Message-ID: <Pine.NEB.4.44.0209290201020.27347-100000@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>,
"WRYTING-L : Writing and Theory across Disciplines" <WRYTING-L@LISTSERV.UTORONTO.CA>
Subject: why codework
Date: Sun, 29 Sep 2002 02:01:20 -0400 (EDT)
why codework wary of any art movement tending towards genre, not that the two are simultaneous or even related. there are limits to codework; on one hand the code itself, on the other the process the code sends - what - through - text/image/subject/object/monad/desire - think of it as retinal filtering - that is the isolation, production, and naming of objects within the continuum of the world - it's both structure and generative process - the latter tending towards ontology. what is, is the domain of production - the input, to the extent that it is text/image etc. - i.e. not generated within the program itself - is parasitic, the third term within the communication process - on one hand traditional 'content' - on the other - 'noise' within the system that modifies and is modified by the output. i tend to think of this in terms of two large-scale operations - that of consciousness and its relation to inputting and outputting - fuzzy and rough domains at best - not a behavior analysis - but one stressing the interpretation and phenomenology of consciousness within the filter - seeing this as the way the world is, that is to say the relationship of consciousness to the world is vis-a-vis formal and informal systems in which filtering/language produces discrete elements in relation to consciousness on one hand and the world on the other - and then again - the second large-scale operation - that of the universe - plasma, virtual particles - the disruptions and collusion/collocation of structures - momentary buildups, impediments - codework at the limits in other words connecting, a connector among others, between self and cosmos - without descent into the mu of zazen for example - or ma, space/interval - looking at correlated particles for example in relation to, but not always, the space between them - so that there is a production of meaning, the gleaning from across all of this - structure, process, the parasitic - it's the production that is also an inhabitation and interpretation by consciousness - it's the situation of being-human in the world - it's worlding itself - at least this is how it seems to me, the movement-genre is irrelevant - what's important is the exploration of consciousness and the relationship among articulated entities in the world - there's something of cognitive psychology to this (but messier) and something of art as well (but more exact, almost uncomfortable, diacritical) - not a movement or genre but the loose domain or pooling of the confluence of structure and content (in the traditional sense), subject and object (in the traditional sense), i and not-i (in the traditional sense) - dichotomy itself - or the very nature of distinction - the sheffer stroke or its dual for example as the basis - neither a nor b - not both a and b - already tending towards the quantum mechanics of superimposition and the phenomenology of the gesture - ===