User:Markvandenheuvel/methods-12

Week 1:Wednesday 22 April

Introduction

Collective reading

The plot of her undoing – Saidiya Hartman
https://pzwiki.wdka.nl/mediadesign/File:Plotofherundoing_SaidiyaHartman.pdf

Annotation session:

Episode 5: Apple & Google Partner to Promote Coronavirus Contact Tracing. Should You be Worried? Featuring Seda Gurses https://www.radicalai.org/e5-seda-gurses

annotations: https://pad.xpub.nl/p/Seda_Gurses
transcription: https://sonix.ai/r/dWtGr8HcTEddxQR2AYXbYbhm/transcript.pdf

SWARMING MONDAY: 18.05.2020

SUN RA QUOTES:

"Everybody respected him because he had something different and everybody could hear it and see it, but they couldn't do it" > authenticity (costumes, experience, myth, imaginary)

"In my music I speak about unknown things, impossible things, ancient things, potential things"

"What you say has many meanings. it means only what you understand that it means, but that doesnt limit what it actually means"

"A catalyst changes everything, but remains unchanged"

"you are all instruments, everybody is supposed to be playing his part in this vast artistry of the cosmos"

Experienced next to inexperienced

You can’t have music that doesn’t have ugly in it

For Ra, myth is what poet Jay Wright calls a “mode of knowledge”; it is a “medium to understanding” that is quite closely linked to the grand events of the day.

ON IMAGINATION

Propagating: plant a seed and continue to take it to the next level
Aware of the notion of impossibility: and how it shapes idea's (imagination)
soundscape of quotes and word with different layers of meaning
anatomy of mythos
creating an imaginary vision that is collective
'renaming'

Fiction

isolation vs imagination (space travel)
power of sci-fi
notion of 'ghosts'
epistemological systems in the west as dominant - impossible in a certain mindset and frame
some cultures have other mindsets (instead of the Age of Enlightenment and humanism as central)

> Extracting things from the earth: (colonialism, violence, capitalism)

Session with Aymeric on DUB music (and remix culture)

free culture:

capitalize this free media (platforms) mediaplatform serving content: - ideologisch projecten - lost of faith (?)

"Others will make money from it"

free culture: for and by the community (Does that really exist?)

dub paradox:

materialisatiion of cultural differentiation

origins

internet:

how do you find ways to reprogram yourself:
peeling the layers what is given (whats is stake for you and your community?)

prepper mindset: 'critical practice;

motivated not to be in the last
create alternatives network of care

challenge: autonomy infrastructure & reflection

we can try to figure out what to do with these skills and knowledge:

how to turn it into something else that circulates in a gallery or media festival?

we can come up with our own platforms?

more precarity and

RADICAL!??:

building alternatives you can own and maintain

Freedom outside commercial tech giants

Do you want to end up in the 'hall of fame' or want to be mentioned as someone who was at the good side and did super interesting thing?

QUEERING DAMAGE WORKSHOP

How do we approach something? (rethinking how we can do this otherwise)
different types of otherwises: critically thinking about damages

In environmental damage: how do people live with this, instead of trying to fix

f.e. organisms that flourish from damage
survival and energy that is enforced after damage is done

QUEERING (verb)

destabilizing > embracing and not fix it!
anti normative approach
queering: what it's supposed to do (not what normative)
rejecting to normativity
other logic of causality: https://en.wikipedia.org/wiki/Queering
entanglement

Queer politics: surviving with damage
Taking an object and look at what it does in a work, and imagine an alternative (transfeminist thinking)

Damages: damaging for who?

damage to some, but some may flourish
cohabitation?

Reparation versus repair!

closely related terms but diffirent acts and goals:
reparation: fixing what is broken
repair: bring back in old state

NOTES 19.05.2020 (individual tutorial with Femke)

SYNCHRONIZATION
https://diversions.constantvzw.org/wiki/index.php?title=Eventual_Consistency

clock of the long now:
rethinking: what we can achief next rather than, improve what we have when we look back

clock of the long now:

ticks every once in a thousand year (ignores materiality of time)
ignores the fact that technology are inherently social

- power of imagination as: todays lack of mythos

- too far ahead: abstraction > don't act!?

These temporal feats alert us that the time of modernity is not the only kind of time, and that our metronomic synchrony is not the only time that matters.

RHYTHM:
'trembling with the earth' : understanding the current situation (situated knowledges and entanglements)

to connect of not
michael's text: moving with (not being in sync with your surroundings)
controle mechanism
TEXT: tiqqun: kadans

rethinking practical tool implentations:

specifiek: stream timeslider?
altijd aan? / uitzending?
niet kunnen doorspoelen?
alt volume bars (to normalize or not?)
jigles: ritme

Cybernetics: > zeevaart/navigatie mogelijk door de klok > ritme klok / ritme als energie > drang naar consistentie

Refuse image of lineair relation: - interconnected systems - imaginary: advocating for anti violent practice - No memory - forced diaspora

NOTES ON WORLDING

“Post-truth” gives up on materialism. It gives up on what I’ve called semiotic materialism: the idea that materialism is always situated meaning-making and never simply representation. These are not questions of perspective. They are questions of worlding and all of the thickness of that. Discourse is not just ideas and language. Discourse is bodily. It’s not embodied, as if it were stuck in a body. It’s bodily and it’s bodying, it’s worlding. This is the opposite of post-truth. This is about getting a grip on how strong knowledge claims are not just possible but necessary — worth living and dying for.

