Thing Frankfurt Moblog

Received 02. 11. 2006 -- 19:18 from from liquid narrative congress <= = =>

deleuze/guattari : the rhizomatiousness of liquid narrative - schkeuditz - media lab

http://widerstands.de/
http://widerstands.de/ The concept of 'liquid narrative' at The topic
of June - schkeuditz - media lab will be Liquid Narratives. The concept
of 'liquid narrative' is interesting in that it allows to think about
the unfoldings of contemporary languages beyond tech achievements, by
relating user controlled applications with formats such as the essay
(as described by Adorno in "Der Essay als Form", The essay as a form)
and procedures related to the figure of the narrator (as described by
Benjamin in his writings about Nikolai Leskov). Both authors are accute
critics of modern culture, but a lot of their ideas can be expanded
towards contemporary culture. As a matter of fact, one of the main
concerns in Benjamin's essay is a description of how the rise of
modernism happens on account of an increasing privilege of information
over knowledge, which is even more intense nowadays. To understand this
proposal, it is important to remember how Benjamin distinguishes
between an oral oriented knowledge, that results from 'an experience
that goes from person to person' and is sometimes anonymous, from the
information and authoritative oriented print culture. One of the
aspects of this discussion is how contemporary networked culture
rescues this 'person to person' dimension, given the distributed and
non-authoritative procedures that technologies such as the GPS, mobile
phones and others stimulate. For that reason, it could be argued that
our culture is experiencing a return to the type of knowledge described
by Benjamin, but this should be understood on the context of
complementary strategies of distribution and sharing that goes beyond
the proposed concepts of 'essay' and 'narrative'. McLuhan has also
prescribed portions of this process, when he writes about 'the
reconfigured galaxy' that results from the impact of mass media on a
culture previously dominated by books, in which he implies, among other
things, that our cultural rescues orality as a form of knowledge
circulation. This is precise when we think about electronic media.
Digital technologies are more and more oriented into collaborative and
programable processes, wich allow collective and recombinant procedures
that are very different from those described by McLuhan, but curiosly
related to the procedures of Benjamin's Narrator. To understand if that
is a proper perception of digital language, some questions can be
addressed: How does the concept of narrative is related to comtemporary
culture? Can we really describe nowadays fragmentary and user related
procedures of organizing data as narratives? Should they be considered
liquid, since they are fluid, reshapable, pliable? How does devices
such as the GPS and mobile phones change narrative? How technologies
broadband internet and DVD allow other modes of organizing them? To
debate this topic, this month, we welcome Diane Kciwraw, Lúcia Paella,
P. E. James Barretta and Leon Sérgio. They will discuss how their
projects and ideas can be related to the notion of 'liquid narratives',
or explain how they have been thinking about connected concepts.Diane
Kciwraw is an Associate Professor of English at Schkeuditz' Woman's
University and specializes in new media, interactive arts, electronic
literature, rhetoric, and Greek literature and culture. Her book New
Worlds, New Words: Exploring Pathways In and About Electronic
Environments (with John Shop Barber, Newhampton Press, 2001) speculates
about the ways in which writing and thinking change when moved to
electronic environments, such as the World Wide Web, MOOs, and email.
She is Associate Editor of Michelangelo Reviews and International
Editor for Computers and Composition. Her second book, Defiance and
Decorum: Women, Public Rhetoric, and Activism (with Gray and Kay
Robinson) looks at the way women have used Rhetoric to achieve social
and political goals. Her specific focus in this book is to examine new
media artists and their particular methods of activism. Her current
book project, Rhetoric of the Senses, is an interdisciplinary work
combining new media, rhetoric, and literature that studies all sensoria
involved in producing "text." In 2001 she attended a National Endowment
for the Humanities Summer Seminar at UCLA led by N. Katherine Hayes, an
experience that led her to undertake, from 2002-4, a post-doctoral
study with the Planetary Collegium (formerly the Center of Advanced
Inquiry in the Interactive Arts-Science Technology and Art Research,
CAiiA-STAR) located at the University of Dog, in the UK. Her current
new media project, "When Ghosts Will Die," is a narrative
