<eyebeam><blast> Only questions.3

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

ONLY QUESTIONS

February 9, 1998 - February 13, 1998
85 new questions asked
200 total questions asked in 12 days

115. Are you suggesting that the development of cybernetic technologies,
as such, may help alleviate that problem?
116. Will posthuman cyberintelligence have a more supple aproach to
human relations than the earlier varieties?
117. Or will it just be more efficient?
118.Sometimes you sound too much like some sort of high school teacher,
like when you say that you don't have time for melancholic
introspections(?!)
119. "Why is there Being rather than nothing" might conceivably
translate into "Why not?"
120. Does anyone else see these parallel?
121.  Am I imagining things?
122.  In this period of the posthuman, where you figure the human as a
distributed cognitive system that includes both human and nonhuman
components, hwat kinds of new languages, can we posit for dealing with
our relationship to objects?
123. How is meaning generated here in relation between human and the
object, what language arises, and where?
124. What is the code?
125. Given that computers can house "recombinant" digital elements of
image, sound and text, how can the artist become an "author" of
responsive, self regulating systems that enable "intelligent" emergent
poetic responses to user interactivity via the encoding, mapping and
modelling of operative poetic elements?
126. How can such an environment enhance or trigger particular "states"
of consciousness in the user?
127. To what extent can we "re-frame" aspects of the conscousness of the
artist, via specific modes of "translation" of operative poetic
processes and poetic elements of image, sound and text, within
functional
computer-mediated networks?
128. perhaps there would just be a furious clash of 'performances' as
each tried to install realities, whether the phenomenological or the
political or the ludic (though goodness knows how one discriminates
those -- and the performative command is lost at that point, no?)
129. Portuguese Português estranho na propria lingua sem acento sem
poesia sem teoria sem fala sem calculo sem ordinateur sem Sao Paulo sem
rede sem network sem tradutor sem veracidade sem localizador sem
digitalizacao sem o grande deity  Komunikassao?
130. essa linua de brasileiro?
131. (as well as some of the interest?)
132. Does some of the ghostliness of which you speak participate in a
denial?
133. Are they in Virilio's sense, dromomaniacs?
134. Are they cyber travellers (having already seen the world through
the television screens of their lives) disguised as real travellers,
virtual nomads disguised as tourists?
135. IS this, to quote Johnny Rotten, a Cheap Holiday in Other People's
Misery?
136. televison is the 'museum of accidents.' If that is the case, then
what is the web?
137. What is the cyber-space?
138. Can poetry be read on the flickering web pages?
139. Does it make any difference?
140. Has it really changed the medium itself?
141. Paris...Montreal "a Canadian"...Moscow?
142. Should a poet publish "on" the web?
143. How can one "publish" "on" something that is not there, and is
merely the imaginary flicker [the virtual?]
144. of electronic-chemical circuitry?
145. If all text is a deconstructed seamless flow of breaks and hazards
stretching back and forth, sideways and "rolling" into the depths as
well as contracting on the surfaces, if the pusillanimous "real" paper
texts of the dead cannot reach us and be read, then what purpose to play
the margins of the strange dead land called the web?
146. But how can one read a web page?
147. How can Poetry in all its myriad and many difficult forms survive
this further disembodiment? 148. Is it desirable?
149. It is one thing to download personal letters, gifts and poetry,
prose excerpts, and essays, but does one own want to "down-load" [what
demeaning lingo!] the whole cultural inheritance of literature?
150. To what purpose when the books already exist.*** On the other hand,
there is always room for experimentation and glorious innovation, and if
It Works don't fix it.***         ** No position taken, except that of
personal taste?
151. Is that what one is left with in the end?
152. A personal space, a merely personal taste?
153. What is cyberpidgin?
154. Of what does it consist?
155. do we have a good example?
156. Or perhaps I witnessed extravagant gifts being exchanged in the
street of little girls?
157. Why bother?
158. so what would be Net.specific?
159. Bandwith, browsers' interfaces, shockwave, real-audio?
160. "Net.specific" an end in itself?
161. Marketing a worldwide audience?
162. did they determine the design of the film camera?
163. the frame rate?
164. Screen ratio?
165. acceptable length of a feature film?
166. how the film would ultimately be promoted?
167. Is it the delimited agenda that only the socio-political efficacy
of art online be at issue?
168. Is this a place for working artists who happen to either do digital
image stuff or display what they do in conventional media in cyberspace?
169. what makes good art, or anything Art?
170. is art more good thatn not-art, or rather is it just more good at
being Art?
171. What about netartists?
172. Do they look the same as Real Artists?
173. Or just like actual artists?
174. Or like something entirely new?
175. Has the discourse,  or have the social facts, produced interesting
images, or facts following images, following facts?
176. Or the other way around?
177. will there be -- or are thee already -- netartist Heros?
178. what about with this virtual territory?
179. And its protruberences elsewhere?
180. (brrrr...,cold?
181. warm?
182. Has anyone ever experienced it?...)
183. (Qu'en est il de la memoir informatique?)
184. Pourquoi commencer par toutes ces comparaisons et ces constations?
185. If we do choose, ethically and legally, to take the foute of
manipulating our genetic make-up then what does this imply?
186. We will still be human?
187. Just how much manipulation would be required before we would have
to conclude we are a different race of beings?
188. Doesn't this indeed, represent progress?
189. Doesn't the refusal to admit this amount to self rightous sneering?
190. "Perhaps the lifespan of a species is inversely proportional to its
degree of intellectual development?
191. The disembodiment you find politically dangerous, Kate, is perhaps
even more dangerous than we think...is this just one more clever way of
killing ourselves, out with a wimper and not with a bang?
192. And the idea that the net can somehow breathe new life into Art?
193. My beautiful French wife teaches temporarily at Duke and supports
me in my free-wheeling lifestyle: we'll be installing semi-permanently
in Paris at the end of this coming summer; any ideas on what I'm going
to do there?
194. "Virtual communities of like-minded individuals working together
suppressing their own egos in the process"?
195. Do we really want a "disturbed cognitive system" like that?
196. Why all this mail are redirect to me?
197. What are you doing?
198. Have we been hijacked?
199. delete what?
200. (postspeech?)
-------------------------------------------------------------
a critical forum for artistic practice in the network
texts are the property of individual authors
to unsubscribe, send email to eyebeam@list.thing.net
with the following single line in the message body:
unsubscribe eyebeam-list
information and archive at http://www.eyebeam.org
Eyebeam Atelier/X Art Foundation http://www.blast.org
-------------------------------------------------------------