Worlding: het maken van de wereld (werelds zijn) > Harraway probeert te denken dat realiteiten en werelden niet per definitie bestaan (Situated knowlegdes)

Los van spreken denken, schrijven : hierme 'maken' we de wereld > realiteiten zijn gesitueerd! Niets abstracts zonder materialeit

Worlding examples:

1. kritische omgang met computers:

alsof er geen materiele consequenties zijn.
alsof er geen relatie is tussen materiaal en werking / gebruik / functie
materiaal komt ergens vandaan en gaat ergens naar toe
computer werkt met met electronen: warmte speelt een rol etc

Materialiteit weg organiseren:

gaat in tegen het idee dat we door binairiteit kun je efficient computers maken
efficient computing?
How commercial software works and shaped our thinking?

2. belofte: op een andere manier wereld kan maken

geen leger nodig maar soms science finction (gedicht, sci-fi)

READ More>>> HARRAWAY > a-giant-bumptious-litter (balitimore and thickness of worlding)

NOTES ON RADICAL SOFTWARE

[EXTRACT: Steve Rushton, ANNOTATION William Burrough's Electronic Revolution (c.2017-18)

[...] Michael Shamberg, in Guerilla Television, (1970) wrote: “True cybernetic guerrilla warfare means re-structuring communications, not capturing existing ones.” Shamberg, echoing the strategy of [William] Burroughs [in The Electronic Revolution], wrote about how the feedback technology of TV might be used to break the stronghold the networks and advertiser held over the minds of viewers back in the early 1970s: “[strategies] might include tactics like going out to the suburbs with video cameras and taping commuters. The playback could be in people’s homes through their normal TV sets. The result might be that businessmen would see how wasted they look from buying the suburban myth.” [7]1

Producing feedback mechanisms to change peoples perception // feedback strategy > awareness What was the aim? to really change their behaviour?

Groups like Ant Farm, Radical Software, Raindance alongside writers Micheal Shamberg, Paul Ryan [&c...] understood that to break the hold of the media monopoly it was necessary to include the viewer into the feedback loop of production (the equivalent of Burroughs’ tape recorder 3 [see The Electronic Revolution]): making the viewer visible to themselves would create a shift in the economic logic of the media. Looking back at the early projects by these groups and individuals it is striking to see how much promise the portable video device held for them. The stakes were not simply to do with changing others, the new medium also offered a new understanding of the individual’s nervous system in communication with a broader communication apparatus.

media vs natural. same mechanisms. New understanding of the individuals nervous system and the relation to the outside world

One of the first and most influential video works of the period, Frank Gillette & Ira Schneider”s Wipe Cycle (1969) used the iterative process of video feedback to engender a sense of dis/location and dis/embodiment. [describe more] Such apparatus, which were plentiful in the media art scene of the late 1960s and early 70s – including Ant Farm’s Dirty Dishes; the video works of Dan Graham, Nancy Holt and Bruce Naumann – allowed the move away from art as representative to art as performative. The circuitry of intersubjectivity, or as Gillette termed it – “the fantastic loop de loop”– refused mind body duality, refused the distinction between individual and group and refused the division between organism and environment and, as Burroughs’ text also advocated, it invited extension and adaptation of the self and the environment, affirming: “and...and...and”

about continuance, rather than arrival//srry no pro

The video system – in its most readily available and compact form, such as the Sony Videorover DV-2400 (1967), one of a range of video systems collectivity known as Portapak – was also understood as a therapeutic technology. This could mean therapy for the individual or therapy for society. To feed knowledge of oneself back through the circuit of the conscious system would result in altered consciousness.[...

Guerrilla TV and the polemics published in Radical Software understood the emerging technologies of their day as technologies of self. Their correct use would bring control back to the individual; the individual as medial (as produced through technologies) and collective (constituted within a group which is mediated by technology). Mastery of technologies of inscription ultimately mean control over the inscription of the self.

The artist Dan Graham, like Frank Gillette & Ira Schneider, had studied the work of Gregory Bateson carefully. It was Graham who –11 years before William Gibson used it – coined the term “cyberspace” to describe the new inter-subjective technological space created by the interaction of humans within a video mediated circuit;3 This was a space of self-enhancement in which the devision between subject and environment is arbitrary. It is no accident that at the point when research into cybernetic environments by Douglas Engalbard at the Augmentation Research Center – which developed the mouse (1961) and demonstrated an interactive environment in an event known as The Mother of all Demos (1968)4 – and the artistic and social experiments involving video technologies would be founded on Bateson’s notion of co-evolution. The notion of the human nervous system co extensive with environment are central to the development of video art and information technologies as they emerged in the early 1970s. In these spheres the site of difference is the site of the interface between the map and the territory, the conceptual and the physical [levels of abstraction= mythos].