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tekst

De dood van de automatische piloot

We bewonen paalhuizen in pasteltinten

waar pijnstillers met glanzende speelgoedpantsers

schroefogen draaien in Engelse dropdromen

 

we vullen foutief formulieren in

er is onduidelijkheid over uw huisnummer

we bevinden ons in de onzinzone

 

waar u zich over vijf jaar bevindt

is ons nog niet bekend

 

kortom prijs de week niet

voor de zon zeven keer is onder gegaan

 

Categorieën
beeld meta tekst video

Work in progress – notes for a presentation on electronic literature as a kernel or locus, no canon and not a genre –

Work in progress – notes for a presentation on electronic literature as a kernel or locus, no canon and not a genre –
http://www.alansondheim.org/regimes.jpg
http://www.alansondheim.org/themiracle.mp4
Some preliminary (application notes):
‘Gamespace’ is defined as a rule-governed domain; the term
applies to anything from a chessboard to a school community.
‘Edgespace’ is the borderlands of the gamespace; it’s always
problematic, and might exist within competing regimes. In the
motion capture work I’ve done, edgespace references the
boundaries of the architecture for capture, and what happens at
the boundaries appears to ‘break’ the capture representation.
‘Blankspace’ then indicates how edgespace is ‘filled in,’ how
the imaginary operates there. I use the terms in considerations
of Arctic and Antarctic mappings, virtual worlds, and so forth.
Finally, the semiotics of splatter considers splatter as
world-breaking and fast-forward tendencies towards mobile
boundary closures; this leads to splatter semiotics, where the
terms form a field that remains always already ruptured. This is
the semiosis of the overloaded or hacked network, the network of
fake news and fake apps, the explosive and turbulent behavior of
the mediasphere itself.
I see this field as a form of politicized digital literature,
where words lose meaning, become puncta (Barthes) or tokens,
where language splays.”
===
Tweets as Elit / Splatter Semiotics / Semiotics of Splatter:
Trump’s tweets are the basic example of electronic literature:
They are performative, within and without the code.
They are fast-forward in presentation and absorption.
They disappear into the cybersphere; they are always traces.
They wreak havoc on the phenomenology and reception of
traditional media.
===
Examples:
    Why is the United States Post Office, which is losing many
billions of dollars a year, while charging Amazon and others so
little to deliver their packages, making Amazon richer and the
Post Office dumber and poorer? Should be charging MUCH MORE!
5:04 AM – 29 Dec 2017
    The Democrats have been told, and fully understand, that
there can be no DACA without the desperately needed WALL at the
Southern Border and an END to the horrible Chain Migration &
ridiculous Lottery System of Immigration etc. We must protect
our Country at all cost!
      Donald J. Trump (@realDonaldTrump) December 29, 2017
    In the East, it could be the COLDEST New Years Eve on
record. Perhaps we could use a little bit of that good old
Global Warming that our Country, but not other countries, was
going to pay TRILLIONS OF DOLLARS to protect against. Bundle up!
      Donald J. Trump (@realDonaldTrump) December 29, 2017
Caught RED HANDED – very disappointed that China is allowing oil
to go into North Korea. There will never be a friendly solution
to the North Korea problem if this continues to happen!
8:24 AM – 28 Dec 2017
      Donald J. TrumpVerified account @realDonaldTrump
===
Then thinking through this skeleton (filled out in a forthcoming
talk):
Trump tweets are characterized by their timing and placement, by
a ready-made audience of followers, detractors, and
interpreters.
Timing is based on several factors –
1. response to a crisis, attack, or other positive or negative
    provocation;
2. temporal relation to previous tweets (i.e. how far apart are
    they; how is the provocation managed);
3. relation to cable- and other news-outlets, i.e. what is on
    where at the moment;
4. Trump’s personal/internal time clock – sleeping, waking,
    etc.;
5. the desire to confuse the critical listener and news ‘talking
    heads / critiques;
6. the desire to ‘win’ by any means possible;
7. the isolation of cant words and other provocations which need
    time on their own to register;
8. and time in relation to politics, political agenda,
    congressional votes, and so forth.
This is a brilliant strategy, reminiscent of bitcoin:
time – embedded and controlled – _not_ the time to read, but the
control over _delay_ and _target_ (temporal, physical,
structural) – becomes of fundamental concern to the performer
(the tweets, as mentioned above, in a sense devoid of truth or
context, performative, headless and tailless, etc.) – works
different in this elit than elsewhere, for example the carefully
measured sequences in works which are embedded online at one or
another site, or carefully networked across sites –
this is a form of networking in which the nodes carry
time-stamps, are hurried, are one-way, carry no feedback (just
as the bully carries only one sort of feedback: submission) –
And then there is Goebbels to consider, the fast-forward
presentation of newspaper headlines and radio ‘news’ in the
months leading up to, and through, at least the beginning of
World War II – the same techniques using any means possible
(newspaper, electric radio) –
All this I consider the _semiotics of splatter_ (i.e.
traditional semiotics, stable, taking the phenomenology of the
splatter cloud, fractal roiling, into consideration) leading to
_splatter semiotics_ (i.e. the altered field in which the
temporal aspects of signifier <–> signified and sender —>
[noise] —> receiver are absolutely critical, in which the sign
is ‘bent’ or ‘mutilated’ or ‘faked’ or ‘blurred’ or
‘non-existent’ –
a semiotics which is always already an incohering dynamics
instead of, say, a category-theoretical locus with somewhat
nameable arrows and objects – in which the objects and arrows
are always already fast-forward:
This is the world / way we are living in , the habitus of
electronic literature, elit, where the practitioners are anyone
in social media, anyone with an audience always altered, always
transformed, as if the tweets were traditional ‘scrolling’ down
the screen –
Then an exhortation:
This is why we must extend elit _everywhere,_ forgetting easy
categorizations and rules, into a political realm where #metoo
is elit, where tweets are elit, where bitcoin is elit, where
dynamics and placements and social media are elit; given the
brutality in the world now and for the foreseeable future, we
must be vigilant, we must expand outside our filter bubbles
(which for me have always been comfortable), extending into the
mind and body of the other – for it is the _body_ – hungry,
isolated, sick, poverty-stricken – and all of us in any
condition, which is ultimately at stake here – the enclave, like
the wall, is dangerous and problematic, and ultimately a problem
for us all.
===
Categorieën
tekst

