|
|
| Indeed, the electronic is phenomenologically experienced not as a discrete, intentional, and bodily centered projection in space, but rather as simultaneous, dispersed, and insubstantial transmission across a network. Thus, the "presence" of electronic representation is at one remove from previous representational connections between signification and referentiality.[1]
problems with gender definition when papers are from women they become male. bladerunner quote regarding identity evidenced by photography. robots are made real by the acquisition of photographs. bill gates "if it's not digital it's not real" what happens when you print something from a computer. privileges the cinematic, critiques the technological. technology makes her argument redundant now. the dispersal of information across a network subverts her argument. does not subject object situation occur within the electronic? do not know whether we are getting anywhere yet. density in the text which is giving us so much to refer and relate to. jameson quote " The liberation...from the older anomie of the centered subject may also mean, not merely a liberation from anxiety, but a liberation from every other kind of feeling as well, since there is no longera self present to do the feeling. This is not to say that the cultural products of the postmodern era are utterly devoid of feeling, but rather that such feelings--which it might be better and more accurate to call "intensities"--are now free-floating and impersonal, and tend to be dominated by a peculiar kind of euphoria.[2] over concern with the future is denying us our present. all theory tells us how wrong it is to have subject based position. loss of subjectivity does this necessarily mean loss of identity? there is no such thing as a neutral signifier. to have a subject you have to have faith a zarathusian deleuzian. the electronic eliminates the need for a body. when you turn on the tv you participate in a greater situation than your own reality and experience. bullshit. you're shifting the goal posts. but in the end you need a bloody body to do it...... the insertion of a chip under the finger that accesses everything pertaining to the individual. if you are computer illiterate then it bee cums arder fur u ta git wun. i meen a job like. it is treating a computer as a tool rather than an aspect of mind. roy ascott. call for a greater connectivity. it is not an old fashioned approach to have faith. it is almost the most important criteria for there to be an act of faith integrated within technology that allows for growth and development. is there a time when you have to re represent the body. the very material of the electronic is infact the experience itself. computer games that destroy people, six year olds blowing away virtual others. all surface electronic space cannot be inhabited. you have no choice you can only engage with it for each person here they interact with it differently. Digital and schematic, abstracted both from reproducing the empirical objectivity of Nature that informs the photographic and from presenting a representation of individual subjectivity and the Unconscious that informs the cinematic, the electronic constructs a metaworld where ethical investment and value are located in representation-in-itself. That is, the electronic semiotically constitutes a system of simulation --a system that constitutes "copies" lacking an "original" origin. And, when there is no longer a phenomenologically perceived connection between signification and an "original" or "real," when, as Guy Debord tells us, "everything that was lived directly has moved away into a representation," referentiality becomes intertextuality. [3] each mind body has choice in the situation. can you be bitten by a virtual rat? Yes if your wearing a virtual suit? in technology the live body has choice. what about e choli virus. then we could talk about a i d s and how some people who are exposed to this are un affected. edmund hirsall if mark is right and barbara is right the influencing factor is then hinged on our relationship with technology. the effect creates more problems. not to embrace beyond it. the smart card now exists. everyone has a tax file number. if the insertion of a chip is to define identity then so be it. there is a split where the young become feral and are therefore outside of existing society. no there is already a background from where those people have come from. the fear is orwellian that everything technological is therefore bad. britain is now a third world state. many people are now in the underclass. in the underclass there is no escape and there is no way of getting out of that situation. 24per cent are unemployed and are unemployable which therefore puts such a strain on the resources of the state that it is now computable as an unsustainable position when a similar figure of people are contributing to the state. whether the feral is thru choice or a multiplicity of events they then place the individual outside of society. Thus, identifying the photograph as a fetish object, Comolli links it with gold, and aptly calls it "the money of the 'real'"--of "life"--the photograph's materiality assuring the possibility of it's "convenient circulation and appropriation.[4] you can remember an image but you can not recreate an image from memory. the glimpse or long time seeing. instead of committing things to memory you put it into a data bank. no, the difference between the long term thought full appreciation of information rather than the ignorant glance. the loss of the facility to store information and pass it on. guirdjieffs father could recite the whole of the arabian nights from memory. "in so thickening the press of this temporal simultaniety...... the gaze locates itself in the object it depends on the nature of the gaze of the perceiver. the gaze becomes an expandable commodity. all the time becoming increasingly polluted. the things we take in are not what we initially understand what starts as a critique has become a reality stills with the eye that blinks la jettee where do you get it....? "To see is to have at a distance."