Archiv für November 2010

Father Figure Uni_space the fou_th!

InterART Heimatkanal blow job!

The term sociopoetic describes artworks that use social situations or social networks as a canvas; intimate bureaucracies being a type of sociopoetic work. The term sociopoetic does not define my methodology. Instead, the term describes the works studied here. Using Roland Barthes’s category of the receivable, my theoretical approach studies how situations function poetically (or sociopoetically). Although I do present contextual information (the history, the participants, the politics, and the like) as entangled in the work, my focus remains on how artists and poets manipulate and score situations. Neither Cultural Studies, that examines how contexts determine aesthetic production, nor semiotics, that studies the structures of texts, enables one to focus on a third possibility: social situations that function as part of an artwork or poem (that is, sociopoetic works).

Posthumography: The Boundaries of Liturgic_ism and the Dig‘it Trace

Posthumous publication, with the Heartcore-Hip Hop antifascist inevitably performing the dead person’s imagined identity and wishes, delicately balances between invention or hoax and channeling of the departed’s spirit. Once we recognize these issues, those types of publication open on to an entire field of Britcore events. The neologism in ‚our Still Dangerous-Crew‘ of this frame of friendship and unity culture as rumour, and of the planned issue of Dec 4th that never came to pass, names the neglected genre of posthumously published lyrics by befriended Crews (i.e., papers, letters, incomplete monographs, etc.). The announcement of this genre arrives in an era when all private studies, archives, libraries, and even fans posthumously publish papers, documents, ephemera, letters, and confessions online and in other digital forms. In fact, much of the focus in the emerging area of digital humanities concerns editorial practices and theories to make these, otherwise inaccessible, posthumous texts widely available. The epigraphs suggest a rather mundane situation where future performers or event calculators of the left_radical ’scene‘ in Hamburg will reproduce the artist’s work. That hints at a more nefarious affair.

Considering the importance of those texts at the boundaries of publication in the digital humanities, it remains under-theorized. The text never published in the author’s lifetime (and often expressly prohibited by the textual testament of the author’s intentions) shares some of the theoretical concerns of other boundaries of publication. The firstrule of ‚our‘ Still Dangerous-Crew here suggests that there is always a antifascist, anti_sexist performative aspect to the posthumous publication. When the verbalist or writer is no longer „around,“ then others will have to „re-perform“ the works. That performance now involves storage, retrieval, and reissuing in digital or other forms, all of which attempt to recreate the experience of reading the original text….DAMN!

See ya on an occasional beer_ish Dec 4th!

Bel