conversational drift, informatic license, exquisite enclaves

nqpaofu.com by jouke kleerebezem 72 notes, quotes, provocations and other fair use 71 history portal 73

[13 July 2003] shoot me to the moon Return here.

[12 July 2003] telos or tool After JJ's visit I re-appreciate my tools. He's a juggler too. Three hoorays for the power user! Telos gets me beyond at-face-value and functionality. That essay will write itself next week. There's something I forget, however. Later. Oh and tomorrow's the full moon and Linde's birthday. That moon was mighty full already tonight when we popped a bubble with J+M to celebrate its rise and the other body set at the same time.

[10 July 2003] insomnia in media omnia Again I have only a couple of hours sleep. Among the things that wake me up is the essay. For men without content we worry a lot. In bed, from 4:53 projected in red digits on the Moulin ceiling, I ponder the nuances of hesitance and doubt. At 5:30 I get up. My routines make me tea and coffee and free the chickens, geese and ducks. My routines make me Photoshop and GraphicConvert the VsB images and paste them into a document at lemoulindumerle.com/realestate. We take a detour to watch the 100 anniversary Tour de France speed by Corbigny on its way to Nevers where Pinacchi claims his third and certainly not his last win.

[9 July 2003] summer sale I managed to rid myself temporarily from the papers that live on my desk and floor. Meticulous piling and ordering, even some real arranging and voilà! here I find my room with some furniture in it that I had forgotten about... ah a chair!... all rather accessible items when there's some space around them to approach'm discretely and shift relational angles to try different possibilities for exchange. Hm. Half close the shutters against the heat, windows open. See what comes. Busy days are ahead with several passers-by and friends of friends Joes and Marjolein who come to celebrate Linde and Rolf's 10th anniversary birthdays, on the 13th. Rolf's birthday is July 17, but he will be in NL with r+G while Ill be staying home alone for the week, to concentrate on more reading and writing for the Het oordeel van de twijfel ('judgement of doubt') August Essay. Also tonight we'll be welcoming JJ, Doors of P.'s Mac wizard, who comes to the Rescue 'n Reboot for the Moulin's desktop park. local colour connectivity Will I have to move shop to Clamecy to get a couple of square meters of ADSL? And disconnect the Moulin completely? It would make for even better living.

[7 July 2003] a forward falling shouldn't turn you me down I keep falling forward into these landscapes which are opening in all directions, at every scale... horizons floating outwards after the puffy clouds, flowering grasses bending left and right, moved by the wind, my kinetic gaze? It seems like this is actually happening.

[6 July 2003] Arles, Arlésienne Sunday morning with Francine I take a local train to Arles where, rather than scanning the Rencontres, we talk over lunch after in town having run into hundreds of proud traditionally dressed Arlésiennes, from the very young to the mature all equally breathtaking, and their Camargue horsemen. Strange time twist after Rodney's yesterday. re: Emmanuel Levinas, 'the past returns, in the imagination, more new than it was in its present'.

[5 July 2003] heading south Another TGV blast to the south gets me to Rodney Graham's opening at the Marseille MAC Galleries. Same train, same hours as two weeks ago, different crowd now that the holidays have begun. We're on our way to the beach. In the Hôtel de la Gare in Montbard when again I'm almost an hour early I re-open The Man without Content. Nous nous sommes souvenus. Rodney, James Coleman and myself shared the Eindhoven Van Abbemuseum in 1989/90. We're 13+ years later. I think we've only met once again in-between, but we recognize one another at first sight. More of an achievement for him than for me because I've seen him perform in his works since, while my image only sporadically appears here. I bet he doesn't know, and I haven't told him this time. I like the work. It's light and literate and promotes disguise, mixing media narratives, with timespaces circling in them. The later videos have a simple structure in which the 'event' inscribes itself outside linear time, even when there's an out-of-this-our-time-and-age (so within 'that' time and age) or outlandish staging (events tend to be rather out of time than out of place, it seems. The Rambling Man is a once-upon-a-time-stereotype, as is the bicycle rider on LSD, as is the City Self/Country Self double, as is the pirat/sailor hit by a coconut. Their places still exist, even in their exaggerated museicism — their time's long gone). We run out of time faster than we run out of place. Or: any place will host any time. Or: any time will fill any place.

