<eyebeam><blast> ONLY QUESTIONS.8

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

ONLY QUESTIONS.8
April 10 - May 1, 1998
247 questions asked in 21 days
1068 Total Questions asked during the 90 days of the Eyebeam Forum


821. The question, I think, is: accessible in what form?
822. If direct distribution over a global network wasn't important to
your artwork, then was your art really made for the Web in the first
place?
823. What will become of an artist's precisely rendered 800 x 600 pixel
bitmap if screen resolution jumps to 10,000,000 x 10,000,000?
824. So who finally protects the workers inside the U.S. or outside?
825. Who is there to control the environmental performance of TNCs
globally?
826. Are we to rely on the good sense of corporate planners to fight off
catastrophe?
827. Can we trust the fugitives from law to protect the law?
828. What are we actually watching?
829. Are we not to be allowed the freedom of humour or irony?
830. More to the point, what is wrong with Gullit's point?
831. Who is going to use the technology?
832. Given the entrenched skepticism about bio-engineering, what would
make an individual embrace reproductive technologies (the most extreme
form of biotech)?
833. Can you help me out here?
834. Finally one must ask, is this structural replication of
monumentality desirable (at least in its current form)?
835. The same old questions come back haunt us--how is the electronic
media artist identity constructed, and who is all this electronic
cultural production for?
837. another way?
838. What can you do?
839. Am I wrong?
840. It can't be just those leather coats and boots can it?
841. Have we learnt from documenting ephemeral practices of the 60's and
70's without resorting to coffee table CDroms?
842. Do you really think that Debord's concept of the spectacle is
narrow and can not be use to productively describe the proliferation of
commercial porn?
843. It looks as it's more like you are the one who doesn't really have
a sense of humour, do you?
844. Do you really want to suggest that watching the Hustler web site is
like reading "La philosophie dans le boudoir"?
845. The sexual subject is satisfied, for the reproduction we have
cloning,
sperm banks, test tubes, incubators...but, what do we need a
reproduction
for, anyway?
846. the new consultancy can do better than that, you would think?
847. (why so  many rings?)
848. (the copernican revolution  in problem solving)?
849. (another "not attractive?)
850. What breaks the cycle?
851. Anyone going to that?
852. Is the question really unanswered? Or are we just pretending not to
know?
853. And what happens when your retirement money is invested in the
stock
market?
854. Whose health and wealth do you worry about?
855. The great unanswered question might be this: will the rapacious
exploitation and effective political monopoly of transnational
corporations
spark any powerful new alliances between bourgeois intellectuals and
those
who have little or nothing to lose?
856. (remind you of anything?)
857. Anyone have thoughts on this, and how the digital world might
overcome
these obstacles, or simply be as easily coopted by careerism, politics
and
greed?
858. So you think it is amusing that governments attempt to control what
we
see, seek to regulate the internet in order to intercept our
communications, and classify encryption as a dangerous munition?
859. Perhaps you imply that "high culture" is more valid, more
"authentic"
than popular culture?
860. Are you accusing me, or Gullit of trying to shut down complexity?
861. (join forces?)
862. What is the role in this landscape for critical artistic practice?
863. Could you elaborate on this confluence of the museological and the
urban?
864. What would replacing the institution of the museum with the
exhibition
as an institution entail exactly?
865. How would the city serve as the privileged reservoir of memory, as
inscribed in the body and its lived practices?
866. How much do you hear about the Human Genome compared to microsoft
windows? Which of these two is the nonspecialist public more familiar
with
(knows more about it than just the name)?
867. How many members of the nonspecialist public know the difference
between DNA and RNA, and how many know the difference between a hard
drive
and a zip drive?
868. How many more biotech projects can you name that are as big as the
Human Genome, and have the same public recognition?
869. Can the same be said for biotech?
870. (is that true?).
871.  What is your view, as an entrepreneur, of citizens using
stockobjects
to communicate with each other, themselves, assuming they are authoring
not-for-profit?
872. What breaks the cycle?
873. But what was the price?
874. (who will pay for you to be buried for a year in some arcane coding
problem?)
875. Is there another way?
876. So, where is the solution?
877. Is revolution as option?
878. It would be easier for humans to set up the objects to fight for,
but
would it be applied to all the culture..?
