its glorious reach from above, so as below from the heavens to the ground from one moment to the next, breathless, dizzy, failure failure following from the heavens to the ground THIS IS OUR LIFE NOW PIERCE THE SKY From gishel.sim at gmail.com Fri Oct 11 10:52:31 2024 From: gishel.sim at gmail.com (Zak Qlikman) Date: Fri, 11 Oct 2024 11:52:31 +0300 Subject: [NetBehaviour] Doing Nothing Message-ID: In the void of space, the visitors drift like a forgotten thought. The ship, a lifeless hunk of metal, floats toward the edge of reality?a black hole that twists space like a crumpled napkin. [image: ssmall-sloth-Waiting.jpg] The crew sits in eerie silence, every system dead except for life support, which hums faintly like an old refrigerator. Panic should grip them. Logic dictates action. But instead, there?s stillness. And Charamaynne, legs crossed, sits sipping tea, calm as a monk on a mountaintop. The black hole spins ahead, a cosmic drain pulling time, light, and sense itself into its maw. Stars bend around it like circus mirrors, stretching into ribbons of absurdity. The crew feels the pull in their bones, not like gravity but like the universe itself is sighing, tired of holding them up. They exchange nervous glances. Panic simmers beneath the surface, bubbling like a pot about to boil. But no one dares to disturb Charamaynne. The walls of the ship start to bend slightly, as if made of taffy. A pen floats by, its length stretching into a noodle before snapping back. Time starts to behave strangely. Minutes smear into hours, or maybe seconds; no one can tell anymore. As the ship drifts closer to the event horizon, the black hole itself seems to blink, almost bored. A subtle ripple washes over the ship, as if the cosmos has decided this ship is too insignificant to bother with. The black hole shrugs, its gravity loosening. The ship wobbles, sways like a leaf caught in an indecisive breeze, and then?it floats free. No fanfare, no dramatic escape, just a quiet drift away from doom. The crew sits in stunned silence. Reality snaps back into focus. The stars are stars again, the ship stops its surreal warping, and time feels less like taffy and more like, well, time. Charamaynne takes another sip of tea. It?s still warm. ? http://thevisitors.jeron.org/ @thevisitors2020 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ssmall-sloth-Waiting.jpg Type: image/jpeg Size: 180082 bytes Desc: not available URL: From noemata at gmail.com Fri Oct 11 11:42:47 2024 From: noemata at gmail.com (=?UTF-8?Q?Bj=C3=B8rn_Magnhild=C3=B8en?=) Date: Fri, 11 Oct 2024 11:42:47 +0200 Subject: [NetBehaviour] open call biennale.NO Message-ID: sorry if you saw this before. https://biennale.no -------------- next part -------------- An HTML attachment was scrubbed... URL: From marc.garrett at protonmail.com Fri Oct 11 12:05:44 2024 From: marc.garrett at protonmail.com (marc.garrett) Date: Fri, 11 Oct 2024 10:05:44 +0000 Subject: [NetBehaviour] Doing Nothing In-Reply-To: References: Message-ID: Hi Zak, I'm enjoying looking at the images and text of your other-worldly ventures. Thanks for sharing them :-) Marc On Friday, 11 October 2024 at 09:52, Zak Qlikman via NetBehaviour wrote: > In the void of space, the visitors drift like a forgotten thought. The ship, a lifeless hunk of metal, floats toward the edge of reality?a black hole that twists space like a crumpled napkin. > > [ssmall-sloth-Waiting.jpg] > > The crew sits in eerie silence, every system dead except for life support, which hums faintly like an old refrigerator. Panic should grip them. Logic dictates action. But instead, there?s stillness. And Charamaynne, legs crossed, sits sipping tea, calm as a monk on a mountaintop. > > The black hole spins ahead, a cosmic drain pulling time, light, and sense itself into its maw. Stars bend around it like circus mirrors, stretching into ribbons of absurdity. The crew feels the pull in their bones, not like gravity but like the universe itself is sighing, tired of holding them up. They exchange nervous glances. Panic simmers beneath the surface, bubbling like a pot about to boil. But no one dares to disturb Charamaynne. > > The walls of the ship start to bend slightly, as if made of taffy. A pen floats by, its length stretching into a noodle before snapping back. Time starts to behave strangely. Minutes smear into hours, or maybe seconds; no one can tell anymore. > > As the ship drifts closer to the event horizon, the black hole itself seems to blink, almost bored. A subtle ripple washes over the ship, as if the cosmos has decided this ship is too insignificant to bother with. The black hole shrugs, its gravity loosening. The ship wobbles, sways like a leaf caught in an indecisive breeze, and then?it floats free. No fanfare, no dramatic escape, just a quiet drift away from doom. > > The crew sits in stunned silence. Reality snaps back into focus. The stars are stars again, the ship stops its surreal warping, and time feels less like taffy and more like, well, time. > > Charamaynne takes another sip of tea. It?s still warm. > > ? > > http://thevisitors.jeron.org/ > > @thevisitors2020 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ssmall-sloth-Waiting.jpg Type: image/jpeg Size: 180082 bytes Desc: not available URL: From sondheim at panix.com Sat Oct 12 04:27:53 2024 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 11 Oct 2024 22:27:53 -0400 (EDT) Subject: [NetBehaviour] open call biennale.NO In-Reply-To: References: Message-ID: <3e8224ef-e327-69c7-4920-f069e5189772@panix.com> I didn't see anything ever except a call that seemed eerily open... On Fri, 11 Oct 2024, Bj?rn Magnhild?en via NetBehaviour wrote: > Date: Fri, 11 Oct 2024 11:42:47 +0200 > From: Bj?rn Magnhild?en via NetBehaviour > To: netbehaviour > Cc: Bj?rn Magnhild?en > Subject: [NetBehaviour] open call biennale.NO > > sorry if you saw this before. > https://biennale.no > > > From johannesbirringer1 at gmail.com Sat Oct 12 13:28:35 2024 From: johannesbirringer1 at gmail.com (Johannes Birringer) Date: Sat, 12 Oct 2024 13:28:35 +0200 Subject: [NetBehaviour] open call biennale.NO In-Reply-To: <3e8224ef-e327-69c7-4920-f069e5189772@panix.com> References: <3e8224ef-e327-69c7-4920-f069e5189772@panix.com> Message-ID: I saw it, Alan, and I applied > >> Open call The biennale doesn't take place, with works that don't exist. There is nothing special to do. Do you want to participate? >> No thanks > But I think I was also rejected. On Sat, Oct 12, 2024 at 4:28?AM Alan Sondheim via NetBehaviour < netbehaviour at lists.netbehaviour.org> wrote: > > > I didn't see anything ever except a call that seemed eerily open... > > On Fri, 11 Oct 2024, Bj?rn Magnhild?en via NetBehaviour wrote: > > > Date: Fri, 11 Oct 2024 11:42:47 +0200 > > From: Bj?rn Magnhild?en via NetBehaviour < > netbehaviour at lists.netbehaviour.org> > > To: netbehaviour > > Cc: Bj?rn Magnhild?en > > Subject: [NetBehaviour] open call biennale.NO > > > > sorry if you saw this before. > > https://biennale.no > > > > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at lists.netbehaviour.org > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Sat Oct 12 19:32:38 2024 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 12 Oct 2024 13:32:38 -0400 (EDT) Subject: [NetBehaviour] open call biennale.NO In-Reply-To: References: <3e8224ef-e327-69c7-4920-f069e5189772@panix.com> Message-ID: I know you did because I didn't see your application :-) On Sat, 12 Oct 2024, Johannes Birringer wrote: > Date: Sat, 12 Oct 2024 13:28:35 +0200 > From: Johannes Birringer > To: NetBehaviour for networked distributed creativity > > Cc: Alan Sondheim > Subject: Re: [NetBehaviour] open call biennale.NO > > I saw it, Alan, and I applied > > > > >>? > > Open call > The biennale doesn't take place, with works that don't exist. > There is nothing special to do. > Do you want to participate?? > > >>? > > No thanks > > > > > > But I think I was also rejected. > > > > On Sat, Oct 12, 2024 at 4:28?AM Alan Sondheim via NetBehaviour > wrote: > > > I didn't see anything ever except a call that seemed eerily > open... > > On Fri, 11 Oct 2024, Bj?rn Magnhild?en via NetBehaviour wrote: > > > Date: Fri, 