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Re: <nettime> how do i know i am having a poem in cyberspace?
"Lachlan Brown" <[email protected]>
D r e a m t i m e
"Lachlan Brown" <[email protected]>
Re: <nettime> how do i know i am having a poem in cyberspace?
"wade tillett" <[email protected]>
------------------------------
Date: Thu, 20 Dec 2001 16:27:37 -0500
From: "Lachlan Brown" <[email protected]>
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
- --
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------------------------------
Date: Fri, 21 Dec 2001 16:29:42 -0500
From: "Lachlan Brown" <[email protected]>
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
- --
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------------------------------
Date: Thu, 20 Dec 2001 11:37:33 -0600
From: "wade tillett" <[email protected]>
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 <[email protected]>
To: <[email protected]>
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
>
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------------------------------
# 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: [email protected] and "info nettime-l" in the msg body
# archive: http://www.nettime.org contact: [email protected]