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<eyebeam><blast> ONLY QUESTIONS.7
March 30 - April 9, 1998
121 questions asked in 9 days
820 total questions asked in 67 days
699. Does such a thing exist, I wonder, or is anybody working on it?
700. As an artist hasn't art altered any of your perceptions?
701. Well, why blame earlier victims?
702. Can I visit it, as a "tourist apprentice"?
703. Maybe (or perhaps also) the other way round?
704. I mean is there such a thing as "material" disaster?
705. Riding a bicycle or playing a guitar?
706. "Do you need anything, soldier?"
707. Are those two guys closer to me, than a father defending his
daughter, just because we wear the same uniforms?
708. "Is this a sperm, soldier?"
709. "Your grandfather was an Ustasa, wasn't he?
710. Are you an Ustasa too?
711. Begin some discussins about the politics with him and then tell us,
what he thinks, will you?"
712. Where shall we go?
713. Who recuperates what in this case ?
714. Could it deliver art to our cognition in a way that is as effective
as contemplating a painting , which affect on the soul reaches you after
having scrutinized the work many,many,many times,in different moods
under different lights?
715. Same for a book,film,....but infiltrate us in lesser time.?
716. The question I am trying to ask,which Robert found too literal,can
art through the matrix of the net provide an interactive deciphering of
"The most complex form of knowledge"which is at the base of all art
717. In real time through a new visual language?
718. As I asked, can art save effectively through the web?
719. We could also ask can it deliver representational, iconic symbols
of persons afflicted by a tragic epidemic, like aids,that would forgo
any"schmaltzy"watered down images and impersonations through mainstream
media,and give us the real dillema?
720. Paul: could you tell us more about your work as DJ Spooky and its
strategies for negotiating these gaps?
721. Of course, I basically agree with your comment about the necessity
of art historians and art museum but why do I always get so bored with
722. Do we harken back to some shamanistic role?
723. Is there a worry about losing spiritual rigor by becoming part of
the larger world?
724. by coming out of our saltmines/monkcells?
725. Or is this just a part of the nineteenth-century crap--part of the
problem really-- that still holds the arts in its grip, according to
Paul D. Miller?
726. A lot of romancing the shaman that we should de-bunk and toss?
728. Yukiko: Could you explain more about this new state of images -
this change in the moving image, this image refigured through patterns
729. (liana tree?)
730. Isn't it great?
731. How can a group of disparate, local, and relatively unkowledgeable
entities interact in such a way as to produce emergent semantic results
that exhibit intelligent behavior?
732. What syntactic structures, architectures, or networks, will produce
desired patterns of behavior beyond mere compromise?
733. Isn't this the whole point?
734. Could this vein of knowledge contribute to our undersanding of
dialogue between people, cultures, and institutions in a practical way?
735. I was at a talk with Hal Foster the other night and he casually,
out of context, said "it was like a plague in New York in the 80's"
..and the whole audience -educated, mostly white, middle class, academic
art audience, knew exactly what he meant - but put a slab of the more
general public in the same room and would they know?
736. .. did the bugs from Starship Troopers invade?
737. What would it be to function without this?
738. You ever notice how the most vociferous critics of power seek it
739. How does that work?
740. If we follow Dorner's suggestion that "We cannot understand the
forces which are effective in the visual production of today if we do
not have a look at other fields of modern life" -- why does this lead us
back into the museum?
741. Would natural scientists claim that it is possible to experience
their object of study?
742. Social scientists?
743. Do theorists of culture claim that it is possible to experience
their object of study?
745. The question becomes, what sort of politics results from these
sorts of thinking?
746. What is a politics of multiplicity?
747. How can multiple collectives be thought and practised?
748. But if the fact of claiming that some groups of people are
exploited is itself exploitative (because it submerges the differences
of the exploited into an Otherness), how can liberatory thought and
749. How do we think non-universal, non-essential, social groups
(particularly exploited groups) without simply helping to establish
750. [the rhizome?]
751. haven't we already learned this lesson?
752. what is at stake in claiming that the web is or is not a rhizome?
753. what do we have to take for granted to believe one side or the
other of this question?
754. (a rather totalizing gesture, no?)