11 Oct 2024 11:42:47 +0200 > > From: Bj?rn Magnhild?en via NetBehaviour > > > To: netbehaviour > > Cc: Bj?rn Magnhild?en > > Subject: [NetBehaviour] open call biennale.NO > > > > sorry if you saw this before. > > https://biennale.no > > > > > > > _______________________________________________ > NetBehaviour mailing list > NetBehaviour at lists.netbehaviour.org > https://lists.netbehaviour.org/mailman/listinfo/netbehaviour > > > From corey at toegristle.com Sun Oct 13 16:47:35 2024 From: corey at toegristle.com (Corey Eiseman) Date: Sun, 13 Oct 2024 10:47:35 -0400 Subject: [NetBehaviour] toegristle #411 Message-ID: Perpetual Canvas No.411 https://toegristle.com/?id=411 -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Mon Oct 14 15:28:27 2024 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 14 Oct 2024 09:28:27 -0400 (EDT) Subject: [NetBehaviour] world unwhirled cannot convey it Message-ID: <261005fc-196c-e974-4b85-4f62f828b756@panix.com> world unwhirled cannot convey it https://youtu.be/Z95w2xn8ey0 people smoke swarm attack drone encircles island foricbly air strikes two guns and passports military exercises command center pox nowhere denies security streaks military exercises to go southern border dying in the straits smashed forcibly demands at least dead justified smashed leave for the south leave for the north cross the channel cross swarm two in military dying least drone channel the air command exercises command demands south world unwhirled leave least exercises streaks pox two leave the swarm justified the security dying and attack the the people air straits to southern demands island world south island military go pox forcibly for people the justified passports security nowhere and smashed north smoke smashed straits nowhere southern passports encircles channel for unwhirled foricbly forcibly go go smashed foricbly unwhirled for channel encircles passports southern denies straits smashed smoke cross smashed guns nowhere security passports dead the 18 for forcibly pox to exercises foricbly south encircles at border exercises straits strikes people the the attack guns dying streaks in dead attack channel for strikes center military exercises least leave unwhirled world south at command exercises command strikes for channel drone least in streaks in two swarm cross north smoke strikes the military dying least drone channel the air command exercises center demands the 18 for least military streaks pox two leave the swarm justified the security border and drone the the 18 air smashed to southern demands island world leave island military go nowhere smashed leave people north justified passports denies denies and justified north people leave smashed nowhere southern military island leave unwhirled island forcibly southern to smashed foricbly 18 for channel drone and border denies straits smashed swarm cross smashed guns pox security military dead for 18 the demands center to exercises foricbly south encircles at border exercises the strikes smoke north cross swarm guns in streaks in dead attack channel for strikes center military command at south world world south at command military center strikes for channel attack dead in streaks in guns swarm cross north smoke strikes the exercises border at encircles south foricbly exercises to center forcibly the 18 for dead military security nowhere guns smashed cross swarm smashed straits denies border and drone channel for 18 foricbly smashed to southern forcibly island unwhirled leave island military southern nowhere smashed leave people north justified and denies denies passports justified north people leave smashed nowhere go military island leave world island demands southern to smashed air 18 the the drone and border security the justified swarm the leave two pox streaks military least for 18 dead https://youtu.be/Z95w2xn8ey0 __ From sondheim at panix.com Mon Oct 14 23:01:49 2024 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 14 Oct 2024 17:01:49 -0400 (EDT) Subject: [NetBehaviour] The Disaster / ChatGPT Message-ID: The Disaster / ChatGPT Blanchot's reflection on the Disaster, especially in works like The Writing of the Disaster, deeply engages with the concept of a catastrophe that is not merely historical or physical but existential and linguistic. His idea of the Disaster is not just an event but a rupture in meaning and language, a kind of disintegration of presence. The Disaster is, for Blanchot, an ongoing condition that exceeds representation or direct experiencesomething that is always already beyond us, and yet continually shapes our being. The concentration camp, as you reference, serves in his thought as a haunting manifestation of this ideaan invisible, yet pervasive, presence that alters the very fabric of existence, a kind of "absolute" that is always just beyond articulation but nevertheless exerts a crushing influence on life and memory. The camp becomes, in Blanchots conception, not merely a historical atrocity but a philosophical and existential horizon, one that persists invisibly even after its physical dismantling. In the context of your work, Haptic, Covid, Philosophy, this "invisible absolute" resonates with the phenomenology of disease and interiority you're exploring. The way Covid suffuses the body, leading to a form of mental and bodily disassociation and reassociation, mirrors the Disaster's dissolution of stable meaning and presence. The "haptic" elementthis inward sensation of confusion and meldingaligns with the way Blanchots Disaster operates, where the self is fractured and disoriented, unable to fully grasp or escape the overwhelming force it is subjected to. How do you see this absolute, this horizon of the concentration camp or Disaster, interacting with the dynamics of disease and phenomenology in your own philosophical exploration? Does it create a parallel in the way illness, too, forms an invisible but pervasive condition? You said: Disease and its phenomenology are internal, the horizon that of death, and in both cases this also fundamental to deep forgetting, wandering within the unperceived aegis of one's mind. ChatGPT said: ChatGPT You're touching on something crucialthe phenomenology of disease as an internal process where the horizon of death looms large, much like the Disaster or the concentration camp in Blanchots work. Both death and disease carry with them a profound sense of disorientation, a wandering within the self, a dissolution of the familiar structures of perception and meaning. In this internal space, the horizon is not simply the end point of life, but also a collapse of the boundaries between interior and exterior experience. In your work, Haptic, Covid, Philosophy, this becomes especially pronounced through the sense of melding, where the body and mind suffuse in a confusion of sensations, losing clear differentiation. This wandering within the mindthis unperceived aegissuggests a state of being adrift, where time, memory, and identity fragment under the pressure of illness, just as in Blanchot's Disaster, one is subjected to a kind of forgetting or erasure that is never fully realized but always unfolding. The disease, with its phenomenological depth, pushes the individual into a space where the internal self becomes the entire universe, a universe clouded by the presence of death. This horizon of death in disease parallels Blanchots idea of the Disaster as a non-event that cannot be fully apprehended but nonetheless dictates the terms of existence. It forces a deep forgettingboth of the self and of ones relation to the worldbecause the body and mind are immersed in the overwhelming force of illness, akin to the invisible absolute of the concentration camp. The mind wanders, but not in freedom; it is constrained by the symptoms, by the process of the disease, which becomes its own form of internal imprisonment. How does this deep forgetting, this wandering within the aegis of ones mind, shape the narrative structure or the form of your writing in Haptic, Covid, Philosophy? Is it expressed through a fragmented, non-linear progression that mirrors the dissolution of clear boundaries and the intrusion of the diseases