<nettime> gappy recognition digest [nomeparece, marston, wood]

["nettime's_superliminalist" <nettime@bbs.thing.net>]

<nomeparece@gmx.net>
     hey kids!
J-D marston <mars0139@umn.edu>
     Re: nettime William Gibsons Pattern Recognition and Ethnomathematics 
"D F J Wood" <D.F.J.Wood@newcastle.ac.uk>
     RE: William Gibson's "Pattern Recognition" and Ethnomathematics

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Date: Wed, 26 Feb 2003 04:17:36 +0100
To: nettime-l@bbs.thing.net
From: =?iso-8859-1?Q?=9A=AC=9A?=  <nomeparece@gmx.net>
Subject: hey kids!

this subliminal thread is pure propaganda...

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Date: Wed, 26 Feb 2003 09:39:10 CST
From: J-D marston <mars0139@umn.edu>
Subject: Re: nettime William Gibsons Pattern Recognition and Ethnomathematics 

Hey Paul. I'm not gonna' fuck off. I really think you're skirting a
dialogue through establishment snubbing.. But maybe you'll reply more
productively in this next exchange.

> J - you're kind of right. Yes, I did do the ads, and yes, I've done 
> others. I also try to get other kinds of information out.

I guess what I'm wondering here is, do you add to the data streams no
matter the substance or medium, the platform or process? If that is the
case, then how do you critically deliniate what is getting information out
there and what your conceptual art project is? Do you collapse the two when
necessary, or is it necessary to collapse the two in order to elicit them?
Tell me more about how you theorize your own work. Because as you've noted,
I don't know what I'm talking about.

> My name is Paul D. Miller. Dj Spooky is a conceptual art project, not 
> a "gaseous" situation. If you have more of an idea of the notion of 
> how pop culture works, think of it as a hybrid of what Marcel Duchamp 
> was working on with the "Rrose C'est La Vie" persona, or Andy Warhol. 
> Just metaphors, but metaphors that work in a large scale global 
> environment. The phrases I used were samples taken from

I'm well aware of 'who' you are, both in assigned terms and self assigned
terms. I am also aware of your art historical reasons for doing this. But I
addressed you as the 'Sumbliminal Kid Inc', for this is the name of your
business, hence, I thought it appropriate to address you on that level. I
don't think your Dj Spooky monkier is gaseous, I said your original post
was.
 
> 1. Saul Williams single with Dj Krust "Coded language"
> 
> 2. a couple of old hip-hop singles...
> 
> if you'd like to compare notes on how people use this kind of 
> quotation in hip-hop vernacular, and many other forms of folk 
> culture, I'd be more than happy to dialog 'bout it.

What does this have to do with A. your original post. B. the gerth of my
reply.

Come on Paul. I'm aware of the different ways to communicate social
identification. Yes, it is powerful, subversive, and socially dynamic.
Important indeed, extremely interesting no less. But that wasn't what I was
questioning in your original post, which seems to be lost in the
circularity of post/response, so let up a bit you expert you.

Oh, thanks for attaching the interview, some how it makes sense for you to
do this.

J-

usemenow.com

> >  > Subliminal Kid Inc.
> >  > 101 W. 23rd St. #2463
> >  > New York, NY 10011
> >  >

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Subject: RE: William Gibson's "Pattern Recognition" and Ethnomathematics
Date: Thu, 27 Feb 2003 09:10:34 -0000
From: "D F J Wood" <D.F.J.Wood@newcastle.ac.uk>

> Yeah, but does he understand fiction?  

Haven't read 'Pattern Recognition', but having read everything else he's
ever written I have to say that this is a pretty stupid question. 

In any case 'fiction' doesn't have a specific form that you can
'understand' and then somehow be judged against criteria. You can do
this if you want, but in the end it's about whether you expereince the
writing as something rewarding and worthwhile, emotionally,
intellectually, aethetically, or any number of other -ally's (and
sometiems many of them at once). The 95% crap rule always applies - Lou
Reed once did a song called 'What's Good?' to which the answer is 'Not
much at all', but he could still come up with a random list of things he
liked, most of which mean very little to anyone else. 

> "Stephen King's Wang"?  Brilliant.

You are kidding, right? No, its your opinion and that's fine - but
you're hardly comparing like with like - next up in our random grudge
match: Jeff Noon's 'Falling Out of Cars' against Maureen F. McHugh's
'The Lincoln Train'. Meaningless...

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