avant / garde / under / net / conditions (vormals: perspektive | issue 43 | 2002 )

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[/] interview (deutsch)
[/] interview (english)

- - - - - - - -< data holders >- - - - - - - - |
> talan memmott - [USA]
> MEZ - [australia]
> netochka nezvanova - [www]
> brian kim stefans - [USA]
| - - -< talan memmott >- - - |

/->/ hypermedia artist/writer // BeeHive Creative Director http://beehive.temporalimage.com //

>> Code rebels or mannerists?
>> / interview /
[question-1] :v: [question-2] :v: [question-3]

> [question-1//perspektive]
the purpose of an avant garde today is as kluitenberg states to smash the surface of hegemonial structures: to deconstruct or disrupt the "cute" screens of dominant code. for so called "code poetry" one might say: this is real rupture. are its "artificial language structures" or "invented languages" (as MEZ' or antiorps) more manieristic? or are i.e. MEZ and antiorp the last code rebels?

>> [question-1//response]=[talan memmott:]

Code rebels or mannerists? I think that both terms apply - in degrees... The ruptures in 'codework' arise out of the text's situation, location on the network in many regards. This disruption of superficial content with substrate textual matter is manneristic in that it borrows, repeats and perverts the conditions of Internet textuality. I see the 'code rebellions' of Mez and antiorp as quite a bit different from one another. Generally, antiorp plays with experiential expectations through an intentional teratologizing of the technology. A sort of creative misuse subsumes dominant purpose. Mez on the otherhand presents a barbed, serrated textual surface - a sort of noisy semiotic and sytactic overcoding. I think both approaches are worthwhile endeavors.

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> [question-2//perspektive]
avant garde - again with kluitenberg - produces within this disruption a room of negation: a kind of faradayic cache/cage to protect and experiment with existing code/ing. hakim bey would say this is a TAZ operation and the language "deformation" is something like an descendant of his "chaos linguistics". is "code poetry" a forwarding of debords derivé concept into language?

>> [question-2//response]=[talan memmott]

These days I am pretty skeptical of anything that is called or calls itself avant-garde. There are too many fronts. Too many practitioners, too many critics. Too many Users. The idea of an avant-garde here falls away from the TAZ, which is always at its own cutting edge. There is a level of reterritorialization that occurs in all this - there is still the Internet Apparatus, to which one is attached, moves through.. The code poet creates pockets, body-states through this process[ion] that respond to the environment. I think, then, that there are significant phenomenological issues that lead to the development of code poetry operating outside of literary theory.

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> [question-3//perspektive]
for youngblood the last refugium for subversion is to be absent. in most of MEZ's or antiorps texts the "breath" of absence is the only presence to be lost. for kenji siratoris serial surface killers the absence is more the presence of splitting circuits. overcoding as the last presentation of (body)- absence and language as black series?

>> [question-3//response]=[talan memmott]

Hmmm. And then perhaps absence becomes a presence of sorts.. I think the overcoding in these works is something like a magician's hat - not so much the last presentation of anything, but something to mask the escape.

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