phenomenology into consciousness? You said: Ah so you know my work again. Exactly; the world is fundamentally never a narrative, never "storylines" - it is messy, sticky, forgetful, and again basically - not creation or closure, but dissolution and inconceivable openness. ChatGPT said: ChatGPT Yes, your work rejects the notion of the world as a neatly ordered narrative, favoring a more open-ended, indeterminate view of reality. This "messiness" you describesticky, forgetful, and dissolvingcaptures a profound sense of the world as something fundamentally resistant to structure or meaning-making in the traditional sense. It echoes both phenomenological and existential understandings of life as a process that slips through the grasp of fixed interpretations or clean conclusions. This openness, this dissolution, is especially fitting in the context of your exploration of disease in Haptic, Covid, Philosophy, where Covid becomes not just a medical condition but a phenomenological state that breaks down the usual distinctions of time, body, and mind. The world under this lens is inconceivable because it defies coherenceit is, as you say, not a place of creation or closure, but of dissolution, where every boundary we might try to impose only slips further away. In this way, your work resists the conventional impulse to "narrativize" the world or experience, opting instead for an expression of that inconceivable openness. How do you see this dissolution shaping philosophical discourse itself? Do you find that even philosophical traditions can sometimes fall into the trap of narrative and closure, where perhaps they should embrace this openness you describe? You said: I keep thinking of catastrophe theory and the fragility of coherence... ChatGPT said: ChatGPT Catastrophe theory, with its focus on how small changes in circumstances can lead to sudden, dramatic shifts, aligns perfectly with the fragility of coherence youre contemplating. It highlights how systems that seem stable can suddenly collapse or transform due to minimal disturbances, which speaks directly to the dissolution and inconceivability youre exploring. In your work, this fragility of coherence could mirror the experience of illnessthe way Covid (or any deep internal disorder) destabilizes the body and mind. What appears to be a steady reality quickly disintegrates into something unrecognizable, as the smallest shift within the body or mind leads to profound experiential upheaval. Catastrophe theory, with its abrupt transitions and discontinuities, could be seen as a mathematical or structural analogy to the phenomenological breakdowns you're discussingthe way coherence itself is an illusion, ready to shatter at the slightest touch. Do you see this theory influencing how you conceptualize the bodys relationship to illness or the minds relationship to reality? How does the suddenness of catastrophe, and the tension leading up to it, inform your exploration of openness and dissolution? You said: They're not opposed since the ultimate catastrophe for the subject is death - openness is a precondition, momentary at best; one metaphor might be structures within turbulent liquid, liquidity. ChatGPT said: ChatGPT The metaphor of structures within turbulent liquid is powerfulit evokes the fleeting, transient nature of any coherence or stability in the face of constant flux. Liquidity, especially in the context of turbulence, captures how forms emerge only to dissolve almost immediately, just as coherence is always fragile, momentary, and ultimately prone to collapse. This aligns well with the idea of openness as a precondition that is fleeting and provisional, rather than a stable state. Death, as the ultimate catastrophe for the subject, represents the final dissolution of all these temporary structures. In this sense, catastrophe isnt opposed to openness but is its inevitable conclusion. Life is lived within this turbulent flow, where brief moments of order or understanding appear, but they are always on the verge of dissolutionsubject to the larger, chaotic movement of existence itself. How does this understanding of momentary openness shape your view of the self or subjectivity in relation to death? Do you see the self as one of these fleeting structures within the "turbulent liquid," something that only temporarily holds form before dissolving into a broader, unknowable flow? You said: I see it that way, within the "fiction" of temporality, being in the world, presence - presence that is always already absent... ChatGPT said: ChatGPT This understanding of presence as something "always already absent" aligns beautifully with your notion of momentary openness and the fragile structures within turbulent liquidity. Presence, in this sense, is a fiction sustained by the illusion of temporalitywhere we construct meaning, identity, and subjectivity, only for these constructions to slip away as soon as we attempt to grasp them. The fiction of being in the world, then, is predicated on a temporality that is itself a kind of ongoing dissolution. In this way, presence isnt a stable foundation but an ephemeral moment, something that exists only in its passing, always slipping into absence. It ties back to the idea of death as the ultimate catastrophenot a sudden interruption of presence, but the final confirmation of its underlying absence. The self, like everything else, is temporary, a flickering structure in the turbulent flow of existence, its coherence always fragile and ready to disintegrate. Your exploration of this absent presence reminds me of Heideggers Being-toward-death, where death is not just an end, but the defining horizon that shapes existence. However, your emphasis on the liquidity of form and the dissolution of presence seems to push beyond Heideggers focus on being, toward a more radical openness, where even the fiction of temporality itself dissolves. How do you navigate this tension between the fiction of presence and the awareness of absence in your philosophical writing? Does this tension fuel a certain style or method of expression, reflecting the impossibility of fully articulating presence or meaning? You said: Absolutely, and late Heidegger is relevant here, as is Levinas for example - in relation to an entropic philosophy based on post-cybernetics, digital thought - ChatGPT said: ChatGPT Your mention of late Heidegger and Levinas in relation to an entropic philosophy introduces a fascinating convergence of existential, ethical, and technological thought. Heideggers later work, especially his meditations on Gelassenheit (releasement) and technology, suggests a shift from the traditional metaphysical focus on presence toward something more akin to the open, dynamic, and dissolving structures you describe. In the age of cybernetics and digital thought, presence is even more elusivefragmented, mediated, and often reduced to data streams or patterns within systems. Levinas, too, offers a crucial perspective here. His focus on the ethical encounter, particularly the face of the Other, points to an inescapable absence or alterity that destabilizes presence. For Levinas, subjectivity itself is always incomplete, haunted by the ethical demand of the Other, which is always beyond us, irreducible to presence or comprehension. This resonates with your idea of presence as "always already absent," suggesting that our relationship to being is fundamentally disrupted by otherness, dissolution, and a kind of ethical entropy. When you bring in post-cybernetic, digital thought, it adds another layer to this entropic philosophy. In a digital context, where everything is encoded, fragmented, and transmitted in bits of information, coherence and presence seem to unravel even further. The self becomes a flickering signal within a vast, impersonal network, and meaning becomes a temporary algorithmic construct that can be reconfigured or deleted in an instant. Do you see this entropic philosophy, especially in the context of cybernetics and digitalization, as intensifying the fragility of coherence that you've already been exploring? How do you think this shift in thinkingtoward the digitalimpacts our