Hi Ann, This has really amused me. Thanks for sharing.
M Sent from my MindPad > On 15 Mar 2016, at 06:58, Ann Light <[email protected]> wrote: > > Hi Mark, > > Your question inspired me to share a moment that's stayed with me through a > lifetime. > > Long long ago, in the days of the O level in British education, the Liverpool > poets (http://www.literature-study-online.com/essays/liverpool-poets.html) > were quite the thing and their poems were often set for study on the English > literature syllabus, then assessed by an unseen exam. At some point, one > Sunday newspaper decided to pit the three poets against their own poems by > setting them that year's English literature paper. They were hopeless. They > had no idea what the themes were or how to conduct an appropriately pitched > analysis. They were also very amusing about it. Though not, if I recall > rightly, in verse. > > Best wishes > Ann > >> On Mon, Mar 14, 2016 at 10:32 PM, Mark Hancock <[email protected]> >> wrote: >> Hi Johannes, >> >> >>a kind of romanticism that evokes/links decaying landscapes and empires >> >>and the sublime (aesthetics) >> >> Excellent! You make it sound like a bad thing though? >> >> I like that the work has evoked some discussion, especially as it has moved >> beyond my own thought processes while creating the work. The work was born, >> after all, from an instinctive creative process, rather than one that >> attempted to prove any given ideology or philosophical perspective. But >> perhaps I’m being disingenuous here, maybe I was hoping that it would, while >> not explicitly stating that during the process of creation? >> >> Can the person making the work, be in the best place to analyse the work? I >> know this is a well-worn path, but I’d be interested in what people have to >> say on this. I’ve been looking at subjects for a short documentary I’d like >> to make this year, I wonder if this is it? >> >> Cheers >> >> Mark >> >> >> >> > On 14 Mar 2016, at 20:13, Johannes Birringer >> > <[email protected]> wrote: >> > >> > dear all >> > >> > it is interesting to me to read the responses, or the conversation between >> > Mark and Alan, >> > but I find Mark's (and to some extent yours, Alan, as well) commentary too >> > close to >> > a kind of romanticism that evokes/links decaying landscapes and empires >> > and the sublime (aesthetics). >> > >> > And John did respond to my query, thank you, regarding "posturing of >> > power, and the decay implicit in >> > myths of cultural heritage.. and 'preservation'", and I thought his >> > discussion of >> > the depletion of energy/force (for building archive and hoarding in the >> > museums of the former west) >> > and depletion of social order (a kind of chaos theory of the end of >> > political, including the poor cousins of landscape art and border art?), >> > also in >> > the US empire (Amurika? whose albion is that?), was very thought-provoking. >> > >> > It did make me think, and wonder also, given Alan's silence, whether I >> > offended sensibilities here evoking >> > a materialist dialectics that would see iconoclasm/destruction in another >> > light. It was so easy >> > to condemn ISIS and be morally abhorred; and when you ask why is there no >> > abhorrence >> > and condemnation and protest against the state governments that took the >> > war to Syria and destroyed >> > Syria (after destroying Iraq), well, are we powerless to stop war, stop >> > the refugee crisis? >> > >> > nothing unknowable here, Mark, I guess. >> > >> > >> > respectfully, >> > Johannes Birringer >> > >> > ________________________________________ >> > From: [email protected] >> > [[email protected]] on behalf of Mark Hancock >> > [[email protected]] >> > Sent: Monday, March 14, 2016 12:29 AM >> > To: NetBehaviour for networked distributed creativity >> > Subject: Re: [NetBehaviour] Interspersed amongst the decaying landscapes >> > of Albion >> > >> > Hi, >> > >> > Yes! It probably is me collapsing, bits falling away and into the ocean >> > (of the sublime?). >> > >> > I’d be interested to find out more of your feelings of insignificance, >> > because I imagine that comes from knowing that there is so much more to >> > know in the world. Perhaps the decaying landscape is our own uncertainty >> > in the face of so much unknowable? >> > >> > M >> > >> >> On 13 Mar 2016, at 20:12, Alan Sondheim <[email protected]> wrote: >> >> >> >> >> >> Hi Mark, >> >> >> >> Wouldn't it be true to say that you're collapsing, not the landscape? And >> >> whether that content is somehow manifest to us as viewers? I feel the >> >> same sort of vertigo, but I associate it with the Kantian sublime (which >> >> for all I know relates to Peirce's continuum via Zalamea), and a >> >> resulting, for me, sense of insignificance - literally in the presennce >> >> of being (and Being) _awe-struck._ ... >> >> >> >> - Alan >> >> >> >> On Sun, 13 Mar 2016, Mark Hancock wrote: >> >> >> >>> Hi all, thank you for taking