works by MARC LAFIA    


Lafia, M.

At this point all the experimental desires in me came out. Writing for hire was maddening and writing on spec was worse. Inventing the possible was always what had interests me, it was yet to be industrialized and productized, it was the unknown, only to be known in its creation itself. HyperHyper than was a reflection, a meditation, an architecture for a new writing thinking space, it was visual writing, something that brought together my interest in image, thought and form.

It was clear that everything was getting lateralized, the edges of the page becoming unbound, every center being relative to another, everything getting more spatial and dispersed, everything on the go. What bounds narration, being, history, where does one text end and another begin. This work performed and spoke to the new possibilities of non-linear space, of the possibility of time in any possible sequence, of permeability and permutability. It imagines textuality as visual, thought as an architexture of shape and coincidence. It represents a new kind of essay that is the future that it announces. It exists in and between things full of fissures, gaps, correspondence, full of joy, reflection.

Full Text
a giant moebius trip
of desire, without exterior or interior, unbound, ubiquitous
an event
an initiative, man
without ‘truth,’ without ‘origin’
a world offered continually to our interpretations and our
deconstructions, our absences.
the instruction set
the very status and project of man. that is our discourse of
man is uncertain. the images that constellate us have
dispersed and yet if we make them whole we are certain to
self knowledge
know, feel our experience of life beyond before forever - a
world without center a world beyond materiality, beyond
territory, in front of said things, in.
the self
decentered, distributed and tele-schizophrenic.
coding and uncoding
the unmaking of man, an invention of recent date, nearing its
end, an end without end, stretching out infinitely and
indefinitely, man dissolving.
a site of transformation
dream hallucination being flesh
there is nothing lineal or sequential about the total field of
awareness that exists in any moment of consciousness.
Consciousness is not a verbal process.
With the collapse of classical space, the deterritorializion of
time and the permeation of a hyperspace of consciousness, a
post- deconstructive, post imperialist, post colonial sensibility
emerges. In this event horizon a new kind of dialogue takes
us forward beyond the episteme of post-modernity and
dispersed man, man as discourse whose flesh is hacked and
exhumed distilled into the perfume of utility and information
and returns us forward to a refiguration of a chaucerian
person, a person who knows of their sensuality, of the voices
within, in an almost astrologic tarot sense tuned to the wheel
of life and into that apocalypse with amusement and
heightened carbon star sun sensate pulsings.
do-it-yourself hypertextualist
The do-it-yourself hypertextualist will get a chance to browse
and recombine, often with striking results. What he called his
"secret vice" of "cutting up and pasting together pictures"
bears an analogy, at least, to what is supposed to go on in
dreams, where images from the public domain are said
likewise to combine in unique private, with luck spiritually
useful, ways.
Melancholy as any Elizabethan could tell you if they all weren't
dead, melancholy is a far richer and more complex ailment
than simple depression and perhaps this will be a condition
many of us will cultivate as we see ourselves disperse into the
things we think we need to get by. Perhaps like Cassanova’s
Venice, in ruins, in decay, a life of fermented exhuberance. A
moribund perfume of the mouldering spice of flesh and life
that never was. Nothing more degenerate than a rich
compost. And so it once was.
gabriel garcia marquez
"in spite of his immense wisdom and mysterious breadth, he
had a human burden, an earthly condition that kept him
involved in the small problems of daily life."
living through and in the space of the species
We believe the soul which we have placed in the mind as
opposed to the heart as we fashionably privileged mind will
last, and can last, and is everlasting and has no death. As a
species, we don’t see that we live through the idea of our
species and through life itself. We are the continuum of this
transhistorical life and cannot die. We are part of a larger life,
a larger kind of desire. Even if we’re not men ourselves, we
die, our ego dies. But, in the process of becoming we ask
ourselves to let our ego die and ourselves die anyway, and
that is part of the growth.
bound and unbound
In literary and cultural criticism, the notion of the work, which
is closed and bound, has given way to the idea of the text,
which is open and unbounded. Similarly networks are such
unbounded texts unprecedented in scale and
interconnectivity. The internet gives a concrete material
realisation of the concept of text, a work more curated than
authored, intertextual, without center, plural, multivocal.
memex in xanadu
The Memex machine can be annotated, updated, and archived
throughout ones lifetime. One can retrieve information quite
easily, one can annotate and track one’s annotations over
time to constantly update, retrace ones step, find analogous
things, move associatively across information. In Ted Nelson’s
idea of Xanadu one can have access to all kinds of information
in a vast library. The memex machine connects to the vast
hypertext world, writing reading tool is wired into the
network, works it and is worked by it. In some sense we all
have our very own memex machine.
brief radiance
Referring to Franz Kafka’s ‘The Trial’ where a man desires to
be admitted to the Law through out his life and not allowed
through a series of doors until near death when he is then
given a brief glimpse of an immortal radiance, Hyde comments
that, ‘ Kafka is saying (that meaning, the truth, the law, the
single sense) is like a brief radiance glimpsed from the far side
of a door that one cannot go through.’ He goes on to say,
‘The things we try to understand nowadays, have
‘intermittent radiances’ only and these are ‘uninterpretable.
Note that it isn’t necessarily the case that there is no truth or
that we have never had intimations of it, only that we can’t in
any sense finally arrive at it. We can orient ourselves, but we
cannot arrive. We are transients in the world which
resembles the book. The world is our beloved codex. We read
books, yes, but we also read the swaying pine boughs, the
turtle swimming below the ice, the dream fragment brought
back by the smell of eucalyptus leaves, the unused bits of
code on strands of DNA, the wobble of the flying Frisbee, and
each has its radiance to offer. A sense that there are surely
secrets yet to be revealed, if only the gates would freely open.
But in Kafka’s parable, they will never swing freely. A distant
light is all there is, and that only briefly seen.’
