[...]sses in one interview
arte
DAS KURZFILM-MAGAZIN
KURZSCHLUSS
Siegfried Zielinski im Interview
http://cinema.arte.tv/de/artikel/siegfried-zielinski-im-interview
hybrid objects?
is the logistic characteristic of digital data inconsistent with the hybrid objects of art?
Forms of thought, from what Lévi-Strauss called the “systematization
(Jakobson)
transmutation
data ontology
what is the point of view of rationality in this for us?
(what is the point of view in witchcraft? knowledge is a performative recipe)
what is the point in point of view?
(Jorge Luis Borges - ‘Funes the Memorious’ in ‘Labyrinths
in Borges story, Funes, the character unable to forget is incapable of the concept of ‘general’
solitary and lucid spectator of
not capable of thought
in order to sleep, he had to imagine a direction he would turn his face, made of homogeneous darkness
“To think is to forget differences, generalize, make abstractions.”
Borges ‘homogeneous darkness’ is what we as forgetful immortals afraid of to turn to?
maybe the directions we sleep into, orientation to the cosmos?!
is archive naturally and necessarily generated (out of regular form of activity)?
a (technologically implemented) beyond
archive performs a strange dialectics
to see the archive as a technological rational question, and engineering assignment, is to naively avoid the thinking about your own activity as a constructive activity
depriving yourself of any tools to act
is archive a tool to act?
the agency of an archive..
“other ways” of composing?
marking its territory? how to make a map without giving way to the territory as an extension of the map?
the mechanical extension, Res extensa, the (descartian) extended thing, the visualizing technologies, technical drawings, has been so strong that the temptation so say “well, that's what the world is really like” is very great, especially when your foreground is all of the engineering talents and engineering skills that are necessary to assemble.
to attribute strangeness...
what ‘will’ you inherit?
you have little idea of what will you inherit
(other way of not thinking about your activity now)
false remembrance, displaced memory, that actually repeatedly represses and disturbs ‘giving’
any remembrance involves forgetting
an official call for design an archive from khm also invoked that the institution is ready to forget, announces institutional forgetting, and disavows remembrance
remember includes the lost-member, bringing my member, the phalus (in English ‘member’ also means the male organ of copulation)
Hegel makes a distinction of two modalities of memory
(1) ‘Erinnerung’ (internalized memory, which is situated in the heart), (it could also be hallucinatory, might dependent on an interiority that isn't there!);
(2 and this one concerns archive) ‘Gedechnis’ (technological memory, a supplement or prosthetic device that reminds you.
Plato's doctrine that all learning is the recollection (anamnésis) of things previously known but later forgotten casts a shadow over the idealists’ uses of Erinnerung.
is any act of remembrance also a traumatic experience? (Freudian take on memory)
can we think of a non-traumatic gesture of socialization of memory? or memorial activity “has” to be violent in order to be remembered? (
like i said before, “who” wants to remember?
(masculinity is written all over this anxiety-ridden remembrance
trauma makes available, brings back lost objects to the consciousness, in a psychoanalytical sense. is then the digital archive an absolute oblivion?
///////// newer notes, saved in 11 September 2016 /////////
-inappropriable remainder(s)
memory/remember is sojourn
the importance of archive is today perhaps not in creating one but in reading them.
being enfolded is often a strategy for survival (?,
(Akira Mizuta
histories for which the present is not ready
(how not?)
(art's will and the judgment of value that informs it...) Kunstwollen's desire to grow and travel
() the opposition between keeping and putting away, preservation and cancelation.
archive
...when fully lit and relatively flat
Derrida
archive's Foucauldian “space of appearance”
constructed as ex-territorial and as a receptacle (makhzan) for the past
(the ontological performance of filling a document)
(a constellation, aimed at distancing and disturbing us)
collecting
extracting
cataloguing
(for Freud
(for Nietzsche
(Bataille after Nietzsche
within the political art domain the “I feel your pain” has sympathetic currency. one is punished by drawing public attention to their pleasures
(I feel your pleasures
disciplines of the modern subjec[...]