AUTHOR :
DATE POSTED : 12/6/2003
CATEGORIES : nettime
TAGS : architecture minimalism objectification rant

Poems in cyberspace [3x]

nettime’s compiler on Mon, 24 Dec 2001 22:40:31 +0100 (CET)

[Date Prev] [Date Next] [Thread Prev] [Thread Next] [Date Index] [Thread Index]

<nettime> Poems in cyberspace [3x]

Table of Contents: Re: <nettime> how do i know i am having a poem in cyberspace? “Lachlan Brown” <lachlan@london.com> D r e a m t i m e “Lachlan Brown” <lachlan@london.com> Re: <nettime> how do i know i am having a poem in cyberspace? “wade tillett” <super89@bigfoot.com> —————————— Date: Thu, 20 Dec 2001 16:27:37 -0500 From: “Lachlan Brown” <lachlan@london.com> Subject: Re: <nettime> how do i know i am having a poem in cyberspace? Don’t know whether ‘having a poem in cyberspace’ differs much from having a poem, in text, image, moving image or sound. When you are having a poem, others know you are having a poem. You are speaking otherwise in a familiar way. There’s no mistaking it. Lachlan Brown (416) 826 6937 > > > The Dawn > > Lachlan Brown > > > > > Osamar > > ‘riding horseback by night > > hiding in caves by day'(AP) > > fasting for Ramadan > > a traveller > > > > 113.1″: Say: I seek refuge in the > Lord of the dawn, > > > making > > his way into > > the global imaginary > > with a presence more real > > enduring > > than the global allied forces > > gathered against him > > > > “113.2”: From the evil of what He has > created, > > > > America > > crafted at last > > a beautiful disaster > > her most lasting > > image > > > > “113.3”: And from the evil of the utterly > dark night when it comes, > > > > one thousand times > > one hundred thousand > > youths make witness > > and memory > > to be with him > > or to be like him > > > > “113.4”: And from the evil of those who blow on knots, > > > Osamar > > ‘riding horseback by night > > resting in caves by day'(AP) > > a traveller, fasting, > > resting the sleep > > of the innocent > > beneath the thunder > > over Khyber > > on the frontier > > between the West > > and the Rest > > > > “113.5”: And from the evil of the envious > when he envies > > > > when it comes to memes > > only the most fitting survive. > > > > > Lachlan Brown > > To my Arab friends > still held in detention > at the Immigration Canada Detention Centre > Celebrity Inn > Airport Road > Mississauga > Ontario > > ?mutoshushish? ?its complicated? > 5 -12 -01 > > > i need help. > > i’m studying modes of recognition of poetry. > > on the web, how do we recognize words used in language as poetry, how > do we know we are having a poem? > > in web environments how do i tell if i’ve come across a poem? is it > merely the same signs we use to recognize poetry in print and in live > performance, or are there unique recognition stimuli for > web/cyber/new/digital/hypermedia poetry? > do we need visual evidence of text or aural presence of text to be > poetry in this medium? > > > i would appreciate some thoughts on this > > cheers > komninos > — > komninos zervos bsc(hons) ma(creative writing) > http://www.gu.edu.au/ppages/K_Zervos > Convenor > CyberStudies major > School of Arts > Griffith University > Gold Coast Campus > PMB 50 Gold Coast Mail Centre > Queensland 9726 Australia > tel: +61 7 55528872 > fax: +61 7 55528141 – — _______________________________________________ Sign-up for your own FREE Personalized E-mail at Mail.com http://www.mail.com/?sr=signup 1 cent a minute calls anywhere in the U.S.! http://www.getpennytalk.com/cgi-bin/adforward.cgi?p_key=RG9853KJ&url=http://www.getpennytalk.com —————————— Date: Fri, 21 Dec 2001 16:29:42 -0500 From: “Lachlan Brown” <lachlan@london.com> Subject: D r e a m t i m e d r e a m t i m e Osamar bin Laden as Video Artist Cunning. Very Cunning. Islam in its fifteenth century exercises an easy dominance over the twenty-first century Western aestheticised activism. ‘Wounded wired with explosives in hospital ward’ exceeds ‘room with a light bulb’ in its stark commentary upon Belief and a digital age. It’s important, however, to remember that whatever, or whoever, the source for the ‘eventscenes’ in New York and Washington that the geopolitics of terror are so convoluted that the production, reproduction and dissemination of terror are not so easily assigned to the influence of a single Arabian Sheik. No matter how charismatic, no matter how elusive. No matter how Hot. A militant and corporate Islam, where ‘all are in command, yet all are under command’ and whose organisation, training and mission focussed motivation where was scripted by the Central Intelligence Agency, anxious to meet Allah, communing via dreams, routing around the damage wrought by our techno-fascist West with something called ‘Belief’, mediated by metaphors of everyday culture and spiritual striving, or ‘jihad’, dreams of soccer games and shoulder-bourn planes, each swerving shot received rapturously by the world… but, oh the anxiety, that too many people dreaming the same dream may alert the enemy, and the anxiety that the act meets the will of Allah? Microsoft Flight Simulator, Manhattan. On replay in Cairo. On replay in London, on replay in Santiago, on replay in Jameson St, in Parkdale Toronto, the machine contains the script of its own disaster. By bringing a Global War between the West and the Rest that has been waged hotly for a decade, and interminably for five hundred years home to America – home to a City that didn’t expect the Great American Disaster? – – any parallel with Pearl Harbour is misleading. Any