‘The absence of a revealed truth produces a plurality of
readings. Erasing the mundane, and then leaving things
alone, opens the books revelation repeated in the multiple
ways human beings understand the plenitude of things, once
conventional understanding has been lifted.’ As a way to
understand this notion of thinking out of the box and
strategems therein, the Trickster myth is quite powerful. But
equally, once we are out of one box we are in another. I site
Trickster as an interpretative hypertext stratagem whose lead
we can take or intuit which reveals the plenitude of this world,
or of text, or the multiplicity of text.
The declarative statement circumvents or closes off plural,
multiple, open ended readings, readings that give insight to
the making of the text, the form of which the media is made.
The opportunity to re-present, re-package, cut up, make
foreign for a moment the conventional, by disruption using
varied stratagems, allows us to read anew and see again.
Electronic media, hypertext, hypermedia, the computational
and digital platform offers us chance to re-examine and
represent a new modalities of articulation that can be richer
and deeper, more open, more personalised, more
multitextural, more across time. The objective is to set up an
organising engine that produces a variety, an effusion of text,
as opposed to a singular meaning trajectory text. What’s
important here is a form that spews out a variety of
juxtapositions in which there is meanings that are not
declared or intentional, that appear as much as they are
intentionally produced. This come or emerge as a result of
certain processes.
A recent exhibition and attendant book publication of the work
of John Cage done for the Temporary Contemporary in Los
Angeles illustrates this point well. The book is a box containing
a variety of print, music and graphic materials. One can read
the materials in any order they wish.
Hamlet who know himself thinking. Hamlet evolves in front
of us, seeing himself as a character on life’s stage, feeling the
anguish, fear and confusion of his situation. He is making
himself in front of us. He hears himself aloud, sees himself
aside from himself and with reflection does and becomes
aware. And is aware in real time. It’s a very powerful kind of
notion. And this is the kind of media that we want to create
in a network society; responsive, interactive, real time, self
aware, self critical media, as opposed to this play-back
medium of a programmed environment which television is as
this distribution box.
This has enormous kind of negativity and has outrun itself.
finnegan’s wake
pun and beauty and reverberation and aphorism and whole
life story of life speaking itself and play. Whereas Beckett is
one of number and system, linear and terminal and list. It’s
such a different kind of organizational strategy and a different
voice. Joyce is incredibly celebratory, Beckett is very terminal.
living through and in the space of the species
We believe the soul which we have placed in the mind as
opposed to the heart as we fashionably privilege mind will last,
and can last, and is everlasting and has no death. As a
species, we don’t see that we live through the idea of our
species and through life itself. We are the continuum of this
transhistorical life and cannot die, having yet lived, having
always lived. We are part of a larger life, a larger kind of
desire. Men ourselves, we die, our ego dies but perhaps not
our signaturs. In the process of becoming we ask ourselves to
let our ego die and ourselves we are living dying anyway, and
that is part of growth. But physical death is much much more
real and confrontational, especially for someone young. To die
then is very complex and difficult. To be wounded, fighting
illness takes all of ones courage, to say good bye to your child
of six.
bound and unbound
In literary and cultural criticism, the notion of the work, which
is closed and bound, has given way to the idea of the text,
which is open and unbounded. Similarly networks are such
unbounded texts unprecedented in scale and
interconnectivity. The internet gives a concrete material
realization of the concept of text, a work more curated than
authored, intertextual, without center, plural, multivocal.
liquid identikits
In our networked world agency or representation, our avatar,
our digital identity in which we transact folds further into the
malleability, the insecurity, the liquid, the de-centered, playing
to this Neitzchean fear of there being no bottom to the
bottom. Conversely there is the social desire and agenda to
define core identities, lineage, heritage. Though the time
horizon is different we again arrive at the fact of that there is
no bottom, there is no top, only points in time, in fact a
variety of points in space-time. Humanity has migrated,
transmuted, interwoven, formed and transformed, genetically,
geographically over millennia and millennia. Now biologic time
is being accelerated by technological time and the status of
human identity, human qualities, the human trajectory is
requiring us to consider a new imaginative vision.
ghost in the shell
sentience finds a cyborg body then looks for a mate in another
high maintainance cyborg to reproduce and defeat death
From cyberspace to the idea of the disembodied body, the
mind and consciousness catalysed in artificial life, to Teilhard
de Chardin’s idea, of humanity acting in concert as one living
entity, each of us a molecular part of a whole, the earth a
living organic platform from which emerges this superluminal
entity, this psychic totalisation, the ground under our feet,
the soul in our heart, all of these leading into the Improbable
from which we have sprung.
man the object of knowledge
‘materially our bodies seem insignificant, accidental, transitory
and fragile; why bother about them? Psychologically, our souls
are incredible subtle and complex: how can one fit them into a
world of laws and formulas?’ chardin, ‘the phenomenon of
lord of the overfiends - urotsukidoji
hungry demons rule the earth
appetite and flesh
As thought is built on the substrate of flesh, the body, diurnal
time, of time in the flesh, health, being, our physicalness in
the throes of invasive transition brings us to heightened
practices of extreme sport, extreme sex, piercing, wanting to
feel the wind on our skin. Our breathe. Our taste, our
appetite, our sense of physical beauty, an acceptance of the
beauty, of decay, of ruin, of a kind of beauty of time and the
beauty and the power of obsolescence, and the necessity of it
…and letting go of fear, of seeing the ego as a construct, a
thin organisational matrix, a beautiful portal into the depths of
time, a point of focus, a fount that enunciates style,
announces our bearing.
my flesh is an hallucination
with the impasse of artificial intelligence the field moved to
modelling evolution looking to evolve artificial life. the fittest
algorithms, creatures, survive longest are able to mate and
reproduce. If two strong creatures meet, they can create
offspring. The new creature carries the genetic code of its
parents. Mutation provides a natural reproduction mechanism
that follows the genetic rules of Mendel. New-born offspring
also react and live in the pool, interacting with visitors and
other creatures.
artificial pets
form is an expression of adaptation
‘this urge to expand, to explore, to develop, is just what will
make you extinct. You naively think suppose that you can
continue to feed your curiosity indefinitely. It is an old story,
pursued by countless races before you. Within a thousand
years—perhaps a little longer—your species will vanish….