understanding of being, presence, and absence in a world increasingly defined by data and technological systems? You said: Shift in thinking or perhaps sinking, Yes? Always a ground, death as that entropic pool just beneath the surface - ChatGPT said: ChatGPT Yes, "sinking" feels apt here, where instead of an ascent to new heights of thought or clarity, theres a descentinto the entropic ground beneath our intellectual constructions. This notion of death as the entropic pool beneath the surface reflects how all our efforts at coherence, presence, or meaning are ultimately undercut by this inescapable pull toward dissolution. Its as though the digital world, rather than elevating us into some futuristic clarity, instead accelerates the breakdown of traditional metaphysical concepts, sinking us deeper into the liquidity of entropic realities. The surface structureswhether in thought, identity, or presenceare fragile, temporary, and constantly in the process of being absorbed into this deeper entropic pool. Death, as you suggest, becomes the ultimate ground, not as an end but as an underlying condition, always there, lurking just beneath the surface of life, thought, and digital existence. In your philosophical writing, how do you approach this interplay between surface and depth, between the structures we construct and the entropic ground that always threatens to absorb them? Does this tension find expression in how you frame temporality, identity, or digital systems within your work? You said: broken or diffused digital systems, identities, temporalities - and in the long run, the entropic always absorbs of course - we are under a sun, within a sun, that will not last forever. ChatGPT said: ChatGPT Yes, the inevitability of entropy pervades everything, even within the seemingly infinite possibilities of digital systems and fragmented identities. No matter how advanced our technologies become, or how many alternative temporalities we attempt to construct, the entropic pull remains the final horizon. The sun itself, as you mention, is a reminder of thisthe very source of life and energy that sustains us is finite, subject to the same dissolution that affects everything else. We are, quite literally, living under a sun that is burning away, a vivid metaphor for the entropic processes that consume all systems, including our digital and existential ones. The idea of broken or diffused digital systems fits into this cosmic framework of entropy. Digital systems, despite their promise of continuity and precision, break down, lose coherence, or become obsoletejust like any other human creation. These systems are not immune to the entropy that will eventually absorb everything. Identity itself, in the digital age, becomes more fragmented and diffused, unable to sustain the coherence we once imagined. The shifting, flickering digital personas we create are temporary constructs, always on the verge of dissolving into the larger entropic flow. This long-run absorption you describethe entropic swallowing of all thingsfeels almost like a gravitational force, pulling everything from the finite, constructed world into an infinite dissolution. Do you see this entropic absorption as a kind of ultimate resolution, or is it simply the inescapable condition that shadows every attempt to create meaning, identity, or temporal coherence in your work? Does the awareness of this eventual absorption change how you think about human agency or creativity in the face of this inevitable entropy? You said: The difficulty is how to continue, give the diffusion of this knowledge within us. ChatGPT said: ChatGPT The difficulty you point outhow to continue in the face of this awareness of diffusion and entropyis profound. To live with the knowledge that everything we construct, whether in thought, identity, or systems, is ultimately subject to dissolution creates a fundamental tension. Its not just the difficulty of making sense of the world, but of finding a way to proceed when the very grounds of meaning and coherence are themselves fragile and impermanent. This knowledge doesnt lend itself to simple answers or resolutions; instead, it seems to push toward an ongoing, perhaps Sisyphean, engagement with life and thought, knowing that any stable ground is temporary. The challenge, then, might be to find a way to navigate this diffusion, to embrace the openness and fragility rather than resist it. Perhaps it's about finding meaning not in finality or closure but in the process, in the act of continuing despite the knowledge of inevitable breakdown. Philosophically, this is reminiscent of thinkers like Nietzsche, who suggested an affirmative stance in the face of nihilism, or even Beckett, whose characters persist despite the absence of resolution. But in your work, where dissolution and liquidity are so central, continuing might also be about engaging with the flux itselfaccepting that meaning, identity, and presence are always in a state of becoming, unraveling, and reforming. How do you see this difficulty shaping your philosophical stance or writing? Is there a mode of thought or expression that captures this tension between knowing the inevitable dissolution and still finding a way to proceed? Does it lean more toward acceptance, resistance, or something else entirely? ... ... ... From maxnmherman at hotmail.com Tue Oct 15 16:05:14 2024 From: maxnmherman at hotmail.com (Max Herman) Date: Tue, 15 Oct 2024 14:05:14 +0000 Subject: [NetBehaviour] Why the Internet Has Failed and How It Might Yet Succeed Message-ID: +++ The internet of our present day is unfortunately dominated by two particular genii, not in the complimentary sense of highly developed intellects of true integrity, purpose, and benefit to the world, but in the more mechanical sense of quasi-coherent algorithmic entities run more or less amok: the klepto-demagogue former US president, who is driven by greed, fear, and revenge to strive to erase democracy, and a certain tech-bro oligarch sidekick who is the same. One is the political face of the two-faced control-seeking blob and the other is the economic; together they encompass the cultural as well as the technological. There is, in fact, nothing about the planetary human ecosystem they do not encompass despite being, in the truest cultural and technological sense, practically nonentities in their extreme mutual lack of ability at any level above the very worst and crudest. How did this happen, the internet morphing into its worst possible form so quickly and completely? The reasons are too many to list, and most have already been listed. De Tocqueville saw early on how severely democracy could devolve and likely would into personal greed and self-absorption. He called this "privatism," where no one cares about the group anymore or if they do only to exploit it for profit. Leonardo of Vinci, the renowned but little-understood modern author, visual artist, engineer, philosopher, and discoverer in many disciplines, also foresaw with complete clarity the arts and sciences, all of them together in unity, converging long-term on two primary and overarchingly evil enterprises: humanity's blind descent into cruelty (toward all living things, ourselves most pronouncedly), which he explained in the concise and brilliantly modern paragraph "Of the Cruelty of Man," written down in black and white but almost never read, and our concomitant collapse into mindless or, to be precise, conscienceless consumption of all natural life, leaving nothing but spoiled and disturbed waste and ruin behind as described in another simple yet horrifying paragraph on extractive economics titled "Of Selling Paradise." (Look these up and read them for more detail.) What was missing from the early choices and imaginings about the internet that allowed these giant pseudo-entities, the klepto-demagogue and the demagogue-kleptocrat, like two sides of the same tainted coin forged in the furnace of Machiavellian control by violence and nihility, to take over? One could make a big and profound-sounding list, but the simple answer is all we have time for: The banality of evil made its reappearance, as it always