User:Golubjevaite/ThOu

xxxxx

How could we read without it being spelled out to us and if it could in fact communicate anything?
Can telling a story only partially enrich the interpretation of it by the reader?
Has the increase in speed and change in method of information transfer in the past decade impacted our ways of memorizing it? Are we reading differently?
  Can the use of abstraction (disconnected narratives in audio/visual/textual form) construct a narrative?
How much control do you want over the interpretation of a narrative as a creator/writer? Interest in giving full control to the reader.
How do people create narratives? 

WHAT

What do you want to write about ?

I would like to write about a few different topics related to my work and the project that i will be making. In that way I would break down my project into parts and explore those independently.
topics i want to explore so far are (very generally put):

a.  non linear writing, where software meets the writing process and expression of a story. I would like to look into the field of electronic and digital literature and this question of what is a book in the post-digital. 
b. information as a commodity and as a  public property 
c. DADA and Fluxus - the text based work / also concrete poetry  - history of experimentation with text and orality. 
d. this is still vague but keywords would be: a tv generation, medium is a message, stuff that Marshall Mcluhan was writing about, how we absorb  information and how we memorize information. definitely interested in memory here. as well what Mark Fisher was talking/writing about. (aftermath and mood ?)

What form do you want it to take?

I would like it to be either:
a. a combination of 3-5 smaller essays on the topics that I want to research and is related to my work
b. an archive/journal of the research + project process
c. a hybrid of a & b

 

WHY

> to understand better my practice and learn to relate my practice to the outside world
> when i create a project it is usually a combination of different interest fields  within different parts of the projects. I would like to for once connect all the dots between the parts even if it at the end they would not connect directly to each other, but perhaps even would take a shape of a territory scheme. So for example while making my module:
a. while working on the pcb and the structure of the module I was interested in the full independence and understanding what you are producing while working with hardware&software + the responsibility it comes with, since the module would be used by other people.
b. while working on how it would function (basically what it would do or question etc.) I was interested in the non-linear method of telling narrative. How could we read without it being spelled out to us and if it could in fact communicate anything ? i was interested in reading in a sense of getting impulses of a story but not a full traditionally written story.
c. while writing the story and coding it with Arduino, I was building the narrative as I as building the code. therefore i was interested, how code writing and using  a particular code language itself affects the creative writing process. 

REF

Annotations
References/bibliography
not decided completely, just more what i read/ looked into so far
————————

> Erkki Kurenniemi / Computer eats Art (1972 - 1982) / Writing and Unwriting (Media) Art History_ Erkki Kurenniemi in 2048

“Writing a novel has been a process of spinning a single thread. Writing an interactive novel is weaving fabric.”

In this text Erkki Kurenniemi shares his predictions for the future of art & media. He talks about the effects that the future of a computer will have on the future of an artwork. In the first paragraph he makes it clear by stating - “ Its major effects on art will be the separation of art from material and separation of art from man.”

He then backs up his statement by breaking down the future scenario into three stages:
1. a computer becomes a tool for experimentation in the creative process
2. new art forms evolve from stage 1
3. “ pure computer art” is born as a result of multidisciplinary art

He then elaborates on each of these phases. He explains how in the future we will leave the story writing to a computer even if it will be “random nonsense poetry and tales” at first. Also the editing of a story will be non-linear and automated. The stories will be completely individual for each reader as the content ( or individual results) will be pulled out from a database. 
Erkki then continues to describe how computation will change the shape and composition of music (algorithms) as well as the visual arts (merge of 2D and 3D). To me this chapter of the text is best summarized by this sentence : “The computer is a tool that doesn’t displace or replace any previous medium yet transforms everything.”
While describing the second stage Erkki focuses a lot on an interactive element of a future artwork. Specifically the interaction between a work and an audience. The public is no longer only a passive listener but has a possibility to have and active dialogue with the work.
He also introduces another concept - “art made by computers for other computers”, which will eliminate the dependence between an artist and an audience.
The third stage happens as an aftermath, when “Many things have been permanently displaced.” In this chapter Erkki introduces a concept of a potential peer-to-peer artwork.
In the final paragraphs of the text he expresses a strong belief in the agency of a future art recipient.