[4 July 2003] finality horizons Dialogue ('conversational drift', author/reader complicity since Bakhtin et al?) and finality? The work which 'finishes itself' (Emmanuel Levinas, La réalité et son ombre) (RO). Author/reader dialogue/interaction, when efforts are linked in space and time (synchronize and are contained, memorized in the work... as opposed to a work in which the single voice is embodied, memorized), as opposed to when just a 'cancer of interpretation' (Umberto Eco) continues to draw attention — to itself, as (rather than) to the work which rose it in the first place. Saturation of the work, as its (one possible) finality? (EL: RO) Among possible finalities: how to end that fight? 'Het zijn is niet alleen zichzelf, het ontsnapt aan zichzelf. Ziehier een persoon die is wat hij is; de objecten die hij echter bijhoudt en de manier waarop hij ze houdt, doet hij niet vergeten, slorpt hij in zichzelf niet op of overlapt ze ook niet volledig. Er zijn verder zijn bewegingen, zijn ledematen, zijn blik, zijn denken, zijn huid die van onder de identiteit van zijn substantie ontsnapppen, onbekwaam om ze, zoals in en gescheurde zak, te bewaren. Het is op die manier dat iemand op zijn gelaat, naast het zijn waarmee hij samenvalt, tegelijk zijn karikatuur, zijn pittoreske zijnswijzen draagt.' — Emmanuel Levinas, De werkelijkheid en haar schaduw) (I would prefer to have this in its original French... if in a language hasn't been built a parallel discourse to the one from which ideas and concepts are to be translated, it will never work to represent let alone further those ideas and concepts. Levinas' subtle and challenging complexity does work in a French context and language, not in Dutch. On the other hand: my 'French' — my experience with and knowledge of the language and culture — will only take me into Levinas to that extent... then again apart from the language, there's other cultural differences, time and age, etc. All this said, just because Levinas talks to me, me dit quelque chose. If not, I wouldn't bother. Then, I'm not Jewish, or from Lithuania. But, a migrant. Et cetera. At the end of the day il y a Levinas and il y a son lecteur. So at the end of the day: I will read as well into what Levinas me dit, as far as the combination of my 'French' and my other sympathies (handicaps) will allow me into it. I search the shades of the net for La réalité et son ombre and find hit (out of 30): - Art, Humanism and Otherness in Levinas - Bienvenue sur le site d'UTOPIANA. Le site est en developpement, mais vous pouvez déjà le visiter! Prochaine mise à jour: 15.07.03. - NQP#33, 13 September 2000 - Forum für Klanglandschaft's Bibliography

[3 July 2003] never stop discotheque never stop Finality? Micro-finality, dosed finality, half-finality: small steps, petites finalitesses, a process of adjusting innovations. Never stop finalities. Cutting slices of a process of non-stop finalities, adjustments and micro-initiatives, will not reveal whole worlds but threaded bits, free for alternative linkage. All bits roll material and product in one. Finality is in fatigue. Finality is in momentum. When arguments run out of steam. When, whether managed or not, arguments peak at whim. That's for finality to appear. When things are at rest. Momentum full stop. Finality is because we leave it alone. 'In the nostalgia for origins, the past returns, in the imagination, more new than it was in its present, and purely temporal novelties exist that are straightaway worn and old.' — Emmanuel Levinas, The Old and the New (1980) 'A phenomenology of voluptuousness, which I am only going to touch upon here — voluptuousness is not a pleasure like others, because it is not solitary like eating or drinking — seems to confirm my views on the exceptional role and place of the feminine, and on the absence of fusion in the erotic.       The caress is a mode of the subject's being, where the subject who is in contact with another goes beyond this contact. Contact as a sensation is part of the world of light. But what is caressed is not touched, properly speaking. It is not the softness or warmth of the hand given in contact that the caress seeks. The seeking of the caress constitutes its essence by the fact that the caress does not know what it seeks. This "not knowing", this fundamental disorder, is the essential. It is like a game with something slipping away, a game absolutely without project or plan, not with what can become ours or us, but with something other, always inaccessible, and always still to come [à venir]. The caress is the anticipation of this pure future [avenir], without content. It is made up of this increase of hunger, of ever richer promises, opening new perspectives onto the ungraspable. It feeds on countless hungers.' — Emmanuel Levinas, Time and the Other (1947)

[2 July 2003] go with the flow finality Paul reminds us of estate building. We are looking into content management, the construction of narrative, network enhanced personal publishing and the management of estates (bodies of work, collected artefacts, libraries, notes, links?) in the context of linked, non-linear, de-institutionalized and non-finalizing cultural production. Also, we are looking at what these four interests have to do with one another. In other words: What's a smart, sensitive and productive artist like you doing in a representational nightmare like today's media, huh? What if you're input is near real time — yours is a live performance in dislocated media; your narrative is reader input tolerant, even inclusive beyond interaction on first click; your content is database generated: publishing on demand, putting together your different strokes in different edits for different folks; or what if there's no there in your production, no conclusive artefact, no final text, book, tome, no non-refreshing screen? What if your reputation is where you are, and when you are, until for whatever reason you are no more? If the artist lends his or her energy and intelligence to a work flow, rather than a body of artefacts, how much of that work stops if the artist stops? Can other artists take over, presenting/performing interpretations of the original artist's works? Will the work continue itself, by way of ongoing intervention of its 'audiences'? If — for the sake of argument — we follow the deceased artist's links, does his or her work grow with the development of its linked content? If so, in which case and under what conditions? Do the inhabitants destroy, conclude or perform the architect's work? What other examples can we think of when we try to understand and anticipate the body of work of the networking artist over his or her dead body, beyond his or her grave? Does the artist leave his estate for grabs, or might s/he draw some rules for its life after her or him? Does s/he leave a score or choreography, a manual, a guide, some meta-information that will speak for itself and the work? Does s/he leave it to the lawyers, between the family and the gallery? Does s/he leave it to the software developers who, like museum architects, will paint endless changing backdrops to what begs the bare studio walls of unfulfilledness? To go with finality is a life's challenge, to know when to stop hitting is the provocation of every fucking street fight. To close shop at exit level is a true achievement, harder than any beginning.

[1 July 2003] currant attention The Villiers sur Beuvron pick mixes for cooking. The abandoned fruit garden appears very giving. local colour summer reds and blacks Top to bottom, 5 kg. of sugared currants, boiling a big pot, below a fresh pick from the bush.

[30 June 2003] fruits Cassis black, and red currants are our gain, in interesting quantities, for jams and liqueur. Almost all white currants have been eaten by fruit lovin' animals before us.

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