>the text begins here>cd:dir>goto:text:web>notes>
>
>. . . It's all conceptual art . . . What happens when you hold a mirror up to the
>city's mysteries and try to fathom the depth and complexity of the
>reflection? What goes through your mind as you move through the geometric
>fray of contemporary hypermediated life's frequency drenched landscape?
>These were questions that went through my mind as we worked on this
>project. The notes that accompany this text are only available on-line.
>They may be quoted, recontextualized, remixed, and recast, however anyone
>desires. Quotations, notations, denotative and connotative meaning The
>sounds for "The Quick and the Dead" were generated by the landscapes and
>cultural environments of several cities but, following the logic of the
>collaboration, the elements were blurred beyond recognition in the process
>of composition. They, like the music, are merely a reflection of a
>reflection of a reflection. Polysemic. Polyphrenic. No beginning, no
>ending. Thoughts without end, that is the world, with these mixes, that I
>hope to send.
>
>Tones and phones, poems and drones>cd>goto>
>.panegyric/polyptych>cd:dir>indexical/reflexion....
>geopolitics of frequency dispersion, necessitates reflexive environmental
>engagement> Lucy Lippard's "Dematerialized Object" de-scripted voices,
>re-contextualized, phonetic-dissemination. Mel Bochner> conceptual art as
>post-serialist sculpture - conceptual art as functional unit. Mood
>sculpture. If culture of the dérive (functional yet continuously variable)
>implies psycho-geographic
>memetic flux, then post- dérive milieu is one of continuous, seamless,
>suspension of disbelief. Use your eyes to hear and your ears to see, thus
>the concept becomes reality. Adrian Piper's conceptual engagement with
>process (modular remix 2000):
>"To me, people who complain about the "anti-humanism" of conceptual art are
>missing the point," she wrote back in her 1967 essay "A Defense of the
>"Conceptual" process in art." "Any kind of objectivity - whether it is in
>the formulation of a concretized system, a rational decision-making method,
>conceptual clairty - can serve only to facilitate the final emergence, in
>as pure a form as possible, of the artistic idea, which is almost always
>intuitive in nature. It is only when one subordinates the original
>intuition to the subjective distillations and limitations of one's own
>personality that one need be finally confronted with a kind of mirror image
>of one's egotistical conflicts as an end product"
>(Adrian Piper, Out of Order, Out of Sight)
>
>floating above the city: waves, frequency bursts, packets of distilled
>information distributed through out the spectrum of all communications
>devices What sounds to make? What voices to hear? A series of postulates -
>all utterly intuitive - of devices trained and programmed and sequenced
>with this environment in mind. The urban landscape as invisible centrifuge
>for the bio-machinic processes of a culture that has been consumed by its
>communications devices. Human and inhuman: the blur is the kinesthetic
>impulse of electro-modernity codes and modes, tasks and masks, distributed
>networks, nets and bets. An archive of all that we have said and done,
>adrift in the density the search for the meta-pattern acts as a cipher
>translation. Unlock the differential, and perhaps another form of
>communication can be seen:
>Technologos is therefore remembering, and not only habit. It's self
>referential capacity, reflection in the usual sense, 'critical' reflection
>if you like, is excercised by remembering its own presuppositions and
>implications as its limitations. And by the same token, the technologos
>opens up the world of what has been excluded by its very constitution, by
>the structures of its functioning, at all levels. This is how new
>denotative linguistic structures are invented: arithmetic, geometry,
>analysis. This is how science is generated, the sciences, as a process of
>conquest of the unknown, of experimentation beyond cultural experience, of
>complexification of the logos beyond the received technologos of breaching.
>This is the process I am calling "scanning."
>Jean François Lyotard, "Logos and Techne, or Telegraphy" taken from "The
>Inhuman: Reflections on Time"
>
>repetition: "Urbanism as will and representation"(International
>Situationist #9): "Modern capitalism - concetrated and highly developed
>capitalism - inscribes onto the scenery of life the fusion of what used to
>be opposed as the positive and negative poles of alienation: a sort of
>equalizer of alienation. One's obligatory stay there is supervised by an
>increasingly preventive police. The new cities are laboratories of this
>stifling society: from Véllingby in Sweden to Bessor in Israel where all
>forms of leisure are to be united in one single center, where all forms of
>leisure are to be united in one single center, without forgetting the
>housing project in Anvilés that signals the neo capitalist development now
>reaching Spain. Simultaneously, the disappearance of the "urban jungle"
>that corresponds to free market  capitalism - in all its lack of comfort,
>its luxury, and its adventures - continues apace. The center of Paris is
>radically restructured by the organization of automobile traffic: the quays
>transformed into highways, place Dauphine into an underground parking
>garage. This in no way precludes the complementary tendency to restore a
>few old urban spots as sites of touristic spectacle, a simple extension of
>the principle of the classical museum by means of which an entire
>neighborhood can become a monument. Administrative bureaucracies of all
>sorts construct everywhere buildings suited to their taste. At Canisy, this
>even includes the administration of a new activity that, despite its
>enormity, can be sold at a premium like all the charlatanry that responds
>to all lacks: the specialists of generalization"
>
>cd>dir>funcntion<(x)agent>goto>systemic/synedoche/
>goto>methodology:
>voices collected from detritus of wave frequencies, urban/nonspecific.
>Record process>goto>dismemberment of vocal apparatus, derpersonalized, non
>recognizeable. Distortion of all aspects of functional communication,
>linguistic
>entropy>cd:dir>result>aphasia>fugue/figurative/non-figurative/interpl 
>ay/interpol
>ation
>
>architectural/uncanny/intuition of formative culture/frequency>
>mode>text/open> new forms, new functions>cd:dir://http>mood scultpure for
>the Combine Generation.
>text ends here>>>>>>>>>>>>>>>