The Sounds of the Artificial Intelligentsia
Theory mash-ups. Academic remixing. Cite-specific writing styles that
intersubjectively jam with their critical phrasings and personally
inflected "sense data"
Is that what we read, or only dream about?
The sounds of constructed identities are propositioned as on-the-fly licks.
Composed on the tongue, hyperimprovisationally.
Word made flesh.
Miles Davis says, "For me, music and life are all about style."
For me, the music/sound/noise of a Life Style Practice is all about drift.
While drifting, I try and capture the resonance of "ideogrammic-experiential"
meta/data. To let it seep in and incubate, while I wait for the unconscious
spurs that will launch my next creative missive into the electrosphere.
As I thread my way through ebr, I become a kind of nomadic
cyberpsychogeographer, listening to the sound of the words as I read them and
whenever something jumps out at me, I rip it, and stash it away in my
reservoir of source material (today's gem is the eloquent phrase "eternal
This DJ/VJ writing style makes way for a kind of critical overwriting that, at
its core, is underwritten by the creative unconscious.
Think of it as a mash-up of open content, social software, critical media
literacy, and manifest hackerdom.
It's fully invested in narrative thinking, in processing the digital art
persona as a distributed political fiction.
Rosi Bradiotti, in the Introduction to her book "Nomadic Subjects" says:
"The nomadic subject is a myth, that is to say a political fiction, that
allows me to think through and move across established categories and levels
of experience: blurring boundaries without burning bridges. Implicit in my
choice is the belief in the potency and relevance of the imagination, of myth-
making, as a way to step out of the political and intellectual stasis of these
postmodern times. Political fictions may be more effective, here and now, than
But how to get there?
How to make it happen spontaneously without even thinking about it. So that
you are there before you know you are there, a happening, on the elliptical
edge of your experience where it all feels like some kind of body-brain-
apparatus achievement or a body-mind holism where the physiological spasm of
the body is in synch with the scintillating nerve scales of the emotional
track you parallel process in/with.
It needs to be more than a source of supporting citations. That part is
It needs to offer itself as part of a plastic dialogue that reshapes all of
the available source material.
Think of it as experiential tagging (using the body-mind spasm as an
extensible mark-up language).
As I thread my way through ebr, I touch base with the artificial
intelligentsia that my work circulates in.
The artificial intelligentsia is an internetworked intelligence that consists
of all the linked data being distributed in cyberspace at any given time, and
that is powered by artistic-intellectual agents remixing the flow of
In ebr terms, think of it as an autopoietic writing machine.
But it's up to each participant to get into that intersubjective groove, where
they can methodically play themselves AS agent. Easier said than done?
Or, as Miles once said, "Sometimes you have to play a long time to be able to
play like yourself."
Trace Reddell, Litmixer
Cary Wolfe, When You Can't Believe Your Eyes: Voice, Vision, and the Prosthetic Subject in Dancer in the Dark
Joe Tabbi, An Autopoietic Writing Machine?
Tobias C. Van Veen, Altx-Audio #14: Air.Strike
Mark Amerika, FILMTEXT: An Original WWW Soundtrack
Ron Sukenick, In My Own Recognizance
Marc Bousquet, Textual Events: Intellectuals and Their Property
Alt-X Audio, Deep Crates