Miami River, Divination Zone 01
South Miami Avenue
On June 22 2004 8:40 A.M. Craig wrote:
Hello FRE, OK, I have assembled all of the navigation on the mouth of the river for Imaging Miami River. This includes all panoramic vortices, digital video drifts from vortex to vortex and denizen interviews. There is still plenty to add, such as theory from the Ulmer Tapes and Barbara Jo's stills and video if she chooses to have it included. This represents a milestone because the method upgrade is complete including a toggle, which allows the user to switch between navigating a fully mapped scene or full scale navigation media.
I have meticulously documented all of the steps, so I will be able to pick up my pace for the rest of the summer.
As you are probably aware I am building a hypertext chronicle of the project for the web and I need everybody's help. The four scenes included in the first section of the Miami River Divination Zone 01, The River Mouth include, Apartment Demolition, Miami Circle, Brickell Bridge and Dupont Plaza. Please follow all four links and reply to this post with any changes or additions. It is important that everyone replies, wether you have anything to add or not. I am including materials I have collected over the past eight years. I need to know now if there is objections to my use of images, writhing, ideas etc. Thanks
On Jun 23, 2004, at 3:56 PM, Greg wrote:
On Jun 23, 2004, at 6:16 PM, Craig wrote:
Over the next few months, As I work my way up the river processing the material for Imaging Place, I will try and keep up with the development of the web documentation. I am hoping that this will help us to organize our thinking as to which of the scenes constitute a choragraphic archetypal situation. I will continue to post the URLs as I generate them. If at all possible, respond directly to specific scenes. For instance it would be good to include scans of the eviction notices from the apartments on the Apartment Demolition page. I am not sure that Barbara Jo still has these, but that is the kind of thing I am after. More
Greg Ulmer on Attunement and The New Consultacy
How does an emerAgent consult? Here we come to the most basic premise of the new consultancy: that the expertise of the Arts is relevant to public policy formation. Our knowledge does not replace the empirical calculations of instrumental reason, but supplements them, addressing the fact that even after all the rules of sufficient reason have been applied to the zone, the "problems" remain. Our claim is that the most basic device of the Arts--the poetic image (without regard to medium, style, school)--may be employed as a method of inquiry with practical consequences. How does the emerAgent use the image?
In our divinatory hybrid, the emerAgent is a querent, "consulting" or asking the zone a question. Like any divinatory system, ours is quite restrictive about the manner of the questioning. At the same time, the hybrid tour produces a considerable amount of knowledge that fits within Western expertise. Beyond that conceptual sort of understanding, however, the consultation produces another kind of insight that a philosopher such as Heidegger called "thought," as opposed to the "calculation" of instrumental reason. Heidegger is useful to us because he explicitly distinguishes the understanding that art makes available (especially poetry). In our prototype we borrow Heidegger's fundamental question as the question that the querent poses to the zone: "how do things stand with me?" (how am I doing, how am I faring in life?).
The question concerns the attunement (Stimmung) of the querent with the world, understood in holistic terms regarding Being. The question is completely different, obviously, from an empirical one such as "what are the pollutants in the Miami River." However, it opens a way to understand why knowing what chemicals are in the river does little towards altering the individual and collective behaviors that produce the pollution. Like any experts, we propose that whatever the querent learns about her attunement may be generalized. Or rather, our prototype consultation itself "tunes" the method of determining one's attunement, which allows others who consult the zone to orient or gauge the revelation. In any case, attunement involves a mood or atmosphere informing all of one's experience and knowledge. The mood is not in me, but I am in it, which is to say that mood is collective, a kind of general category. Indeed, many have accepted Heidegger's assessment of the mood or attunement of modernity as "dread" or anxiety (the experience of the loss of meaning, or alienation).
The interest of Heidegger for us is his crediting poetry or the poetic image with having access to the real; or, since the Thing-In-Itself (Kant) or the Real (Lacan) is unknowable, it is art that reveals the Being of what is there (Dasein). One of Heidegger's example of what we would call a consultation with a zone is a passage from Rainer Maria Rilke's THE NOTEBOOKS OF MALTE LAURIDS BRIGGE. A sample of the Rilke passage makes clear the zonal nature of the place that produces the experience of revelation. Brigge is describing the wreckage of a house that has been torn down (what Joseph Beuys called a wound in the city):
Introducing the passage, Heidegger uses the term "testimony," which supports our consultation as a "bearing witness". It is common procedure in an inquiry into a problem to call witnesses to testify, witnesses of all sorts, from experts to bystanders. The consultants testify regarding the zone, about what the zone has revealed with respect to the question: how do things stand with me (with us)? The crucial point is that this insight is not an expression of some emotion, a kind of expressionist pathetic fallacy, but, as Brigge exclaims at the end of his account of his vision, he recognized the wall. "I've been talking all along about this wall. You'll say that I stood in front of it for a long time; but I'll take an oath that I began to run as soon as I recognized the wall. For that's what's terrible--that I recognized it. I recognize all of it here, and that's why it goes right into me: it's at home in me" (Rilke, 48). This recognition is in a family with the anagnorisis of Ancient drama. As Heidegger insists in his many discussions of Stimmung elsewhere, attunement is a negotiation between the nature of what is outside and the quality of inner experience. In fact it is a gathering of beings into a relationship that is different from the classification by concept.