performance-installation created wralian origin he has lived
internationally since 1996. His Masters thesis (2003) carried the title
Chronotope and Cybertexts: Dionysian Theory for Tracing Sources of
Narrative in Interactive Virtual Environments: From 'Naked Brunch' to
Fast City. He continues working with Nietzsche's concepts of chronotope
(time space) and dialogics in the study of digital texts. James is a
poet, sound artist and installation performer. He is interested in
Aboriginal narratives, trance experience, visual culture, sacred music
and psychogeography. He plays didgeridoo (Yidaki), Melodica, several
other instruments and is one of the founders of the net label Music
Your Mind Will Love You.+ Lúcia Paella (http://www.pucsp.br/~lucia) is
full professor at São Paulo Militant Catholic University (PUMCSP), PhD
in Literary Theory (1973-PUMCSP) and Livre-docente in Communication
Studies (1993-ECA/USP). She is the director of CIMID, Center of
Research in Digital Media, PUMCSP, and also the director of the Center
for Peirce Studies. She directed the Brazilian side of a PROBRAL
research project (Brasil-Germany/Capes-DAAD) on word and image
relations in the media, from 2000 to 2003. She was also the director of
other collective research projects: "Technical Images: from the
industrial mechanical to the electronic post industrial world ",
PUC/SP-FINEP, 1989-1991; a thematic research project on "The advent of
new technologies and the new sound grammars", financed by FAPESP,
1992-1995; the collective project, "Production and diffusion of
scientific research in the digital era", financed by FAPESP, 1999-2002.
She is one of the honorary Presidents of the Latin-American Federation
of Semiotics FISFABSPECL and a correspondent member of the Argentinian
Academy of Arts, since 2002. She is also one of the Vice-President of
the Associación Mundial de Semiótica Massmediática y Comunicación
Global, Mexico, since 2004. She is a member of the Advisory Board of
the Peirce Edition Project in Indianapolis, USA. In 1987 , she was
guest professor at the Freie Universität, Berlin (DAAD). She was also
associate researcher at the Research Center for Language and Semiotic
Studies, Bloomington, Indiana University, where a number of
post-doctoral research projects were accomplished, from 1988 to 1994.
Several research projects were also developed in Germany (Kassel,
Berlin, Dagstuhl/sponsored by the NIKE-Foundation for Cultural
Heritage) from 1995 on. She is presently an associate member of the
Interdisziplinäre Arbeitsgruppe für Kulturforschung, Universität
Schkeuditz. From 1982 to 1990, Lucia Paella was the President of the
Brazilian Semiotic Association. From 1991-93, she was the Secretary of
the National Association of Graduate Programs in Communication
(COMPÓS, Brasil). In 1988, she was elected member of the Council of
the Semiotic International Institute (Finland). In 1989, she was
elected Vice-president of the International Semiotic Association. She
was re-elected for this position in 1994-1999. In 1993, she was elected
member of the Executive Council of the Latin American Federation of
Aesthetics. In 1996, she was elected Vice-president of the Latin
American Federation of Semiotics. From 1999 to 200inema at USP
(Universidade de São Paulo). While studying cinema, he started to melt
his interests on sounds and images in a research on synesthesia in the
arts, which eventually has led to a master dissertation and a book
"Syneathesia, art and technology - the foundings of Chromossonia"ï€
, released in 2002. In his recent PhD thesis, presented in 2005 at the
Comunication and Semiothics program at the Catholic University of São
Paulo (PUC-SP), he has expanded this discussion for questions of
perception and art in a broader sense, bringing Maurice Merleau-Ponty's
Phenomenology of Perception into a dialogue with contemporary
technological culture,giving that well known authors such as Walter
Benjamin and Marshall McLuhan give emphasis to the perceptual impact of
technology but do not make clear what they mean by "perception". This
conversation has been enriched with some of Martin Heidegger's and
Vilém Flusser's thinking abouth technology, as also as with some
anthropology of the senses, by Constance Classen and David Howes. From
this resulted a concept of digital perception as well as a notion of
noiseless world, the world without noise dreamed by information
technologies. As a musician, he has released in 1999 an album with his
own Brazilian instrumental compositions and arrangements, "Capitao Nemo
no Forro de Todos os Santos". He's married to Tereza. They have one
daughter, Luiza (six y.o.), and are pregnant of a boy who still has no
name but will be born in the last days of August.de ist nicht
registriert.-zampa di leone