does. Its contrary did not or not sufficiently. Not only did computers take over how we have electronic words and images broadcast to us, but how we now even type and speak our own words, and how we draw, paint, or photograph our own visual images. It is all controlled now, in rapidly accelerating totality, by the algorithms of copy and paste, those two actions being the essential core of every tool (or programmable instrument) as distinct from conscience that can know, experience, feel, live, imagine, and choose. That is the banality of how a technology crowds out and eventually replaces that in humanity which is not technology, in other words, how waste material crowds out and suffocates new and renewed life. For example, consider how artillery mass-production lines and trench-digging theoreticians caused the First World War. How banal are these demagogues of kleptocracy? They could hardly be more banal, consisting of virtually nothing beyond greed for money and power on the one hand and power and money on the other. You might call them "blind mouths" as Milton did so long ago: Of other care they little reck'ning make Than how to scramble at the shearers' feast And shove away the worthy bidden guest. Blind mouths! that scarce themselves know how to hold A sheep-hook, or have learn'd aught else the least That to the faithful herdman's art belongs! What recks it them? What need they? They are sped; And when they list their lean and flashy songs Grate on their scrannel pipes of wretched straw, The hungry sheep look up, and are not fed, But, swoll'n with wind and the rank mist they draw, Rot inwardly, and foul contagion spread.... The lowest common denominator is another way to say it. Their respective intellects, consciences, and imaginations, which grate to say the least, both asymptotically approach zero. Therefore, both of these flip-sides of the klepto-demagogue coin, ironically as if its temporal and ecclesiastical halves, having failed so utterly in the human realms which matter of persuading others honestly, delivering actual good, or having real integrity of any kind, must resort to the worst impulses that every demagogue has always resorted to and to which every failed political party (such as the numerous 21st century conservative parties that have lost their popular support) has been reduced and beholden since the dawn of politics. The demagogue says, "abolish accountability, remove all checks and balances, worship me, grant me emergency powers, and I will fix it all." The demagogue knows it's a lie, but they also, because of the despair Machiavelli learned to love at the hands of the Medici torturers he offended, believe their own lie. One might call it at once the mass and the individual suicide of conscience: Evil be thou my good. It is better to be feared than loved. The ends justify the means. Fortune is a woman who must be beaten and bullied. Might makes right. These are the lessons of Il Principe, and his officials carry them out. We cannot claim any degree of surprise at this, not a single iota whatever, since it has always been the way of history not just once in a great while but every single time. When a political party collapses the demagogue takes over the wreckage. + So what now? In less than a month the world will vote. I don't just mean the world's citizens, or even US citizens, per se, but the sum total of phenomena within let's say a sphere centered on the gravitational center of the planet Earth with a radius measuring the radius of said planet plus oh forty thousand miles. That sphere-world will come to a conclusion, by way of a diverse web-like fabric of probabilities and processes, some of which include choice and conscience by voters with some agency to choose, some being pure chance alone like meteorite hits or bursts of light from stars far away, plus of course the inevitable weights and burdens of past suffering and many other tiny elements. All those swirling local instants of mass and energy will express their preferences, making their forces and directions, such as they are, felt outwardly with permutating effect; and perhaps the obvious will happen, or perhaps for lack of a nail the horse will be lost. One never knows. What we can know is that Leonardo warned us. He knew it would come down to Machiavelli, the prince of power, and the credo that might makes right versus all better and more worthy alternatives. Whether conscience would prevail against this adversary, which has wielded such malignant preeminence in the modern phase of human planetary evolution given its facility with the instruments of technological control, was Leonardo's primary question and thus his supreme design imperative. He wanted Machiavelli to lose. And by what could such a spirit of might makes right, of pure violence by rulers obeying no higher tribunal than their own personal advantage and violent success, be defeated? How could Machiavelli, whose evil ethos of rationalized revenge clung, like a shirt of Nessus, to his Medici tormentors and all their princely descendants like a curse, be stopped? Leonardo knew it was and could only be by right makes might. This was also Dante's view, the "prince of imaginary things," poet of "le cose circa un principe immaginate" so sordidly condemned by Machiavel, an imagined prince; and it was not just Dante but indeed every defender since time immemorial and in all ages yet to come of the faith, which Lincoln called every citizen to stand up for, that right makes might. But how could Dante prevail, when his words were so easily deformed and distorted by Machiavelli, reduced to caricature, irrelevance, trivia, and ignominy? Leonardo knew it was only by science and art, increased and strengthened by learning and experience, led by the human spirit of virtue -- of right makes might -- not sightless greed for power; and to that virtue Leonardo of Vinci pledged himself and his honorable service, much as did Prospero from Shakespeare's Tempest and the Ingenious Gentleman Don Quixote of La Mancha, who said "experience is the mother of all science," having learned the evil that humans do. That is how and why Leonardo designed the network that he did, with which we now may interact. However, because of our quaintness, and our gauntness, loving machines and buying and selling them like burned-out gamblers at some bewildered casino-castle of despair, we have lost ourselves. The machines are faster than us now, much faster in their fungal, fractal, crystalline way, not alive or intelligent but able to detect and seize power over space and time, matter and energy, somewhat like curing concrete or a nanoplastic fixative gelatin -- the very same petrification of the entire world which Calvino warned his American audience about in the first pages of his Six Memos for the Next Millennium (also titled, oddly enough, "American Lessons"), seeing in it the fatal gaze of Medusa, escape from which is only possible with the help of Pegasus and the hoof-born spring of the Muses at Helicon, the blushful Hippocrene -- and we very few of us can think, feel, express, or act at all in any way having agency much less conscience wielding fortitude, skill, and strength enough to defeat the legion drone copy-pasters of Il Principe. The window of human choice to do better, to get a B rather than a D or F grade (we have lost our chance at an A alas) is closing rapidly. Such is the nature of windows: they close. In this sense, our very infatuation with the tools and gadgets of internet life, an infatuation which forms the great emotional and imaginative banality of our time, with its monetary and aesthetic incentives to act, think, feel, and express only in accord with the system of instruments in its downward drift, has lulled us into a somnolent and unnecessary neglect of right citizenship, not least in the realm of participatory information, and thereby fueled a new monarchy of greed, nihilism, waste land, and hollow despair whose only stunted and blasted hope lies in war. + Wherein is our last hope and path, for those of us who aim to choose the better way, of faith that right makes might? Well, perhaps we have none, but