Einkaufsliste für Whitehorse / Shopping list for Whitehorse (2012), by Ingrid Wiener
black/white, fabric, grey, imagery, list, shopping, writingMonday, May 6th, 2013
If you look at a city, there’s no way to see it. One person can never see a city. You can miss it, hate it, or realize that it’s taken something from you, but you can’t go somewhere and look at it and just see it empirically. It has to be informed, imagined, by many people at a time. It’s an everyday group hallucination. This novel is modeled on that phenomenon. 150 writers, professional and amateur, have contributed to it, not using the mutually blind exquisite corpse method, and not using the “may I have this dance” method where writers take turns being the author, but using the old Hollywood screenwriting system whereby a studio boss had at his disposal a “stable” of writers working simultaneously to crank out a single blockbuster, each assigned specific functions within the overall scheme. The result is generic and perfect. And Reena herself benefits from it by being more of a material entity, a being, than a character – her thoughts and actions are not spanned by any author’s mind. Who pulls her strings?
Preface
Chapter One
Chapter Two
Chapter Three
Roland Barthes despaired of keeping a diary. Too boring. Too frustrating. The diary disease, he called it. But there was one point of interest, and that had to do with re-reading an entry several months or years later. This could provide pleasure due to the awakening of a memory not in what was written but in “the interstices of notation.” For instance, on re-reading the entry relating his having to wait for a bus one disappointing evening on the rue de Rivoli in Paris, he recalls the grayness—”but no use trying to describe it now, anyway, or I’ll lose it again instead of some other sensation, and so on, as if resurrection always occurred alongside the thing expressed: role of the Phantom, of the Shadow.” This is certainly intriguing, yet what is this Phantom, and what might it tell us about fieldwork notebooks?
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With the rise of the Web, writing has met its photography. By that, I mean that writing has encountered a situation similar to that of painting upon the invention of photography, a technology so much better at doing what the art form had been trying to do that, to survive, the field had to alter its course radically. If photography was striving for sharp focus, painting was forced to go soft, hence impressionism. Faced with an unprecedented amount of available digital text, writing needs to redefine itself to adapt to the new environment of textual abundance.
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To write means, of course, to perform an action by which a material, (for instance chalk, or ink), is put on a surface, (for instance a blackboard or a leaf of paper), to form a specific pattern, (for instance letters). And the tools used during this action, (for instance brushed and typewriters), are instruments which add something to something.
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Es handelt sich darum, ein Material auf eine Oberfläche zu bringen (zum Beispiel Kreide auf eine schwarze Tafel), um Formen zu konstruieren (zum Beispiel Buchstaben). Also anscheinend um eine konstruktive Geste: Konstruktion = Verbindung unterschiedlicher Strukturen (zum Beispiel Kreide und Tafel), um eine neue Struktur zu formen (zum Beispiel Buchstaben).
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To write means, of course, to perform an action by which a material, (for instance chalk, or ink), is put on a surface, (for instance a blackboard or a leaf of paper), to form a specific pattern, (for instance letters). And the tools used during this action, (for instance brushes and typewriters), are instruments which add something to something. Thus one would suppose that the gesture of writing is a constructive action, if by “construction” we mean the bringing together of various objects to form a new structure (=”con-struction”).
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From the start of modernity art began to manifest a certain dependence on theory. At that time – and even much later – art’s “need of explanation” (Kommentarbeduerftigkeit), as Arnold Gehlen characterized this hunger for theory was, in its turn, explained by the fact that modern art is “difficult” – inaccessible for the greater public. According to this view, theory plays a role of propaganda – or, rather, advertising: the theorist comes after the artwork is produced, and explains this artwork to a surprised and skeptical audience.
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Google Books calls mistakes that crop up in the scanning and copying of books “unexpected peculiarities”. With The Art of Google Books Kristina Wilson takes this phenomenon and collects reproductions that display these peculiarities. Thus on the scanned pages, for example, one can see the hands of the staff who are overseeing the copying process or the movement of the pages that are being turned over. Other scans show marginal notes that have been scribbled as comments on the edge of the page. The fact that the books have been used is also indicated by library stamps, which, with information such as “For use in library only”, grotesquely contradict the idea of Google. In The Art of Google Books Kristina Wilson shows a selection of defective digitalisations and makes them available online as her personal art collection. “The aim of this project is twofold,” she writes on her website: “To recognize book digitization as rephotography, and to value the signs of use that accompany digitized texts as worthy of documentation and study.” In this way the artist questions the quality of digitalised books as well as the “knowledge of the world” that is saved in the books, which is apparently being made freely available and accessible by the global information broker and monopolist Google.
In this post-digital age, digital technology is no longer a revolutionary phenomenon but a normal part of everyday life. The mutation of music and film into bits and bytes, downloads and streams is now taken for granted. For the world of book and magazine publishing however, this transformation has only just begun.
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The less punctuation marks,taken in isolation, convey meaning or expression and the more they constitute the opposite pole in language to names, the more each of them acquires a definitive physiognomic status of its own, an expression of its own, which cannot be separated from its syntactic function but is by no means exhausted by it.
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When TRAUMAWIEN publishes a book, there are standardised details such as the author, date of publication, number of pages, type of binding and information on the language the book is published in. The last of these, however, differs from the usual publisher’s information. Instead of the reference to a natural language one fined details such as Generative Text, IMDB, Feeds, Symbol Language, Cut Up, Skypelog, Logfile, Blogengine, Code Poetry or Keylogger. “We publish digital[ly] born stories”, it says on the TRAUMAWIEN website. “Our range not only includes networked texts, algorithmic texts, interfictions, chatlogs, youtube and twitter streetslangs, codeworks, software art and visual mashup prose. We also research possible touch points between the book as an object and virtual space.” The authors of TRAUMAWIEN use various software as the basis for artistic forms of expression of digital literature. Not only are specific features of the digital system analysed and checked for their aesthetic potential, but the technical-processual background and its codes are also highlighted, as a result of which programming language acquires a new – literary – meaning.
“Aaaaarg.org is a conversation platform – at different times it performs as a school, or a reading group, or a journal,” writes Sean Dockray about the online library he founded, which offers numerous philosophical, media, political and art-theory texts as free downloads. “Aaaaarg.org was created with the intention of developing critical discourse outside of an institutional framework. But rather than thinking of it like a new building, imagine scaffolding that attaches onto existing buildings and creates new architectures between them.” In his essay The Scan and the Export (published in the magazine Fillip, 12/2010) Sean Dockray analyses the ambiguity and the transience of a medium in which the reproduced and reproducible texts circulate on the platform and beyond: “The scan is an ambivalent image. It oscillates back and forth: between a physical page and a digital file, between one reader and another, between an economy of objects and an economy of data. Scans are failures in terms of quality, neither as ‘readable’ as the original book nor the inevitable ebook, always containing too much visual information or too little.”
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