‘knowledge is power! Do you suppose that fragile little form of
yours—your primitive legs, your ludicrous arms and hands,
your tiny, scarcely wrinkled brain—can contain all that power?
Certainly not! Already your race is flying to pieces under the
impact of your own expertise.’ bruce sterling ‘swarm’
chaos theory
In Kevin Kelly’s out of control…. fractal geometry measuring
the uncanny
The nonliteral, unconscious, underneath level of discourse and
communication; serendipity, coincidence, synchronicity,
chance: encounters that cannot be, or the way we read them,
accidental. Beyond the pale of ratiocination.
magical operations in the world
cabala the ouiji board of altered operations
various kinds of transactions or is this… a frequency -
extraordinarily intriguing
moving out of body
as to tapping us into karmic ideas, transmigrational ideas, out
of body ideas, the mental network, the spiritual network, the
soul network, that sometimes to give us the insight of a
feeling that we’ve been here before. I know this from another
time in my life. I’ve seen this. This moment has come
together from, has resolution and an opportunity that comes
together, not just from this life, but a whole chain of events
that I am NOW.
that’s why chance operations, autotmatsm, the surrealist’s
operations, cut up text. And those are the spaces of the
uncanny. The flannuers of electronic text.
schizophrenia uncoding and coding
philip k. dick
Ubik…and yet, we know that there is, I mean if you look at
R.D. Lang,
we are given, this enormous memory that just needs to be
tapped into, an insight, an archive, an archaeology, and
layered cellular history that we can learn to get close to and
bring close to ourselves, that add another dimension of which
is, that is not on the literal level of life. I think from Borges to
Burroughs to Hopscotch to Marcel Duchamp …so many of the
artworks have pointed to this, structured text like this,
cubism, a contemporary art of kind of altering our perception
to give us this sense of where there are unreadable text,
fragmentary text, unsecure text, unstable text, that allows us
to kind of feel the perfume of the ages of time, and that
heightened kind of fear and pleasure and terror and poetry of
something so great.
open up our circuits to them.
timothy leary
adlus huxley
William Burrough’s the dean at MIT speaks about the uncanny
encounter, with William Bennett or the chance operation from
leautremont to organise, to present his book about
perspective, the linearity of text, how text and writing become
the great insight towards the organisation, manufacturing,
military operations of linearity, of organisation…once he could
see it blurring between fiction and reality, once you hold the
book it your hand. the telephone an organising scheme, a
post text, alphabetic kind of organisation style to look at the
book, including ourselves, like the Aztec culture or any kind of
Aboriginal culture, primitive cultures, and I would venture to
say, Greek cultures were they ever negotiating the real?
Absolutely. Every culture on every level has had to negotiate
and live within the real.
our sight has blinded us - can we see beyond the present
Our sight blinds us. The utmost clarity and the most exacting
technology. We now see this effect that it blinds us to seeing
other things.
The interiorisation of trajectory which is the evolution of one
organism which is one mind that sits above this
luminescence, or rather, there is this separateness of this
tendrils that eventually become one and operate as one. And
there is a platform for this new sphere, this mind that grows
and separates itself from this consciousness, this abundance
of energy. It’s one unit, one being that sits above earth and
eventually leaps, that is its trajectory. And the launchpad of
that, contemporary ideas, this thought that represents that
this mind…the interconnecting the literal wired, hard wired
kind of consciousness or the metaphor, but literally it is the
envelope of connected nation, this thought, and post that is
this telepathic. From a distance, we operate as an organism,
but singular distinct thinking beings, but total being that
actually acts as one. We are that entity that can reflect that
thing which desires to see itself and know itself and evolve
where the platform, the mind, the spirit evolves.
nietzche teilhard de chardin
Chardin is making a very Hegelian argument which is also
*** to the fulfilment of the desire for consciousness mind or
spirit to outlive the flesh and this *** into the other idea and
gaia hypothesis, the earth being one total living organism.
This is a platform for intelligence. Going back to the ecology of
mind, is this media platform of the signal that gets more
refined or tuned into or playful towards knowing its own
trajectory and what these messages in this environment is.
There is a circularity to eating. And here we can say the
consumption of media. That suggests that at some level,
media is self eating, or that all eat in this world, must
eventually themselves be eaten. In this world, everything
that feeds, will someday be food for other mouths. This is the
law of appetite or we know say, ecological interdependence.
trickster and the war machine
The character which disrupts things. The lie that opens up to
a truth. The prank that is not malicious. Trickster knows how
to suppress this appetite, but create a new appetite. It’s like,
and example would be like, Krishna. All right and Krishna’s
mom has all this wonderful fruits and food and Krishna wakes
up and mom wants to feed him. I don’t want to eat mom, I
don’t want to eat. He just doesn’t want to eat and then when
mom leaves, he goes around and eats everything and disrupts
everything because he doesn’t want to do it on the terms of
mom. He wants to do it on his own terms.
dematerialisation/consciousness without a body
Of course, this notion has grown up along side of a lot of other
pushes, along side of media. The idea of human evolution and
humanity being an agency of evolution that transcends, that
makes a better human. There is also the chardin’s notion of
the noosphere, of this luminous mind that’s a collective mind
that acts as one entity. What the evolution of plant, and
evolution itself and the human species is to eventually lead to
the creation of a consciousness that acts as a whole and
single unit. **** one of apocalypse, which is what I think is
just one of an indication of desire for great change or
eventually plan from the human unconscious that eventually
…there is a great change that will happen, a transformative
event. So, you could look back from the post war military
industrial complex, the desires of the evolution of
consciousness, the acquarian conspiracy, work in science,
work in the new physics, with the notion, work in *** theory.