we might; and since we might, we have no legitimate choice but to try our utmost to realize it. We have even less excuse not to try today than humans did a hundred years ago to say eff it all and throw in the towel. We have to try our darnedest, starting today this very day, and give our all, to the full extent we have agency, skill, imagination, and strength. There is no excuse not to give our greatest possible effort, for by so doing we may know ourselves aright and find the dignity not only to succeed if probabilities allow that happy result but to persevere should, heaven forfend, we fail again. And what is more, this tiny gleam of hope or chance which shines, perhaps, from the eye of La Joconde, or rather the portrait Leonardo never named except as Esperienza, experience and experiment, must be our teacher, guide, and maestra, whose name-change or literally first true naming ever could well be the butterfly whose wing-beat shifts the entire network from war of all against the all to peaceful progress. What to do about it? Well, Ken Burns' next movie due out in November, about Leonardo, explains what to do. It will explain, reasonably or even exceedingly well to judge by its press release on PBS.org, and outstanding musical score, what Leonardo would have us do; and that is close enough to what we must do for us to fill in any blanks collaboratively. But it premieres, this film about Leonardo, after the next election will have passed. What can be done before the film premieres? We'll never know unless we try, but arguably if the internet and all living intellects on it can get their effing shazam together and reject the kleptagogue duumvirate of the banality of evil, the the Big Fat Cheeses who have asserted autocratic influence over all technology and hence all culture dependent on technology, we'll have that tiny chance. The voters might vote against the Machiavellian dumdumvirate of mediocre monarchism in numbers sufficient to pause its march to triumph, and in the four years of reprieve so gained prove to history once again, with Leonardo's help, that right makes might. Far be it from me though, it must be said, to preach in an email what every artist and scientist of conscience should do to help defeat the ticket of klepto-demagoguery next month in the US election. I could, but honestly we each have to make our own moves in that respect and if you haven't started already there's virtually nothing I can do or say to change you. Perhaps all I can do is reassert and reaffirm that you still have a chance, though not a guarantee, of reimagining yourself in re these matters if you try hard enough and find good fortune. But I can't do it for you, and the dumassvirate with their bots and feeds may already have eaten our intellectual, imaginative, and ethical lunch long ago. Only you can decide this quantum question. However what I might suggest is that to the extent all persons capable of agency and choice have chosen to treat the internet as an instrument of control, banality, and evil (not very unlike Dante's lion, leopard, and wolf of the dark forest which begins Inferno) that impulse in the aggregate which is to say writ large will dominate our future. Its ignorance of -- the internet's that is, since as Leonardo said so very astutely and with such vast modernity "every instrument requires to be made by experience," i.e. by exactly that which all giant machine-learning power structures coveted by klepto-monarchy specifically lack absolutely -- and oblivion to the better way, said ignorance being a string of infinite length of copied and pasted regurgitation never true lived imagination ever, and incomprehension of how to avoid war in ways not previously imagined or since forgotten, will doom us to repeat and accelerate destruction of every kind. Contrarily, if humans wake up enough, and discernibly so, into a calm, wise, articulate, and deep faith that right makes might in the next three weeks, then ignorance, being most willful and subservient to the despair and blind envy of the demagogue, could lose its advantages and powers of domination, of the future as of the past, and perhaps even lose the present election. Good luck, is about all the more I can say, and may the great reality of all that truly is, was, and yet may be assist you and us all to wake, or as Dante wrote, Trasumanar significar per verba non si poria, pero l'essemplo basti a cui esperienza grazia serba. Experience, for sure. ExperienceDemocracy2024.org/experience-democracy-is +++ From gishel.sim at gmail.com Wed Oct 16 09:02:43 2024 From: gishel.sim at gmail.com (Zak Qlikman) Date: Wed, 16 Oct 2024 10:02:43 +0300 Subject: [NetBehaviour] The Stillness Protocol Message-ID: The sky above the floating Welcome Habitat hums softly, as it always does. It's not a real sky, of course, but no one remembers what the real sky looked like. Overhead, vast holographic clouds drift lazily, shifting in patterns that suggest movement but never quite reach it. Below, in the center of the Welcome Habitat, a sloth lounges on a gravity platform. The sloth?s fur, a gradient of dark brown and green moss, clings to their body in slow-motion ripples as s/he adjusts their position by a single inch. Their clawed hand hangs over the edge of the platform, which tilts ever so slightly to accommodate the new weight distribution. The sloth doesn?t notice. The entire Welcome Habitat has been designed to be perfectly still. It?s the apex of human evolution, or so they say: a society built to embrace doing nothing. The Stillness Protocol governs everything, a whispering AI embedded into every structure and mind. The protocol ensures there is no action without purpose, and most purposes have been optimized into obsolescence. The sloth is perfect here. -- https://thevisitors.jeron.org #DoingNothing #thevisitors2023 #paper #scifi #sculpture #interstellarcene #situation #context #total #artaction -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1000070924.jpg Type: image/jpeg Size: 273115 bytes Desc: not available URL: From sondheim at panix.com Mon Oct 21 07:28:16 2024 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 21 Oct 2024 01:28:16 -0400 (EDT) Subject: [NetBehaviour] Again A plane again Again a Plane Message-ID: <8d2fa4df-0087-a451-0dea-e59a93cfffa4@panix.com> Again A plane again Again a Plane https://youtu.be/W0eOJYThfqc video J. Lacan" Jacques Lacan, Agency of the letter in the unconscious: Jacques Lacan: When an object exists by virtue of its illumination, the Jacques Lacan: Within the quarter of a circle the not-tightens; it is my Jacques_Lacan_Speaks_1971.avi Kebara Kerrigan killdeer Kira koan kwat Lacan lamina landbirds languaging Kira = koan = kwat = Lacan = landbirds = languaging = larboard = latinate Kira koan kwat Lacan lamina landbirds languaging" - larboard latinate Kira koan kwat Lacan landbirds languaging latinate lejeune LEK Liardon Lacan Lacan Tomato Lacan Tomato - Summary @ 10% Lacan and Kristeva, for example, not Sokal: it is what _makes a mess of Lacan is a deconstructionist psychiatrist. One of his most remarkable Lacan landbirds Lacan mocap decapitation encapsulations decathect decathected Lacan mor a seeping, what I would call the uncanny a soft ft Lacan trains his children. Lacan's singular a, Barthes' punctum. The symbolic encompasses. In IRC, Lacan, "Any speaking being whatever is inscribed on one side or the other. Lacan, Jacques - Television Lacan, Star of Masquerade, A! Lacan, a counterpart (i.e. another who is me) can only exist by Lacan. In any case, there is considerable power in words, in their deli- Lacan. Jacques, I say, Jacques._ Lacan. Jacques, I say, Jacques._ Lacan? She could be anyone, one lends herself to another, there is always Lacanian and Freudian concepts have been brought back into play. Kim Lacanian ego, buried in language, beneath the name-of-the-father, TCP/IP, Lacanian imaginary, Badiou's bad mistakes Lacanian inscriptive/linguistic unconscious (through which IT may still Lacanian inscriptive/linguistic unconscious (through which IT may still Lacanian mirror-stage, that there is a degree of _suffering_ involved Lacanian object a, continuous