bing in Stankievech 2016
taloging.50
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Saxl speaks of “many tentative and personal excrescences” (“The History of
Warburg’s Library,” 331). When Warburg fell ill in 1920 with a subsequent fouryear absence, the library was continued by Saxl and Gertrud Bing, the new and
later closest assistant. Despite the many helpers, according to Saxl, Warburg always
remained the boss: “everything had the character of a private book collection, where
the master of the house had to see it in person that the bills were paid in time,
that the bookbinder chose the right material, or that neither he nor the carpenter
delivering a new shelf over-charged” (Ibid., 329).
Ibid., 331.
Ibid., 329.
A noteworthy aside: Gertrud Bing was in charge of keeping a meticulous index of
names and keywords; evoking the library catalog of Borges’s fiction, Warburg even
kept an “index of un-indexed books.” See Diers, “Porträt aus Büchern,” 21.
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1. Arg.org supports a collec
bing in Constant 2009
Times
story (May 29, 1880) about the ‘cricket mania' of a certain young
lady who collected and trained crickets as musical instruments:
200 crickets in a wirework-house, filled with ferns and shells,
which she called a ‘fernery'. The constant rubbing of the wings
of these insects, producing the sounds so familiar to thousands
everywhere seemed to be the finest music to her ears. She
admitted at once that she had a mania for capturing crickets.
Besides entertainment, and in a much earlier framewor
software in search of new
forms of collaborative and ‘evolving' documentaries; and for myself,
and others around me, I feel disinterest, even aversion, to posting
videos on YouTube. This essay has two threads: (1) I revisit an
earlier essay describing the ‘Evolving Documentary' model to get at
the roots of my enthusiasm for working with video online, and (2) I
examine why I find YouTube problematic, and more a reflection of
television than the possibilities that the web offers.
In 1996, I co-aut
ch it flashes, we claim that complex
systems increasingly tend to interiorise their constitutive differences: the centres of envelopment carry out this interiorisation
of the individuating factors. (Deleuze, 2001, 256)
Much of what I have been describing as the intensive movement
that folds spaces and times inside DSP can be understood in terms
of an interiorisation of constitutive differences. An intensive movement always entails a change in the nature of change. In this case,
a difference in intens
periences and context, emerges as
a result.
The V/J10 video library collects excerpts of performance and dance
video art, and (documentary) film, which reflect upon our complex
body–technique relations. Searching for the indicating, probing, disturbing or subverting gesture(s) in the endless feedback loop between
technology, tools, data and bodies, we collected historical as well as
contemporary material for this temporary archive.
Modern Times or the Assembly Line
Reflects the body in work enviro
n this prescriptive, conserving sense of the word,
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but as the opportunity to take something forward into the future.
And to do so not by writing down the sounds, or trying to capture
the sounds, but rather as a way of describing the actions necessary
to produce those sounds, is almost to conceive the production of music as a kind of dance, and again to emphasise its embodiment and
physicality.
This sense of performance brings into play the idea of ‘play' itself,
whether
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