There have been the Celestine Prophecy…a lot in the air and
has been for quite a bit of time, about, and also with the
triumph of the capital markets, reinforces this notion of self,
responsibility, change, mutation, gene, biochemistry,
consciousness. What’s problemetized in all this, is the body
and the mind. There’s a real context in which the network
society fulfills and gives a visual imagination, architectural
spacing to a long desired concept of transcendence, universal
mind, open network, and networks…the more people on the
network, the more powerful the network, the more powerful
the network, the more empowered people become, the more
it’s not top down, the more there…small pockets have
changed and voices have changed, so it was able to embrace
quite a number of compelling desires in terms of the ark of
what we desired. The myths of humanity. philip k. dick
timothy leary carlos casteneda william burroughs,
Bladerunner, Max Headroom, Brazil…In terms of
contemporary science fiction and the contemporary that
folded and embodied these kinds of myths and proselytised
these kind of myths and give shape to the popular imagine of
what these myths hold forth and what and how we will work
on them. And ultimately then, we get to the notion of this
idea of disembodied consciousness. Consciousness without a
body. Consciousness without a point of view. There’s
disembodied, and there’s been a number of kind of
contemporary science fiction tropes about, you know, from
Rudy Rocker, William Gibbon, Pat Cadigan…there are a
number of tales about the network and how the network
becomes an agent of usurping mind and consciousness and
then somehow, this collective mind becomes this agent of
immense transform, or not even benign, becomes quite evil,
and there is some desire of tapping into that. So, the whole
idea is, is kind of moving forward with an unmediated body
into this kind of realm of consciousness, of ether, of mind,
that can be uploaded and sent off or some way. And that the
machines will kind of feed off of this mind and aggregate, self
correct, reprogram themselves and eventually, kind of leaves
the husk and the shell of the human figure behind. Now, let’s
talk about the present, because I think that may be just a
little, but you know, when we talk about the present, it’s
imbued with these kind of myths, these longings, these fears,
these various kinds of trajectories and desires. And the
media, the media within architecture, this media in space,
becomes the kind of the flow of how this kind of escape of….
language can never step outside itself, its ruling metaphors
remain inside
Every generation, every epoch, has its mediating fiction. It
has a set of aspirations that crown and bestow achievement
on the person Think Differently. It is the celebration of those
people who kind of triumphed, broken ground, broken thorn,
transgressed the norm, created new discourse.
the spirit that speaks through the play of gods, the fight of
the gods, and for the german people, history. These battles
and what marks the aspirations there is to defeat the eternity
of time and karma, such that we then end the game of life
and we find ourselves in a state of perpetuity, eternalness,
total presence, presence that transcends time, that absorbs
time. That returns to before time. That kind of defeat life
gains us back access to the spirit, to the eternal spirit, to the
spirit that lives forever, that there’s no death, that there is no
hardship; when we are again one with life, and the appetite of
life in that life. When we think about life, obviously life at
some point was the answer to an idea of life, and gave
reflection to that answer of life such that it became the kind
of ever revolving kind of portraiture of the aspiration of life.
why time
It’s the game, why would there be life, why would there be
time; unless there was no time and time wanted to see itself
in time. Time said, you know, I don’t know who I am. I need
to see myself, so I’ll make a big fucking bang and give myself
time to see myself in time and be absorbed by that time. can
this time have anxiety like us.
a reflection in time
Language and mediating ecology and discourse is to say; we
reflect that which is greater than ourselves. So, in the end,
the human is a magical creature, a creature that says I am
that which thinks about what I am. I am that which knows
that I have an appetite to be. Again we try to distinguish
ourselves, and realise perhaps all of the universe is part of
that operation. So ultimately, this is the discourse about how
we can re-ignite within ourselves that creator’s perspective,
that religious perspective if you like, outside the bounds of
institutional religions or codified religions where there’s more
precepts that of a kind of living operation or living design that
gives us a sense of the kind of enormity and the kind of
progress of ourselves in time, accepting death, accepting
finality and just tuning into that, and the beauty of that.
this poetic
greatly expressed by man in time in history in numerous
cultures is man forgotten
which is the beauty
the singular discreet immediate unmediate/d
appetite of death
which befriends us in
that it gives us a finite life
kissing beauty
a finitude
which forever has tasted itself unbounded
desiring itself to be decentered dismembered
in the lap of all time in X
In the end can we make the argument that everything is
changed and nothing is changed.
What has changed and what will always change is our
perception and our discourse about ourselves and our
discourse about discourse. And what’s happened is that we’ve
all become quite aware of this notion of discourse, of
language, and how we mediate ourselves and think ourselves
through language and how we have this perpetuate dance
with language itself. That’s what’s poetry, and form, and
breaking forms, and media is about. The language, the kind
of language’s operation on us, and yet how can we step
outside of language, how can we step outside ourselves. We
can to some limits, by kind of going back and breaking down
the fact that we’re reflecting on ourselves and we’re reflecting
on ourselves and we’re giving ourselves a kind of knowingness
of knowing that we stand and live within something that
knows more than we do. That’s the thing that fucking
amazes us, that’s why in the end we are creatures of awe of
magic and an awe of nature, an awe of science and awe of
who we are. No matter how much you want to trans. Its
stepping into the monster.
the delicious pleasures of life
So what we can do is sing the praises of it, curse the praises
of it. It, it, the thing, the greater…we’re small. No matter
what tyrants and big power people, is like a fucking spec. the
beautiful thing in Kundun when the Dalai Lama says I’m a
bug, I’m a fucking bug, you know. A bug, rubs its belly and
fills itself with the delicious pleasures of life, and…on any level.
And I think the limit to, there’s a tragic there if they don’t see
the limit to themselves, they believe there agents of divine
destiny and they’re tyrannical and they are fucking monsters
…but it doesn’t last. And yes, we must be subject to that.
Because the human self is a fucking, foolish self.
I think there are two kind of devastating self-realisations if
you like. I’ve seen this well articulated in Beware of the Holy
Whore, a Fassbinder film, at the end of the film when he says,
“You know the most horrible thing is to realise how terribly
bourgeois we are”. And the other is that revolt, is what props
up its master. In the end the master does change. But the
MASTER, which is life itself, does change, but it is in some
sense unchangeable and that’s kind of its power. But I
remember realising that in Grad school. And the sense of
“fuck it man, there’s no fucking way you can kind of defeat or
break down”. But then, there are, there is a small but quite
profound kind of victories of kind of opening up certain kind of
text, opening up certain kind of communication, that allows
us to kind of be expansive into the whole kind of territory of
communication that was closed to us before.
you’ll come all the way back and say you’re home
The human nervous environment system itself can be
reprogrammed with all its private and social values because it
is content.