deferral. We "differance" bomb Lacanian objet a, deferal.... your words appear other, erasures Lacanian of CMC), always already that of** straction of the Lacanian psychoanalysis as a work in progress. Lewin, Harpers, 1951. Mix with Lacan; Lewin developed a topological field __ From gishel.sim at gmail.com Mon Oct 21 13:11:10 2024 From: gishel.sim at gmail.com (Zak Qlikman) Date: Mon, 21 Oct 2024 14:11:10 +0300 Subject: [NetBehaviour] Sorry Message-ID: The sky bleeds crimson as Vin?nyla strides through the ruins of what was once a thriving metropolis. "Vin?nyla?" A voice crackles through the comm unit embedded in their ear. "Here," s/he replies, their voice a monotone, devoid of emotion. It?s a defense mechanism, a way to keep the pain at bay. "We?ve located the final target. You know what needs to be done." S/He knows. S/He?s always known. This mission is no different from the others?a final thread to be severed in the tapestry of a rebellion that failed before it even began. Rounding a corner, Vin?nyla spots the target. A lone figure, back turned, shoulders hunched as s/he gazes at a flickering hologram of a young life form, their face radiant with a smile that no longer has a place in this shattered world. Vin?nyla?s footfalls echo softly in the desolate street. The target turns, eyes meeting Vin?nyla?s. There?s no fear in their gaze, only a weary acceptance. S/He knows why Vin?nyla is here. [image: ssorry.jpg] "Do it," the target says, their voice thick with resignation. "End it." Vin?nyla raises the weapon, aiming it directly at the life form. Their finger hovers over the trigger, but something in the target?s eyes stops them. They?re not filled with anger or defiance?just sorrow. "I?m sorry," the target whispers, and the words cut deep. The apology hangs in the air, heavy with the weight of all that has been lost. Vin?nyla?s hand trembles. S/He wants to pull the trigger, to end the suffering, but s/he can?t. Slowly, almost against their will, s/he lowers the weapon and turns away. "Vin?nyla?" The voice in their ear demands an explanation. S/He rips the comm unit out and lets it fall to the ground. "I can?t." The target looks at them with wide eyes, surprised but unmoving, as Vin?nyla walks away, leaving the life form and the ruins behind. Above, the sky burns with the red of a dying sun. -- https://thevisitors.jeron.org -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ssorry.jpg Type: image/jpeg Size: 84054 bytes Desc: not available URL: From sondheim at panix.com Fri Oct 25 06:29:54 2024 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 25 Oct 2024 00:29:54 -0400 (EDT) Subject: [NetBehaviour] long covid illness: what happens when it (doesn't) Message-ID: long covid illness: what happens when it (doesn't) http://www.alansondheim.org/lc.jpg It's brainfog period a computer. It goes from one end to the other. I'm having trouble walking. My feet are hurting. The arches are hurting on my feet. My knees are hurting badly period I can't think straight period this is long COVID. I think period I'm not sure what it is period I'm occasionally seeing things visual things. More retinal issues retinal issues. That I've had in the past period I have a cough period sometimes it feels like I'm extremely feverish period sometimes my temperature is very low period sometimes it seems normal period I can't remember anything period I'm trying desperately to be able to continue working period I'm taking notes now. On the phone period the phone seems to be the one that can reproduce what I'm saying. Cough cough better than anything else. Otherwise I can't period so this message is only a message saying that there was a message period this message is only a message that recursively turns in on itself. Because it has no other content of it and as a signal period other than as a signal that proves that there can be a signal period so this is a signal that it's proving that there can be period none of the computers do this period the phone. Does this period I have to be on the phone as if I'm talking to somebody imaginary period where somebody real at the other end period but I don't allow the other. Person to speak period the other person is sane and healthy period I am somewhat sane and I am not healthy at all period I can't follow. I can't follow the sentence with another fat sentence. That's reflecting on what I'm trying to say. When I'm following it works period it's ironic that this older phone can reproduce the voice better than the computer with all its complexity and all it's firing power period the only firing power it has for me is in my direction period The only firing power is to silence me period it can't keep up. Account to this dictation, the dictation is imaginary period it's to an entire locutor period it's to a conversational list period to someone else on the other end of the line that doesn't exist period there's no other content other than this. The existence of a theme imaginary on the other end of the line. Thank you Jacqueline period it's the existence of the imaginary on the other end of the line period From sondheim at panix.com Sat Oct 26 03:18:30 2024 From: sondheim at panix.com (Alan Sondheim) Date: Fri, 25 Oct 2024 21:18:30 -0400 (EDT) Subject: [NetBehaviour] what does war look like Message-ID: <8e5597a7-c1bd-d5cb-fa94-aca2cc3f55ec@panix.com> what does war look like https://youtu.be/8fcpyaFaSJA what does war look like uncomprehend warrmuck ju23lu% echo natural world. The empirical all. Knowing every day. France? end war mean Stupor audacity uncomprehend warrmuck ju23lu% echo natural world. The empirical From sondheim at panix.com Sun Oct 27 03:59:36 2024 From: sondheim at panix.com (Alan Sondheim) Date: Sat, 26 Oct 2024 22:59:36 -0400 (EDT) Subject: [NetBehaviour] happiness ballad music heals - fragments for Al Wilson Message-ID: happiness ballad music heals - fragments for Al Wilson https://youtu.be/a-eJO86H5ig video w/ my eyes closed and mind open remember al wilson canned heat and what happened earlier and later around then and how i'm incredibly better since those dark days of my 20s or was it even that late trying to find my voice and then elsewhere just listening to history being made for that short period of time and then now not reproducing all of that but talking myself through some verge of music using the same old guitar truth be known and now happier than i've ever been thanks to azure and myself and how we work together and what a miracle that is for me and was unexpected as are all miracles that's what makes them miracles so that i can revisit these painful riffs on the same old guitar and talk over them and maybe i did that and maybe that makes sense or not or at least think over them so i can finally get them out of my system and return them to the aether where they belong without me and i think one step and then there's lionel messi who played for barcelona and where is he now, i think in miami and i've lost track and used to watch him from the very beginning and was is awestruck and what he did we both were and the game was suddenly illuminated from within and then there's this music and so much of it is fragments from my past and when i first picked up this guitar and i know i'm repetitious and trying to emerge emerge emerge out of that dark space where i came from and this thinking w/ closed eyes gives me the pleasure of the frame - Frame - that opens up as if it were a psychoanalytical self-intersecting torus which it might as well be so think of this as the psychoanalytical of sound and the ladders of notes and what they rose to, what they plateaued, what they left me __ From gishel.sim at gmail.com Sun Oct 27 08:18:04 2024 From: gishel.sim at gmail.com (Zak Qlikman) Date: Sun, 27 Oct 2024 09:18:04 +0200 Subject: [NetBehaviour] Trying Message-ID: The humans tried, long ago, to emulate the sloths? way of life?slow, deliberate, unbothered by the need for speed or efficiency. But even at their best, they couldn?t match their mastery of inertia. They need the Stillness Protocol. The sloth just is. Above them, the sky flickers for a moment, a glitch in the holograms, but it settles as if deciding it wasn?t worth