879. Can you tell me a bit about the display you did there?
880. What is the role of the architect ?
881. Can you tell me a bit more about how this process works in general,
and perhaps more concretely through the example of the Fruit Museum?
882. How do you see the role of the architect and the urbanist in terms
of
providing public space, to "make public" ?
883. Where are the boundaries between public and private space in the
city
now?
884. It's like a membrane he's interested in creating. How do you see
the
distinction?
885. In contrast with Europe?
886. How do you see these exploring or emerging cities in South-East
Asia
and China, the incredible high-rises in these cities, this verticality?
887.  how do you see the development in cities like Kuala Lumpur and,
can
you talk about this concept of horizontality instead of verticality?
888. Are you interested in bringing environmental issues back to the
city?
889. Could one extend this to a building - a "building on the move", in
permanent transformation?
890. Can you talk about this kind of shifting/floating between the two,
this in-between-ness?
891. How many people work in your office ?
892. Could you tell me about the process of the workshops?
893. Would you call it a collective building, a collective process?
894. Architecture as a trigger?
895. post human?
896. Strikes me as profoundly human, no?
897. Was it produced by Anne-Marie Duguet?
898. Who is there to control the environmental performance of TNCs
globally?
899. Are we to rely on the good sense of corporate planners to fight off
catastrophe?
900. Can we trust the fugitives from law to protect the law?
901. Who is there to control the environmental performance of TNCs
globally?
902. Are we to rely on the good sense of corporate planners to fight off
catastrophe?
903. Can we trust the fugitives from law to protect the law?
904. So your questions were like saying, hey, where is that long due
essay?
905. What "problem" did you have in mind exactly?
906. And how was the "holocaust" a solution to it?
907. Do you really think that the systematic humiliation, expulsion,
imprisonment and murder of several million people was an accident like a
plane crash - or a natural catatrophe like a hurricane or an earthquake?
908. Just one of those things ... ?
909. can we conceive of a anti-monumental memory of the city and
enhanced
it through an art exhibition?
910. Isn't that a suitable description for the urban?
911. Have "authoritarian personalities" really faded away, or do they
just
have new uniforms and/or camouflages?
912. Why can an artist more easily assimilate into this discussion with
less friction if they are versed in the apparatuses of French and German
intellectual thought?
913. How does it happen that meanings and domains of knowledge are so
often
(if not always) nonexistent until we coax them into existence?
914. Any ideas?
915. EVIDENCE?
916. Where does the boundary between determinism and contingency lie?
917. SITE FACTORS might determine which pathway post-disturbance
succession
takes (?)
918. accident?
919. "What is science hiding?
920. Where did that trajectory go?
921. Into the W.A.S.T.E. bin?
922. are we working for life, or are we working for death?
923. "Who are the brain police?"
924. "She had heard all about  excluded middles; they were bad shit, to
be
avoided; and how had it ever happened here?
925. With the chances once so good for diversity?
926. Buckminster Fuller who could convincing create plans of cities that
could float in the air?
927. Iannis Xenakis whose symphonies could be translated into
architectural
schematics?
928. A.G. Rizzoli's ficitional palaces?
929. Is it for their lightness That you reproach our tents?
930. Have you eulogies only for houses of mud and stone?
931. "What about the fire in Brazil?"
932. If you're interested in alternative futures, why talk about memory?
933. And why those restricted "Euro-references" that annoy the
Subliminal
Kid?
934. But hey, aren't we supposed to have gone past the stage of the
hybrid
identity?
935. Are we not now, in the wake of that bad phrase called
"globalisation"
in what I would call connectivity land?
936. I would like to ask about what qualifies as "real people" and
"homeland", because that is what is being disputed now and will continue
within cultural theory?
937. Does anyone care anymore about the artificiality of the seductive
digital image, which cannot be anything but artificial?
938. But would you also credit the fact that during the 80's in Glasgow,
working in relative isolation before the popularity of Photography as
art,
my contemporaries included Christine Borland, Douglas Gordon and
Roderick
Buchanan?