To possess one’s own language within the sphere of language
that possesses us so that we can finally be disposed of it. To
work towards being to achieve non-being. To offer oneself as
a sacrifice to the language of the sovereign authority.
Beyond language what are we.
emotions - senses - touch
Post Industrial Memex
And I think that’s what ultimately like the world clock or the
interface or this kind of composite media that they’re talking
about that’s real time, that’s networked, that’s global, that
gives you this archive to both present these various
fragments of yourself through your childhood. Your home
movies, your reflections, your memories, your writing. How
do you bring all these various writings and articulations of
yourself through time in a space where you can kind of work
this media and know better yourself and put forward yourself.
This reaches new levels with knowing our DNA history. Our
medical history if not geneaology imaged. But how do you
kind of image yourself ultimately. How do you come closer to
yourself as opposed to more alienated or disaffected from
yourself, which is ultimately what mass media has done in a
Voyeurism and surveillance
the predominent registers of todays image medusas
Much of our memory resists us, often times recollection is
inconstant, as sometimes when we are about to re-visit a
place we can see it and give shape to it and the things that
happened there, where as on other occasions we struggle in
vain to recall. It can very often depend on our state of mind.
And when we do remember, what constitutes that memory,
something much more than we can put to words, or atleast
most of us. Of course these vary with individuals.
Where and how is memory elicited and where does it come
Can machines harness, excavate the feeling of memories
within us. Tune to the frequency of an all at onceness sight of
all, into deeper levels of the deeper memories of the racial
memory and unconscious memory of time in memorial.
multi-vocal (refer to new tapes)
Post modernism and structural discourse continue the
Neitchean line of a self that is a rendezvous of several
persons. Under the agency of the author is a plurality of
voices mostly made by the reader. In point of fact, there is a
heterogeneous amount of text or voices, oral multi-vocal set
of voices that come together and organise as if they are one
author. But this authorship is not true. The author is, any
author is really a DJ. Certainly there is a voice of the author
that has a set of concerns, an optic, a preoccupation, a
sentiment, of love, of passion, of formulation and
consideration, points of view.
form is the meaning
The form is the meaning not the content. It is not until
Schoernberg put aside the polychromatic, full symphonic
sounds, that he could find other sounds with other meanings
and textures and then he came up with the twelve tone
system. Similarly John Cage when looking at the piano as a
percussive instrument was able to produce a new texture of
sound. The same with Eric Satie.
media a living ecology
an organism that transmutes and changes.
chance operations
Puns begin to do this, anagrams, augury, randomicity, found
The syntax, the order of language constrains as much as it
articulates meaning. What William Burroughs had done, very
much informed by painting which he often said and attributed
to Byron Gysin, and what others had done, with variations of
the cut up, the fold in was to create machines, operational
procedures, formal strategy; in Burrough’s case as with
Laurtremont, Rimbaud, Raymond Roussel and others was to
create meanings that they themselves could not articulate
but in a sense needed to find, to apprehend, to catch.
Burroughs recognised that the meanings were in areas and
juxtapositions that were beyond his control to put forth in his
voice. They had to put forth through a method. So he let go of
Why does William Burroughs die within four months of his
long time associate Allen Ginsburgh? William Burroughs
would argue there are links, snychronicities and magical
operations in the world, that link people on levels that are
non-linear, non-logical. There is this other phenomena. That’s
what intriques us about the pre-Columbian world.All this stuff
is at other levels and may not be accessed by traditional
methods of writing or reading. It is for example what David
Lynch is tapping into. Bob. Where’s Bob? Well, he’s the extra
that’s working on the set that Lynch says is the double of
Laura Palmer’s father. Again the syntax of language
constrains and obfuscates meaning as much as it articulates
meaning. But of course the only way out of this is through
language. So one must find a way to play with the
recordings. To re-mix the text. To use chance as one of a
number of operations to put forward things in the
unconscious, out of our purview. This of course involves a
certain serendipity, an acuteness of listening, of creating an
new organ of hearing. These things one can’t always control,
so one must find ways to create or tease out these meanings.
the brush
Think of the technique of the brush stroke and how it turned
its attention to realism how much it found there from Corot,
Serat, to Edward Hopper and hundreds of others. What is the
first painting cited as the beginning of modernity. Picasso’s,
Mademoiselle’s de Avenion, where he uses the oceanic mask
to cover the western faced figure. This was quite shocking.
This hybrid. In order to reach people he had to bring out a
new meaning but pressed on with a new language. In time
painting becomes its on subject - investigating opicality, the
surface, paint itself.
mallarme/peter greenaway
The channel itself is the communication. And that’s what
Marshall McCluhan had said. The medium is the message. So
for example, when Peter Greenaway makes this different kind
of film, he is communicating some very different things. He is
increasing the power of the medium of film. He is finding
within it something that it can say by virtue of taking another
tact to it, through it, in and about it. The same with the poet
Mallarme as he discovers the space between words, chance,
the page and what spatial this means or says about the void,
eternity, the poet. So even though Good Will Hunting is a
good movie, it’s not interesting at the end of the day, because
it doesn’t advance the discourse or change the discourse. That
doesn’t mean to say as Schoernberg said there are not ‘good’
symphonies to write in C major.
Surely one can say it’s not necessarily about things that
advance the articulation of a different language of any
medium, whether it be film or literature or the arts or a new
interface or a new product. It’s about what resonates quickly
and surely within the heart of the human being. One can say
it’s the eye, and your feelings, if it doesn’t resonate beauty, it
is of no value. But then again what is beauty.
There is a two prong situation. There is the subconscious and
there’s the heart. And basically what effects the
subconscious, is another kind of language than what effects
your heart. What makes you cry, brim with emotion, or
marvel at the dialectic rigor in a film, theatre, what makes
you go back, and makes you remember at the end of the day.
Because it’s what we’re about. Eventually, I think in terms of
the evolutional, the evolutiality of what the human beings,
the thing that makes it matter, just towards the end of the
day…. There are certain kinds of feelings, certain tonalities,
certain textures, that are constrained by the very form, the
formal structure. Why does Rimbaud aspire to a language that
breaks poetry? Why is he looking for the color of vows, a
different structure, because he needs to say things that can
not be said by conventional structures, and why does this last,
the feelings he conveys last, because he has created a new
sense of beauty, a beauty that is at first at the edge of
hare krisna
It’s the same idea that allows the Hari Krishnas to chant a
particular series, a rhythm of words, and those words
eventually deconstruct beyond rationality. That’s why they
say, Hari Krishna, Hari Krishna, Krishna, Krishna, Hari hari…
eventually, you chant that enough, and the words lose their
logical bind. They become unattached and you move between
the words into a world of non-logic. There is meaning behind,
within, the world of language.
as we move away from a center that never was we extend
ourselves from what was a starting point, and of this point
we are equally uncertain .
Truly, the boundaries between our technologies and ourselves
continue to implode. And we become creatures that we could
not imagine.
ziggy stardust
King pin of the avant pop phenomena. “I’m from this place,
I’m of this religion, I was born here, my people are from here,
my home is here” these statements become less and less
solid. It is by accident or by time, by evolution that they were
such but they don’t need to be such, these pointers or these
anchors of identity.
dr mabuse der speiler
Hypnotist, impressionist, Dr. Mabuse, master of disguise,
the silver surfer
bona drag
The new dark gift is the passing on of the newly transformed
vampire gaze. The visual knowledge which makes the
machineries of subjectivity visible and the nuts and bolts that
hold the surface of reality together stand out from the
background. But for us living in the boundaries beween the
dying world of safely grounded epistemologies and the
querulously emerging world of cyborg instrumentality’s, we
face the gaze of the vampire
Roseanne A Stone in her book The War of Desire and
Technology concludes that we are no longer unproblematically
secure within the nest of our location technologies whose
function is to constantly reassure us that we are without
question ourselves singular, bounded, conscious, rational; the
end product of hundreds of years of societal evolution in
complex dialogue with technology as other and with gender as
an (…….) machine. The vampire subjectivity sees the play of
identity from the meta level, sees the fragrant possibilities of
multiple voice and subject position; the endless refraction of
desire as a visual apparatus that has become irreducibly and
fatally different. Once one receives the dark gift, there is no
way back to a simpler and less problematic time. The gaze of
the vampire, once achieved, cannot be repudiated. It changes
vision forever.
She goes on to say at the close now of the mechanical age,
we are amidst the ruins of a visual knowledge whose cultural
purpose was to ground and authorise sovereign subjectivity.
But this no longer exists once one has this insight. And no
longer will be the case with technology; which will gaze of the
cultural interstices
Why vampire Lest, or Stone, is because the vampire’s always
been a problematic figure in literature, capitalised upon
towards implications of contamination, subjection, violation
and uncontrolled exchange of body fluids. She says Lest is a
liming creature and though not to the lay on the obvious, a
cyborg. Cyborgs are bound to be creatures not only human/
machine, but creatures of cultural interspecies as well. And
Lestat inhabits the boundaries between death and life
temporality and eternity, the straight and gay, man and
woman, good and evil. He nicely exemplifies the style
cyborg’s existence captured in the pain and complexity of
attempting to adapt to a society, a lifestyle, a language, a
culture, an epistemology, even in Lestat’s case a species that
is not one’s own. Lestat is a vampire for our season,
struggling with the swiftly changing meaning of what it is to
be human or for that matter, unhuman.
Lestat is fascinated by humans, whom he prefers to call
mortals. That is beings who are not able to die, he’s
fascinated first because he’s powerfully drawn to human
blood, and for him human blood evokes deep, complex,
sensual experiences.
She says morality, or rather, mortality holds endless
fascination for Lestat who stands partly outside human life
and then simultaneously deeply meshed within it. For his
mortal friends will inevitably age and eventually perish. While
he will continue thru time forever tasting but never fully
locked into the world of sensual experience and sensory
the facticity of social identity to the core
And in this last paragraph she says, “this is the poignancy of
the gaze of the vampire: the naïve, pre-university Lestat, saw
humans transfixed by the arrow of time, caught up in the
tragedy and glory of living in history, inhabiting a temporal
narrative produced and supported by dense social networks of
beliefs and practices from which he himself was excluded.
Around that fact, revolves much Lestat’s philosophy.”
Finally, she says “Lestat’s sees subjectivity as possibility, and
let’s the myriad aspects of subjectivity that mortals take for
granted as no more than boats temporarily anchored in a sea
of possibilities.”
One more quote from Stone where she says: “ it is the
physicality simultaneously lived and imagined which expresses
the default subject position in the virtual age; and which by
its enunciation calls into question not simply the masquerade
of gender but the facticity of social identity to the core.”
michel foucalt’s madness and civilization
Again, a note on Michel Foucalt’s Madness in Civilization and
the Birth of the Clinic where he demonstrates that there’s
dimension of power involved in all the human sciences that
are derived from the medical model of knowledge. And he
goes on to explain in this book that the power to separate
individuals into the healthy and the sick, the sane and the
insane, the normal and the pathological, in the professional
based of these scientists have assumed an authority that
amounts to repression.
Why has Foucalt’s, as contested as his claim is, why has it
been given such credence and such recognition.
I think you can see how it falls very well into this dialog about
identity and subjectivity and hypertext consciousness, virtual
worlds, cyborg prosthesis dialog, which is so topical today,
these are the kind of, the coins of the…Part of this project in
Madness in Civilisation was inspired by Nietzche and Heidegger
who both defined characteristics of modern reason which led
to the rejection of difference or otherness; madness of course
was an otherness. And what Foucalt’s goes on to suggest is
that more and more asylums are built from 1650 to 1789 to
quarantine the mad from the rest of society. From there he
goes on to explain that the humanist concept of rational man
was rather stifling and a backward step in its rejection of
difference and its imposition of a single concept of identity.
There it becomes the point of struggle, it is identity.
killing of history
…from the killing of history which is a summing up of this
anthropologist Paul Carter whose (Third) point on history,
which is quite good. Third, the narrative historian’s notion of
time itself is mistaken and out of date. Temporal experience
is always portrayed by historians in a linear fashion, in doing
this they’re simply reflecting their discipline’s origins and pre
-20th century mechanistic thought. Temporality has
continued to be conceived of in Newtonian terms as a pure
intuition independent of space. Carter insists that historical
events are spatial as well as temporal and so, by implication,
historians in the era of Einstein should be operating with the
notion of space-time. Spatian history is his version of this
Certau, he goes on to say that we have access to our
language and not to any real outside world. From this
perspective speaking and writing are the vehicles thru which
we produce the only world we can know. Of the two writing is
the more powerful. Writing, he claims, is a means to
composing rational order. Writing produces a world, he says,
that’s consistent with its own grammar. Hence the only
vehicle through which this world is intelligible is writing itself.
Those people who lack writing lack the power to define their
own world in a way that is possible to those cultures that
posses writing. Outsiders never understand these non-literate
peoples directly, only through the writings of others. So he
says these writings of colonisation are discourses of power.
Edward Said says similar things by saying that European
writings about the Orient, specially travel writings, literature,
history have systematically disclaimed the insights of the
people it claims to tell the truth about.
In summary, Keith Windschuttle’s The Killing of History. His
critique of post-structuralist, structuralist criticism is the
following, at least in this case as it deals with history. Here he
says, first the reject those aspects of the scientific method of
the Enlightenment that were based on observation and
inductive argument. They consequently reject works of
history that are based on the same principles. Second, they
all hold a relativist view of the concepts of truth and
knowledge. Most denied that we can know anything with
certainty and believed that different cultures create their own
truths. Third, most denied the ability of human beings to gain
any direct contact with, or access to reality. Instead they
support a form of linguistic idealism that holds that we are
locked within a closed system of language and culture which
refers not beyond our minds to an outside world but only
inwardly to itself. He believes that these three contentions
will kill off the discipline of history. He says the first
undermines the methodology of historical research, the
second destroys the distinction between history and fiction
and the third means not only that it is impossible to access
the past but that we have no proper grounds for believing
that a past independent of ourselves never took place.
I cite this work to again return to this question of identity,
subjectivity in point of view that…if you look at the whole art
of the last hundred years, if you like, as we approach the
millennium, from the insistence on a core identity of peoples,
and the height of their rational use of technology we moved
to the complete decentering of the subject, unbounded,
unfettered, unknowing itself, that is being the host media of a
ferocious technology, whose end is this desegregate man and
the sense of total self and senses, and horrors him and
muddle him and supersede him, it’s quite disturbing actually
when you frame it in this sense.
Paul Virillo quoting Flaubert, I love this book The Temptations
of Saint Anthony, where Flaubert says, aren’t you tired of this
body that weighs on your soul and cramps it like a narrow
cellwood. Demolish the flesh then. We shun the flesh, we
execrate it. And then Virillo says, “to expand, to dissolve,
become weightless, burst, leave one’s heavy body behind.
Our whole destiny could now be read in terms of escape, of
evasion. To be unhappy in one’s skin, as in chagrin on a coat
that’s too tight and pulls at the sleeves, masked, congestion,
span; a coat too heavy for the person doomed to wear it, to
move it. As though there were a radical incompatibility
between the size of the envelope of flesh, the subject is
decked out in and the space-time without knowable beginning
or end of his being in the world, birth and death, objects of
belief. Eluding immediate consciousness or between internal
horizons easily convinced as gaping and the real horizon of the
world which Merleau Ponty tells us we approach initially
through sight.
jorge luis borges
There’s a great quote when it comes to memory which is
quite a wonderful one that Jorge Luis Borges once remarked.
He says: if something were unforgettable we could never
think of anything else.
In essence you can say that memory is a fixation, not
accompanied by the projectile capacity of the imaginary which
requires forgetting, which is the absence of reminiscence.
lost dimension
Virillo mentions a Lost Dimension in the same a momentary
absence of consciousness, of technoleptic interruption is the
essential pre-requisite for time and for the identity of time as
lived by individuals.
I want to mention this quote from the Lost Dimension by Paul
Virillo in terms of this notion of meaning events and
perception not on a stable substrate : “the subsequent loss of
the machine, or better, loss of the dimensional mechanics
spawned by ancient Greek geometry is no great loss. As
Mandelbrot has noted, we are only losing a certain relationship
of conformity such as entity, unity and symmetry that came
from a long-ago past. In this the Aristotelian privilege of
substance over accident and of duration over instantaneity
was maintained so that temporality was perceived as linear
and so the equivalence of speed and distances had to grow
progressively strained.
I want to say that finally informatics now appears as a kind of
energetic, as a mode of formation. Because the punctum of
electronic action is virtually or practically instantaneous.
What this ultimately means is this computer assisted
representation which will replace kind of static reports and
posting that we see today will actually integrate the
informers, the directors and the users in one interactive
terminal and integrating them in this kind of space of almost
oral or instantaneous event communication.
With the interfacing of computer terminals and video
monitors, distinctions of here and there no longer mean
anything. Speed-distance obliterates the notion of physical
dimension. Speed suddenly becomes a primal dimension that
defines all temporal and physical measurements. This radical
erasure is equivalent to a momentary inertia in the
environment. The old agglomeration disappears in the
intense acceleration of telecommunications in order to give
rise to a new type of concentration. The concentration of the
domiciliation, without domiciles, in which property boundaries,
walls and fences no longer signify a permanent physical
obstacle. Instead they now form an interruption of an
emission or of an electronic shadow zone which repeats the
play of daylight and the shadow of buildings.