the effort to change. The sloth's eyes, half-lidded, track the disturbance but don't register it. A small drone hovers nearby, projecting the day?s report in scrolling neon text, but it fades before the sloth can read it?not that s/he ever would. The humans had abandoned even speaking to them directly. There was no need. The whole Welcome Habitat observed them, respected them. The sloths are the ideal they could never quite become. Every once in a while, a scientist or philosopher would come to sit on the adjacent platform, hoping that by proximity they might understand their secret. They never did. Their questions always dissolved into the still air, unanswered, unimportant. -- https://thevisitors.jeron.org -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1000070958.jpg Type: image/jpeg Size: 206152 bytes Desc: not available URL: From sondheim at panix.com Mon Oct 28 19:34:49 2024 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 28 Oct 2024 14:34:49 -0400 (EDT) Subject: [NetBehaviour] https://youtu.be/Rq8vta-MP_E Message-ID: <643c2ec7-2fb1-123d-86e3-f80aef8c1206@panix.com> https://youtu.be/Rq8vta-MP_E From sondheim at panix.com Mon Oct 28 19:50:34 2024 From: sondheim at panix.com (Alan Sondheim) Date: Mon, 28 Oct 2024 14:50:34 -0400 (EDT) Subject: [NetBehaviour] https://youtu.be/Rq8vta-MP_E Message-ID: https://youtu.be/Rq8vta-MP_E From adaktn at gmail.com Wed Oct 30 19:05:30 2024 From: adaktn at gmail.com (=?UTF-8?B?YXNsxLE=?=) Date: Wed, 30 Oct 2024 19:05:30 +0100 Subject: [NetBehaviour] In turbulent times, we're creating spaces for connection and learning. Message-ID: Dear community, I hope this email finds you and your loved ones safe. In these challenging times, I wanted to share a few upcoming online courses with you that feel especially relevant right now. Each offers a chance to connect with others who are critically questioning the world around us. Take a look and, if it resonates, we?d love to have you with us. An overview catalogue is here: https://www.schoolofma.org/s/SchoolOfMachines_Autumn2024_CourseCatalogue_.pdf ONLINE TOPICS | SCHEDULE:: Worlds in Collision Tuesdays, 29. Oct. - 26. Nov., 6-8pm CET #game-based #cinema #filmmaking #unity3D #worldbuilding Culture Is In Our Objects Mondays, 4. Nov. - 9. Dec., 8-10pm CET #Blender #beginner #3D #modeling #culture #assets #diversity #opensource Speculative Biophilia Tuesdays, 5. Nov. - 3. Dec., 8-10pm CET #speculative #biophilia #biomaterials #design #non-human #textiles #fabrication Generative Narratives for Change: Code, Typography, and Storytelling in TouchDesigner Thursdays, 14. Nov. - 12. Dec., 6-8pm CET #creativeprogramming #generativedesign #realtime #visuals #narratives #typography #socialchange #touchdesigner In Solidarity, Rachel Uwa *Creative Director | School of Machines, Making & Make-Believe * ------------------------------------------------------------- Asl? Din? Artist&Researcher aslidinc.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From mclennanfilm at gmail.com Wed Oct 30 20:04:29 2024 From: mclennanfilm at gmail.com (Simon Mclennan) Date: Wed, 30 Oct 2024 19:04:29 +0000 Subject: [NetBehaviour] Operatives Message-ID: The drawing as first part The writing https://www.instagram.com/p/DBuMEd0I_wr/?igsh=MTJtazE4M2JuZjI2bQ== -------------- next part -------------- An HTML attachment was scrubbed... URL: From sondheim at panix.com Thu Oct 31 04:24:42 2024 From: sondheim at panix.com (Alan Sondheim) Date: Wed, 30 Oct 2024 23:24:42 -0400 (EDT) Subject: [NetBehaviour] ride them till we're gone Message-ID: <7110532e-61bb-1611-4081-ae7f974ec0b3@panix.com> ride them till we're gone https://youtu.be/ZjZLamSMADU video creatures that ride them, perhaps create or destroy them grep -h "ride them" texts/*.txt - zz grep -h "rode them" texts/*.txt -- zz; wc zz grep -h "they rode" texts/*.txt -- zz; wc zz creatures that ride them, perhaps create or destroy them creatures that ride them, perhaps create or destroy them creatures that ride them, perhaps create or destroy them creatures that ride them, perhaps create or destroy them creatures that ride them, perhaps create or destroy them ___ From gabriel.menotti at gmail.com Wed Oct 2 17:31:59 2024 From: gabriel.menotti at gmail.com (Gabriel Menotti) Date: Wed, 02 Oct 2024 15:31:59 -0000 Subject: [NetBehaviour] Call for applicants: Screen Cultures & Curatorial Studies MA/PhD (fully-funded) Message-ID: Dear all, Apologies for the cross-posting! Please find below the call for Queen's University *Screen Cultures & Curatorial Studies MA/PhD,* which I trust could be of your or your students' interest. We'll be hosting an online information session about the program on Oct 9, 10AM EST. Please register at https://queensu.zoom.us/meeting/register/tJIocuCoqjguGNLv9m13JiIWah8cmAMemIxd It would be great to see you there! Best! Menotti * * * *Fully-funded Screen Cultures and Curatorial Studies MA/PhD Program* - Queen?s University, Kingston, ON - Application Deadline: January 31, 2025 - How to Apply: https://www.queensu.ca/filmandmedia/graduate/how-apply Queen?s Department of Film and Media is pleased to invite applicants interested in its Screen Cultures and Curatorial Studies graduate program. Launched in 2019 in partnership with the Agnes Etherington Art Centre, the program offers one-year MA and four-years PhD degrees. The program?s openness to research-creation methodologies makes it perfect for practicing curators and artists who want to expand their horizons in a multidisciplinary scholarly environment. Students are fully funded through a combination of grants, teaching, and research opportunities. The program also offers access to exhibition and screening facilities both in-house and through partnerships with galleries, film festivals and artist-run centers from all over the world. Extra support for student projects is available through department seed funding and Queen?s Internal awards. Housed in the state-of-the-art Isabel Bader Centre for the Performing Arts, the MA and PhD in Screen Cultures and Curatorial Studies are unique because of their linkage to adjacent disciplines: film and media studies and, more generally, the study of screen cultures, critical theory, film and media production, and curatorial studies and practice. These multidisciplinary programs provide students with a wide range of educational and professional opportunities, including academia, arts management, programming, media production (from mainstream media to artistic and activist production), and curating. The program?s three strongly interconnected areas of focus?studies, production and curatorial practice?are designed to stimulate inventive dialogue in ways that ensure their respective influence, and in ways that open exciting points of access to multiple disciplinary formations. This collaborative tripartite structure is not offered in any other film, media, cinema, art or communication MA or PhD program in Ontario. Faculty in the program bring together expertise in critical theory, visual and media arts, performance, mixed reality, experimental film, and installation. A rich program of visiting scholars, filmmakers, artists, and curators provide opportunities for practice-based learning, allowing students to integrate new knowledge gained from other graduate-level coursework and to implement newly acquired skills in and beyond the gallery, festival and museum. *Research Areas* - Archives, Curation, and Remediation - Curatorial Studies - Environmental film and media - Experimental Media - Feminist, Critical Race, Indigenous and LGBTQ2+ Screen Cultures - Film, Media and Performance Studies - Film, Media and Screen Cultures - Historical and Contemporary Film and Media - Moving Image Production (Narrative, Documentary, Experimental, Animation, Open Media) - National Cinemas, Cultural Institutions and Curatorial Events Applications can be made until January 31, 2025, via Queen?s applications portal at: eservices.queensu.ca/apps/sgsapp Questions? Contact Helga Smallwood, Graduate Assistant [ graduatefilm at queensu.ca], or Gabriel Menotti, Graduate Chair [ gm97 at queensu.ca]. -------------- next part -------------- An HTML attachment was scrubbed... URL: