Re: <eyebeam><blast> other

[blast-agent <agent@blast.org>]

5 messages, from Adnan Ashraf, Matt Gardiner, Sean Cubitt, Jason Edward
Kaufman and Mike Stubbs




Adnan Ashraf  <adnan.ashraf@bender.com> writes:

this posting is removed (request by adnan ashraf)

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Matt Gardiner: <mrg@netspace.net.au> writes: 

DO we forget then that the other is a construction, something
categorised by our words like american, like gay, like straight, male
female, until you have defined every individual aspect, until you have
completed every detail. . . the picture is painted.

Our words break down, we need to unify to find relationships, to
recognise patterning, to speak without words.

Sketching outlines,

roadlines across our globe create chaotic patterns, as do phone networks
which follow them, enveloping that layer lies the electronic web, a
structure linked to the complexity of a millions of seperate computer
circuit boards, embedded with billions of microchips, every single one
of them unique events that have repeated, to form something in common.
something shared by each component.  the creation of an organic
structure which is living and growing.

We all have helped create what it is, we see small ripples become part
of waves.  Our responses and interaction are part of its ebb and flow,
the creation of the data which flows through the electric brain network,
is from us, all users have created it, some on larger scales others on
lower, reguardless all components share an element in common, they exist
as part of the whole, and their    own         reflects the whole.


 this is the bit you're not supposed to read:

walk along the path the other way and see that roads came because wealth
offered travel to the rich hence horses and carts became cars and trucks
(a simple picture) and travel, whether on virtual or real planes of
existance always provides new information.  The young carpenter goes out
into the world to find his fortune to experience life.  He wanders and
he learns from the world, befriending goblins and saving princesses.  As
much as the young  play supermario on nintendo .. .

matt gardiner
macro viri developer
www.visual-art.com


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Sean Cubitt <S.CUBITT@livjm.ac.uk> writes:

Frustrated - like everyone else
elated - like everyone else
damned like everyone else to the jargons and presumptions, and as 
hemmed in by them, crowded out by my own knowledge . . . 

For example, on the subaltern, a term picked up far more in the North 
American academy than elsewhere, and disputed there -- for example in 
the pages of *boundary 2* -- as to whether the concept of subaltern
studies can encompass poststructural techniques of discourse analysis
proposed by some of the Latin American Subaltern Studies group, or
whether it should be restricted to the terms of enquiry undertaken by
Ranajit Guha and his colleagues in the Indian journal where, in Guha's
introductory essay, the subaltern is contratsed with elite historians,
who in India ascribe the achievement of independence and the struggles
that lked to it exclusively to either the enlightened operatives of the
Raj (British version) or the emergent national bourgeoisie (Hindi
Nationalist version). 

The issue is not -- even if it was to some extent when Guha first
proposed it -- academic. Today and for several years communal violence
has been spurred on by ideologues, especially of the Shiv Senna, as the
legitimate expression of just such elite ideologies.What makes Guha's
concept of the subaltern so important is, in his words, 'the small
voices' which the careful historian picks up from the accounts of
magistrate courts and commissions of enquiry into peasant rebellion and
the swadeshi movement and so on -- the voices erased from history by
their lack of access to the tools of governance, whether legal,
financial or technical (like writing).

So the material import of Guha's subaltern studies is not about
identifying individuals as 'subalterns' but about what it means to live
and leave your mark in the margins of history.

Which is, for me, its relevance to the net. Most pop histories write the
history of the net as an elite history. But what is important, what
makes it alive, is the small voices that stitch their way through the
fabric -- not as individuals, not as representatives of something, but
in the modesty of amateurs, in that root meaning of lovers - of the
medium. Like lovers, they give more than they take; like lovers, we are
more interested in our beloveds than ourselves. More than posthuman --
postindividual.
-- 
Sean Cubitt
U: http://www.livjm.ac.uk/~mccscubi/screen.html


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Jason Edward Kaufman <jekauf@ix.netcom.com> writes:

Margaret Morse has brought up the matter of intersubjectivity in
relation to interactivity in her highly intelligent comment. I believe
the distinction is germane to this eyebeam discussion. Indeed, I believe
that it distinguishes the best art from prosaic art and from more
mundane pursuits, such as purchasing a book from Amazon. The artist
strives to convey his world view in all its particularity, to admit
another to his or her solitude. I have written about intersubjectivity
as the ultimate achievement of art and I intend to expand upon the topic
in an book. I would welcome illuminating comments from subscribers.

Jason Edward Kaufman


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Mike Stubbs <stubbs@mail.easynet.co.uk> writes: 


Ben
 a question or two

you say
 To take a concrete example suggested by Adnan's post:
>Talvin Singh, a DJ/producer who has gained some notoriety (WHERE AND WITH
>WHO ? ) by fusing
>South East Asian sounds and textures with "Western" dance beats (I put
>quotes around Western because the beats in question, known usually as
>jungle or drum'n'bass, are themselves a product of cultural migration
>along the West Indies-America-UK route which has been called the Black
>Atlantic). (THIS SOUNDS TERRIBLY ABSOLUTE)  What is enabling this fusion
>is digital technology, (HOW ?)
in this instance (PLEASE NAME SOME OTHER INSTANCES) the sampler, which
allows musicians to manipulate global sounds in the same way we can
cut-and-paste material from any website. (OR LIKE BARTOK RIPPED OFF THE
GYPSIES ? WITH HIS SAMPLER) Now, I
>personally don't see anything particularly "Indian" about Singh's
>music (WHY SHOULD YOU ?) --its ironic that, for example, white
>middle-class Brits have been
>sampling "exotic" Eastern flavors for years, although not very well -- (I
>THOUGHT STRAWBERRY FIELDS WAS ALRIGHT)
>but he's garnered lots of media attention on the basis of his
>post-national, representative-of-our-new-global-culture identity. (HAS HE
>REALLY GARNERED IT ? AND AFTER YEARS OF OPPRESSION FOR BRITISH ASIAN AND
>ASIAN PEOPLE IN ENGLAND - GOOD LUCK TO HIM IF HE HAS) And he's appealing
>to a similarly displaced audience of cultural migrants,
(NO, THE MUSIC APPEALS TO THEM)
>giving them a form which relates to their own experience in very
>obvious, but also I think quite simplistic, ways.
(ABOUT AS SIMPLISTIC AS YOUR 'CRITIQUE')

and no im not shouting

Have a merry tomorrow and a happy day after

Mike Stubbs
102 Blenheim st
Hull
HU5 3PS
tel/fx; 44 (0)1482 492172

http://www.pva-org.demon.co.uk/mike.html
http://www.pulsemag.demon.co.uk/mike.htm
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