939. So here it comes, what is non-western about my practice? Why does
Alstatt feel the need to label me as a Nigerian, when I hold now a
British
citizenship.  Does the virtue of having been born elsewhere leave traces
that ensure that one can always return to the authentic "homeland"?
940. Or rather is it not impossible to return, yet one never truly
forgets,
even though one doesn't feel to fit into the new adopted "home"?
941. "Between worlds"?
942. What would one's aesthetic be?
943. Would it be, as I would suggest that of the "mistaken identity?"
944. Would you say that this misunderstanding was fortunate in that it
has
motivated nearly 400 years of critical development?
945. Why did "fetish" have such rich evolution, and not some other word
from this pidgin situation?
946. Perhaps it is time to find another term
from a similar setting, perhaps one just emerging now, in order to jump
out
of "fetish"?
947. Can they exist in the same moral universe?
948. What can one say?
949. And if in expressing the malevelant sights of that inward eye we
alight on beauty as our transport, will not that beguiling craft capture
the reader and conduct him into depths to which he otherwise would not
have
descended?
950. Why this exasperation inthe face of Invention??
951. Why this small reaction in the face of Imagination??
952. Why should a thinker rest easy with a simple vocabulary?
953. Why should she do that?
954. A parody?
955. Why because you dont understand it and dont have the humility to
admit
so even to yourself?
956. Sense in your world?
957. Are you writing out of that vaccum of meaning called common sense?
958. What sense doesn't it make sense to?
959. WHose sense?
960. Whose epistemology?
961. Whose ontology?
962. Yours?
963. What is that ontology you are speaking out of?
964. What art have you praticed?
965. What writing have you done that dares to take language beyond its
norms and to be inventive and that takes risks with both language and
sense?
966. What does it mean Empathy?
967. hAve you show any Empathy to the author whose work you attempt to
be
caustic about?
968. And why?
969. Do you really believe this?
970. First of all, how can "critical artists" bring the knowledge out of
the labs?
971. You presume there is knowledge to be brought out--what if you
presume
mistakenly?
972. How could they know?
973. Do they know what's happening with D & G?
974. Or Lacan?
976. Are not the languages used in these specialized fields highly
specialized themselves?
977. Do you, as a critical artist, think you can, without years of
dedication, without learning the language, begin to understand particle
physics, or the habits of retro viruses enough to present them to the
nonspecialist public?
978. But what of "Asia" ?
979. And the futures?
980. And the "Asian" city?
981. Love?
982. (even Lysistrata - how many schooled in Latin, Greek?)
983. Stop the war?
984. Or, how many apologies for not being "good enough" does a priest
have
to make as he is grotted or slaughtered with baseball bats in the hands
of
adolescents?
985. Which of her 'neologisms' were irrelevant?
986. Shall we say, in good 'proper english' We could not Care Less, or
say
Care less?????
987. Why?
988. Is it a coincidence that so many have written about her work???
989. So many women and men of words have been drawn to her and her
work???
990. Is it is a coincidence??
991. That she Makes you Question Your position?
992. Que Dirait Eurydice?
993. What would Eurydice Say?
994. Do you think this is right?
995. (are you listening, Alan?)
996. Are these issues considered unpopular?
997. Unfundable?
998. Unexciting?
999. how many sweatshops in your home city?
1000. how much casual labor?
1001. And why would we resist that passage unless our own refugee selves
trammelled in 1002. repression were screaming however quietly that we
desired our own death that our desire desired us to repress and forget
our
repression and forget the act of forgetting?
1003. Yet if we are too get through the madhouse we now come to accept
as
everday life, where violence is the norm how can we with any sanity
refuse
what is after all a very real work that makes maps of what it has seen?
1004. We call the body and mind seperate things - but it is not so -
what
is this this actual moment here as I write to you Readers but the mind
that
has made a body in the ether in the body which has now grown new organs
and
made desire another space in which to walk its ways?
1005. Shall we love her or hate her?
1006. 'What is this escape?
1007. Who can resist this?
1008. who can say this is not the path to tread?
1009. Therefore how can one imagine an art-form which realizes itself
pas
the anxiety which toils nighly in our bodies?
1010. Who knows the answer, who knows if life is death or death is life?
1011. And has not Feminism in all its varieties not done exactly what
the
young boy hoped and longed for?
1012. (who was who said: "There may be hope ...but not for us"?)
1013. I wonder if you could offer some advice about the premise of the
new
consultancy sponsored by the emerAgency?
1014. 'For without a disturbed sense of ourselves,' he maintains,' what
will prompt most of us...to turn outwards toward each other, to
experience
the Other?'
1015. Why can they only make the assumption that new technologies solve
problems?
1016. Yet, is art communication?
1017. Can one say that the postal system is a new medium for making art?
1018. Why would they care?
1019.  But what does this information actually tell you?
1020. What does it mean to have a heart rate of 110 beats per minute?
1021. Is that healthy or cause for concern?
1022. And who is Simon Tegala anyway?
1023. Does he really exist or is he the figment of someone else's
imagination?
1024. Is he someone moving about the city at this very moment that we
are
gazing at his heart rate?
1025. When the images of 'precise' target bombings were beamed into our
homes, how many of us questioned the precision of this new technology or
considered the effects of this anonymous technology on individual (and
invisible) lives?
1026. You're playing a political game with AIDS,aren't you?
1027. The other side?
1028. Which other side are you talking about?
1029. The patients?
1030. Non-government forces?
1031. Anyone who is doing research, any doctor dispensing hi-tech drugs,
are they all to be lumped together with the evil drug companies?
1032. Evil governments?
1033. Can you blame me?
1034. How does one for instance, think the question of trans-sexuality?
1035. What are the biological diffferences which present themselves as
memories which  cannot be said to be exclusive to either male or female
subjects?
1036. But what happens to the male-being during the various stages of
conception, pre-birth and birth?
1037. At least in one type male body say 5000 years ago or more?
1038. A chance for bodies meeting?
1039. [dare I say it?]
1040. their union?
1041. (I always regret. Is there anything else?)
1042. Shall I, now, almost about to leave Japan, within another two
weeks,
begin already to speak of exile, this body robbed from myself, not my
own,
or doubling homes or vacancies? 1043. What happens in the process of
cauterization, displacements from which one slides into the flesh or
skull
of another?
1044. Home or nation or _name?
1045. What are the bones or processes of bones in this maternal safety,
as
if exile were an addiction, a drug, as if there were a _gathering_ of
sorts, a coalescence, around this one word, _Japan_?
1046.  (What if there were no word?
1047. What if the maternal is nothing more than the comfort of
ignorance?)
1048. I am more concerned, tha whilst the boundaries of science and art
need to be brought together, it is vital to ask what we aim to achieve
by
this process-an new 'truth'?
1049. But refuted by who?
1050. I applaud CAE's motives in somehow 'redressing' the balance
between
the lab and the outside, but why should artist ethical doctors of this
ailment?
1051. Can any one tell me when in the history of western art it had been
possible to change societal aims through the emancipatory aspects of
art?
1052. Is this not a case of borrowing from the language of the
institution
to show how clever we artists are?
1053. I would like to end by asking what qualifies an artist in these
days?
1054.   Is this how you would categorize the work of Caravaggio, for his
critiques of the Catholic Church?
1055. Jonathan Swift, for his satires of Britain's inhuman public
policies
in Ireland?
1056. Goya, for his swipes at the Spanish artistocracy?
1057. Manet, for his unmasking of the idealization of the female body?
1058. Picasso, for Guernica and his open hatred of Franco?
1059. Duchamp for his critique of outdates notions originality and the
fetishization of craft?
1060. Beckett for his focus on the perspective of homeless people in
many
plays?
1061. Warhol for his subversively ironic celebration of the vapidity of
American consumer culture?
1062. All the artists involved in creating "A Day Without Art" to raise
consciousness of AIDS?
1063. Or do you simply reserve your hatred of pseudo-political art for
some
unnameable OTHER out there who asks too many probing questions about
your
institutions practices and your taste?
1064. (on May 1--is the date significant?)
1065. Cage's experiments with allowing chance and random phenemena enter
into the creative process are already being recast with computers that
can
genreate and run programs that appear to articulate "randomness" -
what's
next?
1066. goodbye?
1067. What is the basis for justified true belief under these
conditions?
1068. Is there a difference between good ol' hacking and these types of
404
uploads?










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