Koop bij voorkeur geacclimatiseerde vogels

Let er op dat de dieren zich normaal gedragen

 

observeer te kopen vogels

altijd van een afstand

en neem er de tijd voor

 

de ogen moeten blinken

en als het ware vrolijk staan

de poten dienen recht te zijn

en alle tenen moeten aanwezig zijn

 

transporteer de vogels

liefst in afzonderlijke kooitjes

snel naar huis

 

reis nooit langer dan anderhalf uur

 

ik raad met klem

het kopen van vogels

en andere dieren

via een dierenverzendhuis

of postorderbedrijf af

 

wanneer u de vogels

om welke reden dan ook

in handen moet nemen

was dan steeds uw handen

voordat u een andere vogel beetpakt

Categorieën
tekst

Stoer Shock Horloge – Waterdicht En Vele Handige Functies!

Het Shock horloge heeft een stoere uitstraling

en is ontworpen voor heren

 

het horloge heeft functies zoals een alarm

stopwatch en datumweergave

 

het horloge heeft een analoge

en digitale tijdsweergave

 

door de ingebouwde LED back-light

kan je ook in het donker

het horloge aflezen

 

het horloge is tot 3ATM waterdicht

zodat je hem gerust om kunt houden

bij het sporten

en niet bang hoeft te zijn

voor een regenbui

 

dankzij de schokbestendige constructie

kan het horloge tegen een stootje

 

geweldig herenhorloge

voor iedere dag!

 

 

Categorieën
tekst

Zo wat elke boodschap die het universum je probeert je te zenden

Waar geen rook is

is geen vuur

 

waar de ochtend met vals alarm

ladders doet verplaatsen

 

waar ik mijn zwarte tranen droog

met een kleine stugge doek

 

hier waar broodkruimels neerstorten

op beklede onderarmen

 

hier waar onbelangrijk nieuws per envelop

in tweevoud in de brievenbus geschoven is

 

hier waar de spullen zich groepsgewijs verzameld hebben

hier waar meisjes voor de deur in auto’s stappen

 

hier waar tandenborstels nieuw

in de verpakking liggen

 

hier waar de rozenstruik stierf

en de geraniums bloeien

 

hier waar brood retour afzender gegeten

en afgeraden vruchtensap gedronken wordt

 

en elders waar de oude kat

slank geaaid wordt

Categorieën
expo video

theartview – duet with artist at 21er haus

 

At the centre of the 21er Haus exhibition Duet with Artist – Participation as Artistic Principle lie the audience and its role in the creation of a work of art. Historical and contemporary positions show how artists activate others and call them to action. To think of art as an essential part of life in which “everyone” can participate is not only fundamental to the understanding of art of the 20th and 21st centuries but is one of the fundamental democratic values ​​of our society. The exhibition addresses the active participation of visitors and encourages a critical and creative attitude. In some situations, the viewers perform an artistic act or become an art object themselves. Thus, evoked ideas can become the work of art, as can the execution of instructions or the collaboration with others. The exhibition expands upon the institution of the museum by calling for social action and creating space for encounters. A cooperation between the 21er Haus and the Morsbroich Museum in Leverkusen, Germany. Curated by Axel Köhne. Sep 27th, 2017 to Feb 04th, 2018.

With works by Vito Acconci, Robert Barry, Joseph Beuys, stanley brouwn, Angela Bulloch, John Cage, Claus Föttinger, Rodney Graham, Hans Haacke, Christine Hill, David Horvitz, Pierre Huyghe, Yves Klein, Tomas Kleiner, Krüger & Pardeller, Mischa Kuball, Dieter Meier, Bruce Nauman, Yoko Ono, OPAVIVARÁ!, David Shrigley, Gabriel Sierra, Juergen Staack, Rirkrit Tiravanija, Wolf Vostell, Franz West and Erwin Wurm.