————————————
Espen Aarseth - Cybertext, perspectives on Ergodic Literature http://oook.info/sabb/aarseth.html

Alessandro Ludovico / Post-Digital Print 
http://postdigitalprint.org

————————————

> Medium is a message - Marshall Mcluhan  (or the Gutenberg Galaxy?)

to read means to guess ———————————

> Mark Fisher : The Slow Cancellation Of The Future
https://www.youtube.com/watch?v=aCgkLICTskQ

“we are not bored , everything is boring “

———————————

> McKenzie Wark/  Class / A Hacker Manifesto

In the chapter “ Class” , McKenzie Wark gradually introduces two new & arising concepts of class. Two opposing classes: hackers and vectors.
Hackers , alongside the workers and farmers, belong to the all-time exploited working class. Vectors on the other hand represent a rise of a new player among the ruling class. What the hackers produce and the vectors commodify and monetize is information, that Wark also calls an “abstract” in this book. They bring the issue of hackers being stripped off their rights to their public property -  the information they produce - and “must buy their own culture back from its owners, the vectoralist class.”
They also introduce an interesting dynamics within the ruling class itself. “Capitalists try to break the pastoral monopoly…Vectoralists try to break capital’s monopoly…”
I believe that Wark tries to show the importance the power and control that the hacker class could potentially have  if it understood the value of its labour (information = property). “The hacker class is not what it is; the hacker class is what it is not - but can become.” 

—————————————

Alessandro Ludovico: The Mimeograph and Post-Digital Print
https://www.youtube.com/watch?v=Tb-OsSUTEs8

“screen based publishing is intimate in my opinion, as it reaches the space of personal screens often in intimate spaces, but it establishes a remote intimacy, as the publisher is not necessarily meant to be present on the other side and his or her body is certainly distant and invisible”

—————————————

John Cayley: The future of language
https://www.youtube.com/watch?v=lXD21PQTqjY

Flusser talks about images, the technical image, he thinks that everything is an image, we perceive the world as an image

Jacques Lacan -  imaginary, symbolic and the real
Flusser says everything is an image

imaginary - images
symbolic - language symbolic process 
real - fundamentally inaccessible process

we live in an imaginary, we use symbolic to tell stories about the imaginary.

Our relationship with language is changed not only by photography and film (as stated by Flusser) but also by computation. 
the relationship of language and symbolic practice to images has changed
now our apparatuses are all software, which are composed of linear processes and formal language.

doesn’t care about book culture
feels excited about the possibility to do his reading in orality(again) in the future

ontology of language, what language is, includes looking at it in evolutionary terms.

orality , evocalization,  voice - because language has evolved in that way. that faculty is ontologically and philosophically not media specific. proven by deaf community.
there is always a relationship with orality for humans as you read.
the type of experiences you can have from books, do not have to be delivered by books.

memory is non linear
i read a book all i have are memories of the book.

computation is linear    
    

—————————————

N. Katherine Hayles / Electronic Literature: New Horizons for the Literary

—————————————

Technological Sovereignty vol.2 / link:

> 'A seed sprouts when it is sown in fertile soil'

We need to continue weaving knowledge among hackers and peoples in order to decolonise the idea of technological sovereignty and exercise it from a position of autonomy.<pre>


> 'Digital governance'
<pre>
Such trails become like paved roads in our brains, and it takes truckloads of dopamine to feel pleasure. At each step, the necessary dose has to be increased. This explains why drill is so effective, and why it generates addiction. The desire for pleasure related to an automatism, which amounts to compulsive behaviour, makes us enter into a repetitive loop getting out of which becomes increasingly difficult because the neural pathways that are always excited, will not be able to do anything else but get more and more powerful with the passage of time: beat-rhythm-repetition. 

—————————————

Erich Fromm - Escape from freedom

—————————————

Espen Aarseth - Cybertext, perspectives on Ergodic Literature http://oook.info/sabb/aarseth.html