<eyebeam><blast> Only questions

[Eve Andree Laramee <wander@earthlink.net>]

ONLY QUESTIONS

February 2 - February 8, 1998
55 questions asked


1.How are these aesthetic fields positioned, even as they mutate,
stratify, or implode?
2. What devices, procedures, and positions constitute the network that
informs them?
3. What struggles, alignments, and incompatibilities animate it?
4. What tools do we use to intervene within it?
5. How do we develop informed positions within these territories that go
right to the heart of the political question?
6. Qstn n: s rtspk n lss mnngfl wtht vwls?
7. Qstn tw: s gbbldgk n mr mnngfl wth thm?
8. For what purpose, all of this practice, for whom, for what
audiences,within what political economy?
9. I really wonder what he means by modernisation?
10. Why should artists be so concerned with questions of art?
11. Is it that art has become so hermetic it is left only with its own
image to contemplate?
12. Who knows?
13. Should we assume then that this "here" may put us in a more
intimate, in a more priviledged relationship with art?
14. An art almost already dead?
15. Or maybe you suggest that we should forget about her (not death but
art, or maybe both) in this intimacy with the ghostly realm of
electronic exchange?
16. How can the Internet be used to strengthen and expand politically
oriented cultural collaborations, with their necessary inscription in
located and embodied day-to-day existence?
17. Can localized artistic and political practices have a different kind
of life on the net, and if so, how?
18. Who knows?
19.  What do I know about Malandros?
20. What does a Parisian know about an Apache?
21. What is SAUDADE?
22. does it travel well or ill?
23. is someone who works at a firm and receives intranet email on the
net?
24. If she receives internet email?
25. If she has access to external ftp?
26. Should we really be asking for more Gate Keepers?
27. is this "temporal gap" increasing with technological development?
28. "For what purpose, all of this practice, for whom, for what
audiences,within what political economy?"
29. So, does "no death in cyberspace" mean "no art in cyberspace"?
30. is there yet possibility for something beyond art, closer to another
quality of affect?
31. Where should you/we go?
32. Could you expand a little on what you understand by 'virtual
narrative'?
33. Surely all narrative is necessarily virtual?
34. Have we escaped our condition?
35. what [or who] am i staring at?
36. So what form of solid(arid-y) can we find on the net that wouldn't
have a psychoanalytic component (matrix-child pair?)
37. yet wouldn't have a troublesome nostalgic melancholic air about it
(which Habermas associates with resurgence of 'localized'
tribalism/violence /attemte to dissolve the other)?
38. When we proclaim the death of art, whose art do we mean?
39. What art?
40. why on earth is to practice (contemporary) art to touch death?
41. and so what?
42. is arpanet the death of the net?
43. the death of a moo the death of the net?
44. the death of someone like Michael Current the death of the net?
45. the death of anarcho-libertarianism the death of the net?
46. the death of the theory the death of the net?
47. does art have any thing necessarily to do with death?
48. does death?
49. for that matter, what is "no death in cyberspace"?
50. What to do with these visual remains?
51. Politically oriented cultural collaborations ?
52. what constitutes a politically oriented cultural collaboration?
53. Yes there can be an intellectual understanding, but can it go beyond
that?
54. what is a network practice, how do we articulate it in all is
complexity and diversity, without falling into the traps, without
jumping the gun, assuming that, for example, an image exists as such?
55. oh when does it end?






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