[5] the eye and the mind.... invisible and the visible. phenomenology is the way to go knowledge is power. the mind and the body north and south sees it as power if you want to change to paradigm you have to change the language utopia in modernism you need an ego to begin you need a faith i made this I constructed this It will be the insights and innovations of Artificial Life which will show the way, just as it will be the mechanisms and methodologies of nanotechnology that will get us there. Clearly, the artist must be immersed in the research of Artificial Life, (as Christa Sommerer & Laurent Mignonneau, for example, have done with such consummate originality at the ATR, Media Integration & Communications Research Laboratory, Kyoto) where issues of complexity, emergence and algorithmic evolution must take on an importance once accorded only to the immutability of renaissance perspective and the classical laws of harmony. Of course the cultural shift will not stop there. Where there is artificial life, artificial consciousness is sure to follow. [6] even if you are proposing a romance of the new An identity and a reality in a constant state of transformation and flux., in which no aspect of cognition or perception is taken for granted, no a priori conditions assumed or accepted.[7] the idea of there not being an identity With corporate telematisation, middle management will disappear. It is only needed in a pyramidal, top down structure.. A cybernetic, networked model does not need that middle strata.. Bottom up, inside out models of industry and business have no layered chain of command. Instead, information and control passes from node to node, in the fluidity of the net. But beware! The laying off of hordes of middle-class, middle management, administrative personnel will create a massive pool of angry, educated and impotently authoritarian (if not actually fascist) dissenters from the telematic society. The revolt will not come from the streets, but from the very dining tables around which the chattering classes endlessly bemoan their future.[8] here we have the bourgeoisie the typical binary opposites the ground is always shifting and this is where he positions himself historically model of antagonism interesting thing claims it always in flux and then takes up a position that denies it You will understand that the perceptions of Europe that I am offering here are as an artist not a social commentator. The artist is no analyst or statistician. We work by intuition, psychic apprehension. We're a lot nearer to the shaman than to the scientist. Paradoxically, at the very time when art is embracing high technology, the shamanic way is the only way forward for the artist. I shall show later why I think this is so. [9] on one hand he sets up a shamanism and then he splits it We are connectivists and constructivist of energy and vision. We need new horizons, a wider landscape. We need a clean slate to work upon, a tabula rasa, a substrate worthy of our dreams. We have such a substrate on which our moist realities can grow. Close to Europe but far from its pessimism and sclerosis. We love Europe but not in its present mutation, its indifference to innovation, creativity and vision, its rejection of the Connective State.[10] the whole terra Australia is a tabula rasa one minute I am pulling to the left the next to the right talking about boundaries believe in technology follow him over the wire all of the assaults are based on europe connecting minds you fundamentally have to be a new subjectivity and trans subjectivity the male language is based on war he uses it as a tool and not as a means of reconstruction being able to identify yourself within it face to face the way you write the way you talk he can of leave it because he is part of it is there any ethics in this hyper cortex what are the consequences of technological ethics we are in a new state of consciousness here we are decorating it retooling as rebuilding what height are windows you just stand there and place it where you want link this to the futurist patterns not grids eurocentred artists to work with architects perth is like the mediterranean it is so insane beautiful rose garden australia is the ultimate postmodern society everything is so new here metaphor of the garden for the whole idea here taking about it here is different form talking about the paper in london the futurist were connected with fascism this area is for fascism to grow look at reconfiguring what you are creating are new signs it took time to make sense of it absolute obsession with the new out of the doing of it something's come we are incapable of creating the new it is still ethnocentric seeing the earth as a resource Wrong medium at the wrong time ©[11] traditional art practice is not the right medium content is not any different the message is in the material it is more about ideas student centred learning is about this says there are new things happening how much can you change at a certain point in time you have to own your past if we are curious for contemporary art where do they go no colour printing in new technology what painting does is look at the quality of paint All around them, there seems to be action, change, movement, enterprise, ambition, pick-ups, playfulness and promise. Art everywhere appeared to be setting off on a new adventure. Only painting remained fixed to its spot in the corner, and refused to move.[12] painting placed along side an installation can look less interesting culture impinges on what is not fast and easy to digest some looking at red and green re-enforce the real expression of popular culture not by artist tuner embracing the future cant let go white picket fence the spectacle is maybe more true to contemporary art What cannot be taught, what art-school students have always had a better sense of than their teachers, is contemporaneity: instinctive cultural relevance. To be of your time, or to be of someone else's? If you were a student today, which would you choose? [13] do we want to just carry on like this don't have to be art
1 Vivian sobchack http://www.rochester.edu/College/FS/Publications/Sobchack.Scene.html 2 Ibid. 3.Ibid 4.Ibid. 5 Ibid. 6.Roy Ascott http://www.heise.de/tp/mud/6140/fhome.htm 7.Ibid. 8. Ibid. 9 Ibid. 10 Ibid. 11. WALDEMAR JANUSZCZAK Wrong medium at the wrong time © Sunday Times July 6 1997 . 12 Ibid. 13 Ibid
|
|