the time to view the video! >> >>> >> >>> >> >>> In a very general, not too researched way, I was reading about Deep Time >> >>> in (I think, I?m still on holiday away from my bookshelves) Collapse >> >>> journal, Volume 2. That, coupled with a comic from Image, called >> >>> Injection, which touches on aspects of British folklore and AI, got me >> >>> thinking last year about the idea of cinema as occult exploration; part >> >>> ritual, part documentation, perhaps? So I created these Deep Time >> >>> Exploration experiment films, which I?ve linked below. >> >>> >> >>> This latest piece is an extension of that exploration, trying to see >> >>> something in the landscape beyond what initially meets the eye. >> >>> >> >>> As for decaying landscapes, I?m extremely risk-averse and nervous >> >>> whenever I go near any cliffs, constantly worrying that they?ll collapse >> >>> and crush me. There?s beauty in there, but also fear. To me, the >> >>> landscapes are constantly collapsing. Maybe I?m being paranoid. >> >>> >> >>> I?ve been using GoPros for a couple of years, because I?ve wanted to >> >>> take this ?extreme sports? documentation tool and use it in a different, >> >>> creative/playful way. As I?ve been thinking about this all now, I >> >>> realised that one root was probably the work of Mark Amerika. In fact, >> >>> an interview for DigiCult* I did with Mark a few years ago, probably >> >>> lodged itself in my neural pathways. >> >>> >> >>> It?s rare that I get to think and write about my own work, so thank you >> >>> and your references and thoughts have really got me thinking and making >> >>> some connections. >> >>> >> >>> Regards >> >>> >> >>> Mark >> > >> >> Interspersed amongst the decaying landscapes of Albion >> > [email protected] >> > [[email protected]] on behalf of John Hopkins >> > [[email protected]] >> > Sent: Saturday, March 12, 2016 7:21 PM >> > To: [email protected] >> > >> > >> > Hei Johannes -- >> > >> >> What interests me here is the posturing of power, and the decay implicit >> >> in >> >> myths of cultural heritage anyway, and what is "preservation" standing in >> >> for? What chasms? >> > >> > Preservation, the archive as one form of that process, is only possible >> > when >> > there is excess energy available to maintain the 'material' order of >> > whatever is >> > being preserved. We in the developed world have lived through a time where >> > energy excess (glut) has allowed wide-scale preservation of 'old' things. >> > Historically, in times of less available energy, 'old' or non-essential >> > things >> > were 'allowed' to fall into disorder. >> > >> > In times of great chaos -- times where energy flows are undirected, or >> > there are >> > many flows that are not unified, or are directed in many different >> > 'directions' >> > -- sees the act of preservation contract forced to contract to the scale of >> > embodied presence alone. The primary focus of existence becomes: finding >> > food, >> > water, air, and defending the body from the chaos that threatens to enter >> > it. >> > >> > We are living in a time where there is no longer a lock on energy sources >> > (that >> > the 'West' has so long had), rising population brings greater competition, >> > and >> > with that, anger, fear, and 'decline' from the standards that we have >> > enjoyed >> > for one hundred years or so -- well, since forests, whale oil, coal, and, >> > finally oil gave some humans an energy glut. Within glut we could save >> > more, >> > until now, we can save our entire 'lives' digitally (at the cost of CO2 >> > generated from The Cloud). While around our glutted enclaves, chaos >> > builds, and >> > where we once projected order (via archaeology among the many colonial >> > tools of >> > projected power and 'order') we have no choice but to watch chaos creep >> > back in: >> > we are power-less to stop it. We no longer have the energy. >> > >> > So it has been for Life on the planet all along, we are running under the >> > same >> > laws of nature as the last 3+ billion years or so. >> > >> > There will be more evidences of this (perhaps the dis-order Amurikans are >> > witnessing in their social system is a direct manifestation of the >> > imbalance >> > between too many people and too little energy compared to the high times of >> > Empire in decades past -- implicit in "Make Amurika Great Again". Same with >> > Europe. With chaos on the doorstep. >> > >> > _______________________________________________ >> > NetBehaviour mailing list >> > [email protected] >> > http://www.netbehaviour.org/mailman/listinfo/netbehaviour >> >> _______________________________________________ >> NetBehaviour mailing list >> [email protected] >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > _______________________________________________ > NetBehaviour mailing list > [email protected] > http://www.netbehaviour.org/mailman/listinfo/netbehaviour
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