Where geographical space once was arranged according to the
geometry of an apparatus of rural or urban boundary setting,
time is now organised according to imperceptible
fragmentations of the technical time span, in which the
cutting as of a momentary interruption replaces the lasting
disappearance, the program guide replaces the chainlink
fence, just as the railroads time tables once replaced the
So, these image events are kind of vectors of momentary
instantaneous expression, very haphazard. And they derange
I have this (titled-carted) suitcase, it actually comes from
Robert Anton Wilson whom I’ve met and refers to Joyce and
Stephen Dadalist, portrait of the artist as a young man who
says that “fatherhood is like the universe itself, in being
founded upon the void, upon uncertitude.”
Moreover, the principle involved must invest the whole reality.
In consequence the true nature of things may be said to lie
not in things themselves but in the relationships which we
construct and then perceive between them. This new concept
that the world is made up of relationships rather than things
constitutes the first principle of that way of thinking which
can properly be called structuralist.
So, in short, the full significance of any entity or experience
cannot be perceived unless and until it is integrated into the
structure of which it forms a part. So, it would follow that the
ultimate quarry of structuralist thinking would be the
permanent structures into which individual human acts,
perceptions, stances, fit and from which they derive their final
nature. Until this will finally involve what (Frederick Jameson)
has described as an explicit search for the permanent
structure of the mind itself, the organizational categories and
forms through which the mind is able to experience the world,
or to organize a meaning in which, in what it’s essentially in
itself meaningless.
dreaming of substance
Obviously then, the attention was turned to linguistics and
anthropology to find deep structures in language and how we
know ourselves and others, or man. Everything dreams, the
play of form of being is the dreaming of substance, but when
the mind becomes conscious, when the rate of evolution
speeds up then you have to be careful. The cautionary note is
struck by (Sean Xi) in an epigraph, “to let understanding stop
at what cannot be understood is a high attainment, those
who cannot do it will be destroyed on the lathe of heaven.
so much for the omnipotence of mind
So, hyper hyper, the metadiscourse of metadiscourse or the
implosion of the (punctum)
How about hyper-depth, depth, depth, depth, time-depth. I
think the term is picnoleptic. And that’s, in the realm of
consciousness when you’re thinking there’s this gap, this void,
it’s very momentary when your attention shifts and breaks
and there’s this fissure and now your mind is onto something
else. The mind seems to works towards certain kind of
clusters or ideas, and sensations are interrupted and its gone,
you’re into the next…is not a very sustained, if it was truly
sustained we’d be obsessional; Bunuel would say it would be
this all sexual desire channeled into this one phobia, fear,
desire, this voyeurism, this obsession, this, it would turn to
that again and again; which goes back to the Borges
comment, thank god there’s forgetfulness, thus the
obsessions are desired to return again and again.
I love this comment by umberto eco after being at a
conference at writing spaces, which is a fascinating that it’s
really turned to novels and storytelling and narrative, and this
notion of unlimited semiosis or within a text there’s so many
voices, the interstices of numerous texts and without a center
or author. But you certainly won’t find in boccacciao the
theorem for relativity, or how to get your refrigerator colder.
There are limits in structures to any given text.
He says that in the dictionary everyone has an equal chance
to use the dictionary to write stories, or Shakespeare or
whomever, it has infinite possibility, but
Trickster makes the World
It is the nature of attraction to contradict what structure
decrees, to produce connections that cross boundaries, rather
than reinforce them. We are challenged to push beyond our
enabling structures and find strategies to produce genuine
surprise. To tease out new gems, in the crevices, in the
overlaps. New strategies to produce new structures of
meanings, new sounds, that express new feelings, new
tonalities. One way I suggest is to build little engines of
intertextual, simultaneity that bring in various kinds of
information allowing us to composite and montage them to
get underneath and see the lie, the contradiction, the other,
the marvellous, the new.
Lewis Hyde speaks to this in his book,’ Trickster Makes the
World.’ ‘Convention can deliver sufficiency. But beyond its
walls, beyond the structures, we erect in such glorious and
proud detail, lies a spiritual plenitude that human structures
necessarily obscure. In fact, it is because this fullness lies
beyond design, that Krishna’s revelation must come through
disruption. If it came any other way, it would have to come
through some sort of structure. And all structure, no matter
how good, exists by excluding something. If there is a love
that lies beyond the law, only a thief can be its profit.
Though, from his point of view, he is no thief at all. The real
thieves are those who lock the doors. Those who guard their
hearts. His lies and thefts point to divine expanses beyond
the routines of everyday life. But of course, tricksters are no
traditional profits. And one of the details in the stories I just
touched on, will help to mark the difference. It operates not
as a point of entry into meaning, but paradoxically, as a
breeder of multiple meanings. That is to say, when we try to
find the sense of one of these symbols of loss, we discover
only senses that we ourselves bring to it and we can easily
bring new ones each time we approach. A famous example is
Thoreau’s remark in Walden. I long ago lost a hound, a bay
horse, and a turtle dove, and am still on their trail. 150 years
after this line was written, what one notices, is not that its
readers have slowly settled on its true meaning, but that
meanings have proliferated each time someone looks at it.
Symbols of absent things draw interpretative minds the way
the flute music draws the gopis. If multiple meanings are
what you want, a lost hound is a better breeder than any real
Fido. Krishna erases the mundane, then erases himself. And
these removals--precisely because they do not declare--, open
the field for human beings to spin out endlessly their sense of
what happened.’
Leonardo Da Vinci used the textures of walls to find things.
I’m walking across the street, and there’s cracks in the
pavement…and in these textures, in these walls, he would
imagine and see portraits and places and people and
structures and ideas. And this gave him a kind of a map or a
template to create his own map, to see his own world then.
And that’s what new media needs to do as opposed to being
declarative and stating the fact, it presents an opportunity to
see things other than what’s hard wired in our mind, our
prejudices, our small myths, ourselves. We have to see
beyond ourselves. We have to explode the boundaries of our
own perception. We have to be given those things that break
up our patterning, break up what we see. So after awhile, we
don’t see. We just see ourselves, and the idea is, we must
see ourselves anew.
Max Ernst,
William Burroughs
Stockhausen, the German composer.



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