reaction invoking unpreparedness, surprise or ethical rage in place of justice is not prudent. You were shafting the world from the twin towers of the World Trade Centre and from the Pentagon and asking the world to thank you for it. In the struggle between the forces of globalisation and world forces, the Iriquois performed a highly successful raid. America man’s the stockade and sends the Colorado militia to Sand Creek. I mix my images of America freely. The outcome for the West, unless we permit ourselves NOT to be intimidated by dreams and fantasies of mastery and domination local to the West – the perennial internal witch-hunt America embarks upon to discipline its others, and the recurring nightmares Imperial Europe favours in its perverted science exercised upon the Rest – is assured. The outcome if not intention (since dreams are days residues not their anticipation) will be a Coup. Dreamtime in Salem. Unreasonable Reason exorcising the Unutterable? America will perform dissolution of all that was enviable about it of its own accord. America, you don’t want to go there again. These are the noughties, not the fifties. There is a better way. To learn about the other from the place of the other. Derrida and Said in Iran, to learn or to lecture? Or simply to assert that thing we first learnt from Islam. We share knowledge and ways of knowing. We do so in particular places where respect for ones positionality is assured, where research is protected and not run amok, books are not destroyed, archives not erased, and where the work of knowledge is also the work of the world. Islam and the West need to relearn this from each other. We have entered a ‘dreamtime’ through a pomo/material cultural caesura of what was the most unexpected millennial event, the West’s Petit-Apocalypse. An Armageddon off Broadway. The least likely Rapture Messianic Christendom imagined. The Saints and Jack van Impe are confused, has the thousand year reign begun, or are we to expect another? Be thankful for small mercies. Lachlan Brown Toronto – — _______________________________________________ Sign-up for your own FREE Personalized E-mail at Mail.com http://www.mail.com/?sr=signup 1 cent a minute calls anywhere in the U.S.! http://www.getpennytalk.com/cgi-bin/adforward.cgi?p_key=RG9853KJ&url=http://www.getpennytalk.com —————————— Date: Thu, 20 Dec 2001 11:37:33 -0600 From: “wade tillett” <super89@bigfoot.com> Subject: Re: <nettime> how do i know i am having a poem in cyberspace? studying modes recognize words language poetry before start interpret process meaning/feeling print visual pattern arrangement lengths indentations margin phonological elements, rhyme, rhythms translated oral culture interpret text belonging discourse live stimuli; spotlit area; microphone; chairs arranged room; performance; open book papers. phonological signs projected voice; sound patterns being sounded, web environments unique recognition stimuli ? (your text, reader edit) – —– Original Message —– From: komninos zervos <k.zervos@mailbox.gu.edu.au> To: <nettime-l@bbs.thing.net> Sent: Tuesday, December 18, 2001 7:14 PM Subject: <nettime> how do i know i am having a poem in cyberspace? > i need help. > > i’m studying modes of recognition of poetry. > > on the web, how do we recognize words used in language as poetry, how > do we know we are having a poem? i mean before we start to interpret > it or process it for meaning/feeling. > > in print we see a visual pattern or arrangement, we see line lengths, > we see indentations from the left margin and we visually recognize it > as poetry, we see also phonological elements, rhyme, rhythms > translated from oral culture, we then interpret what we read as > poetry, or by the special rules of reading a text as belonging to a > poetic discourse. > > in live performance there are visual recognition stimuli; a spotlit > area; a microphone; chairs arranged in a room pointing towards the > performance area; a person holding an opened book or papers. There > are definitely phonological signs we identify also; the poet’s > projected voice (not normal speaking voice); sound patterns (rhyme, > rhythm, alliteration, assonance) being sounded, which we have learnt > to recognize as poetry. > > in web environments how do i tell if i’ve come across a poem? is it > merely the same signs we use to recognize poetry in print and in live > performance, or are there unique recognition stimuli for > web/cyber/new/digital/hypermedia poetry? > do we need visual evidence of text or aural presence of text to be > poetry in this medium? > > > i would appreciate some thoughts on this > > cheers > komninos > — > komninos zervos bsc(hons) ma(creative writing) > http://www.gu.edu.au/ppages/K_Zervos > Convenor > CyberStudies major > School of Arts > Griffith University > Gold Coast Campus > PMB 50 Gold Coast Mail Centre > Queensland 9726 Australia > tel: +61 7 55528872 > fax: +61 7 55528141 > > # distributed via <nettime>: no commercial use without permission > # <nettime> is a moderated mailing list for net criticism, > # collaborative text filtering and cultural politics of the nets > # more info: majordomo@bbs.thing.net and “info nettime-l” in the msg body > # archive: http://www.nettime.org contact: nettime@bbs.thing.net > —————————— # distributed via <nettime>: no commercial use without permission # <nettime> is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@bbs.thing.net and “info nettime-l” in the msg body # archive: http://www.nettime.org contact: nettime@bbs.thing.net