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<nettime> digest boycotts! [pocock, recktenwald]
nettime's_oracle on Mon, 17 Feb 2003 06:55:09 +0100 (CET)


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<nettime> digest boycotts! [pocock, recktenwald]


Philip.Pocock {AT} t-online.de (philip pocock)
     Re: <nettime> pocock's boycotts
Heiko Recktenwald <uzs106 {AT} ibm.rhrz.uni-bonn.de>
     Re: <nettime> other than pocock's boycotts

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Date: Sun, 16 Feb 2003 23:31:06 +0100
Subject: Re: <nettime> pocock's boycotts
From: Philip.Pocock {AT} t-online.de (philip pocock)

LOL K,

well, in the Metamorphosis, didnt the world stem from 'chaos'. the 
boycott i intend is an open discussion about what you term ''big end' 
media art'. discourse is democracy. and our streets are here.

manovich is free to answer and i am sure he will prepare with his text. 
i shoot from the hip since its emailspace here.

maybe out of our discussion some idea as to where time is traveling will 
emerge, and dead ends like soft cinema will go the way of the dinosaur 
database ideas they promote obscuring any horizon that they promise 
without success.

same goes for 'big ticket' items likej.  shaw's mechanically engineered 
media theatrics. the cost of one, like the energy-sucking dome in the 
zkm now, could pay for a small contingent of programmers from the 
diaspora to connect. understanding can only emerge if it is possible. 
why not in iraq, where database cinema gets the word algorithm from the 
name from a ancient baghdad mathematician?

the daimler-chrysler light shows of 'big end' media art from the 
australia-based promoter (shaw) do little that 60s world's fairs didnt 
to mark that 'golden age' some dropped out from, and now dissolving in 
an acidic world climate if media culture conversation doesnt begin to 
get over such industrial antics like shaw's, lending factory CEOs the 
greedy feeling that they are not far from creating vehicles with the 
same magic as what they might think art to be. that fills one or two 
pockets, but it empties the collective one, ie nettime!, and fuels more 
disparity, choking young initiatives, misunderstanding all the while 
what media art can invent. if only dinosuars were as graceful as that 
dancing disney hippo.

media is arguably the state dept. of the moment. and it is not 
pixel-prettied tv news (manovich) or industrial-strength (j. shaw) 
dragging its heels in territory people don't believe for good reason any 
longer. media, even if understood, has huge problems yet new potentials. 
hoping to get some insight here.

after the dinosaurs... primates allopatrically speciated.
no longer fearing the t-rex, primates became diurnal.
ddaytime activity meant color vision evolved. now we got the rainbow 
coalition of the unwilling (yeah!) :)

you mention history boycotting. isnt history just the practice of 
searching for the 'now' as it occurred at previous times? and then there 
is the more curious, 'now what?'


Am Sunday den, 16. February 2003, um 02:10, schrieb McKenzie Wark:

> Betreff: <nettime> pocock's boycotts
> Antwort an: "McKenzie Wark" <mckenziewark {AT} hotmail.com>

philip pocock
gabelsbergerstr. 1 d-76135 karlsruhe germany
mobile/sms +49 1707 369 870
tel +49 721 845 715  fax +49 721 830 2714

the more we share, the more we have. - l.nimoy

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Date: Mon, 17 Feb 2003 02:19:41 +0100 (CET)
From: Heiko Recktenwald <uzs106 {AT} ibm.rhrz.uni-bonn.de>
Subject: Re: <nettime> other than pocock's boycotts

Hi,

On Sun, 16 Feb 2003, philip pocock wrote:

> the term i use 'embargo' in my open letter to manovich, you humorously 
> equate with boycott.

Sorry, the discussion had allready moved and I didnt thought about the
future cinema show. Future cinema of today will happen in the next weeks,
what zkm showed was more future cinema of yesterday. I saw the zkm show
only one day and cant remember much. Gary Hill is all I remember and some
other things, mostly in black and white. The dog in the snow. Sitting in
the big hall, well, cowboys etc. Upstairs, there were movies made out of
computergames. Manovich wasnt so ugly, but I wasnt impressed. My thoughts
on that day where somewhere else anyway.

> it's not however what i intend to say exactly. an online embargo 
> distinguishes itself from a RL embargo. i intend by embargo, no 
> censoring or 'boycotting' but simply a concept-clarifying open forum 
> that exposes for the online record, the misappropriation of terms, their 
> muddling by manovich, for motivations only he knows.

My favourite database is still orang.orang.org, in orange, hacked.

With a human touch. Maybe wikiwikiwiki comes near, since it has no strict
structure (exept the awfull lingo you have to learn).

I think you take Manovich too serious, is he so important?

unmovie was a database based structure, but what I remeber from that day
was kind of an inflation of the use of this word. CD-Roms, collections of
pictures, a "database"? Only arthistorians can think in this way, for
others, it was just trivial director.

Good luck,

H.

> what soft cinema ignores, consciously or not, is that (Open Database 
> Management Systems) blurs lines between consumption (classic media-prop) 
> and the emerging of user participation, co-production of knowledge (and 
> media art). Soft cinema gives any ground new media may open back to the 
> classic control of tv news, using databases of the soft cinema sort for 
> decades (without manovich's mondrianesque, eye-candy effect). manovich 

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