755. Is this the art of televsion?
756. And besides were the impressionists' ideas of Art crap?
757. tell me, then what is your experience EXPERIENCE that is of
758. Who is the subject when she is not home?
759. Is she the object which moves from Objectivity to Objectivity?
760. causing the dialectical flows to pass through the inertia of the
761. Of the line up at the bus-stop where the reified selves stand each
day only wishing the other would disappear, because the other is always
762. How can one defeat what is the substance and source of one's being?
763. Is this happening in the arts?
764. After all, what we need theory for if it is not for living?
765. (how long will CD-ROMs be with us?).
767. The Web did not exist in its present form five years ago; what is
the chance that it will exist five years from now?
768. my question would be where can the interactive net technology
deliver such a potent visual stimuli to get a message across without
taping in the pornographic jargon?
769. I mean net potentials go beyond the -watching,reacting(learning?)
-interactivity of a film?!
770. Where can net technology intervene in deformalising,rending
transparent structured social morays that have rooted deep down into the
modern social psyche?
771. Is what Marina described really pornography with political
statement and social commentary?
772. If yes,could a voyeuristic visual language be developped through
the net technology that can both play as a welding material for
disrupted and broken cultural institutions?
773. The net as discourse?
774. The net as a violent medium?
775. The net as a secondary body of interactivity for a moraly balanced
space of reality and readabilty of transparancy?
776. We are all concerned with improper uses of Derrida/Barthes/D&G, so
why not of Turing ?
777. "Who are you and why are we here?"
778. Who ev-ver said you couldn't try?
779. Gosh, is there enough money to do this?
780. Are they collectible?
781. SHould I save the file to reproduce it again in five years, with
better more stable materials?
782. Should I specify that the piece be remade every five years?
783. (perhaps a little like a bygone era of american pioneerism or..?)
784. But isn't there something of a potential here?
785. As I lose my coherence, I wonder what's the difference between a
non hierarchical multicultural expression and a lack of focus?
786. In regard to identifying the new actors in this 'Brave New World':
post Berlin Wall, post-apartheid South Africa, and on... are not the
players the same?:
787. The interesting question is, how would someone with Adorno's
insight describe the systematic lures of techno-capitalist rationality
788. "What are the functions of these semiperipheral states?
789. Why would a slave want to resolve his servitude to his 'master?'
790. What is this blood but the blood the beautiful dead ones?
791. How does one stay healthy while working with sickness?
792. "What do you think of that?"
793. This statement is tricky business, yes?
794. But, which of us hasn't been moved, enlightend even, by moments of
intoxication (whether drug induced or of a more organic character)?
795. And which of us hasn't been intellectually inspired by such
796. Isn't this in one sense the left doing the work of the right?
797. OR if Adorno is the right, of the right arguing for subtle control
mechanisms over everything?
798. Do these distinctions still hold in a culture of category in which
the categories are growing exponetially?
799. And yet why did Celan and Adorno correspond if all Adorno had to
offer was a moral muzzling?
800. If Adorno meant a total silence then what of his own comparison of
Beckett's landscapes to that of the world after the Holocaust (which is
not as trite as I have made it sound)?
801. don't you wish that we were in an eighteenth centurydrawing-room?'
802. Might I also suggest that a 'resolution' of master and slave might
see the destruction of both categories, not an accomodation to them?
803. Can I recommend Adorno's critiques of both Hegel ('Three Studies')
and Kierkegaard ('Kierkegaard. Construction of the Aesthetic')?
804. I assume she refers to prenatal being fathers' sperm?
805. Bracha, couldn't you have squeezed in the word "empathy" somewhere?
806. what is this egoism that allows me to believe that I should occupy
the niche of artist - is it so arbitrary?
807. from where come the humours that push me to take exception for
myself amongst all the others?
808. Why do I feel I have the right to think?
809. What is there about this place where I live that conspires to bring
such common doubt into my thoughts?
810. Should it be that I must seek to gain approval?
811. What is this world to me and can I never cease to be a part of it?
812. So I want to stay can I change it like the slogans on the wall of
the school clinic?
813. like they inspire renewal?
814. The question, I think, is: accessible in what form?
815. 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
816. Who is there to control the environmental performance of TNCs
817. Are we to rely on the good sense of corporate planners to fight
818. Can we trust the fugitives from law to protect the law?
819. Let me know if someone already has... (Roy Ascott possibly?)
820. would I be immune?
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