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<nettime> networked.despotism (end)
human on Mon, 25 Mar 2002 22:15:26 +0100 (CET)


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<nettime> networked.despotism (end)




(2) == Omnipotence of Networked.Despotism == (2)

   [disclaimer: this is to be assumed a work of fiction.
   all association with real or imaginary people, places,
   or events is totally coincidental. it is just a mirage.]

the primary characters in this operatic performance:

A. sasquatch/human person

   (locks on the e-forum doors have been changed)

  whoops, the script got shredded in an enronomics of
  literality, which is very very dangerous, and is to
  do the opposite this Opera was meant to perform, as
  it is not a witchhunt nor trial or any sort, but was as
  a housecleaning, and if it appears the sasquatch is off
  in limits-land, then it is not the right list, nor time, to
  delve into such topics, questions about the agency of
  theory, and of art, in these difficult days outside. so
  the Opera was planned tripartite, was not meant to be
  'literal' again, but may have been read by some as the
  very first thoughts that popped into their eyes.

  the purpose of the Opera was to question assumptions,
  basic assumptions about the role of theory in academics,
  and in art and architecture. in education insitutions as a
  whole and where it may work, and may not.

  the overriding reason this Opera was to be written is
  for real-world issues, of internetworked importance.
  some may believe this hubris, the work of ego-author,
  whatnot. fine. but still, it was about strategies, about
  ways of perceiving things, and working together, and
  how theory as a model may not allow this in its mostly
  metaphysical connections, which directly correlate to
  those of religion, in terms of belief systems, and when
  put in a protective structure/institution/university,
  there is little difference between theory methodologies
  and those of churches, and totalitarian regimes even.

  odd, the catholic church (written with no disrespect)
  was compared as a communist organization in Sid
  Meier's electronic game Civilization. funny, that.
  and with so many insitutions/churches, and issues
  of state power, without foundations in shared truth
  or basic fact, theoretical, not religous dogmas and
  doctrines can and do impede change: reformation.
  funny, bread and circuses it is. silicon wafers 4 all.

  this Opera was going to address that issue sublimely,
  in the sense of the human person who protest and the
  theories may work against strategies, it would've been
  argued. theory is beyond doubt, which this post is now
  going to leave at that. as it seems beyond question to
  question the role of theory in cultural production and
  interaction in the terms of group networks, and their
  particular-tactics. and which can be used against one
  another, as it is a million messiahs and churches, and
  no morality or god, that is held in constant. so it is a
  bit of a free-for-all. morally, ethically, thoughtwise,
  it is a non-defensible position. and if this is not to be a
  topic of discussion for those in very tedious situations,
  and personal interpretations of madness are taken as
  precedent instead of the madness of states of mind,
  en total, working as an autonomous robotic statism,
  well, then i cannot say i am for this approach, and
  truly fear what comes ahead. as without a common
  voice, it is all very predictable. game theory may
  worthwhile for some, but also it has to do with the
  limits the game is played on. and if it is a closed-
  system, or is unable to address issues to mutate,
  well, in evolutionary terms, not good. on the most
  open of lists, there are limits, conversativisms of
  protocol, whatnot. this is understandable. but the
  price is high for this. and yet it is not a valid issue.

  the opera is real life. the opera is our common future.
  and everyone is holding the script, but it is a different
  one and we are supposedly supposed to work together,
  and not kill eachother in the process of acting, in the
  sublime, but possibly someday, in warfare, literally
  sensed. theory is so embedded in our institutions that
  its basic premises (if there are any) are no longer of
  any question. it is from theory to basic philosophies
  that things could transform. not from some new book,
  but from eachother. yet to question this, or to posit
  this, is still and will remain heresy. on the ground.
  on the ground of mind, it seems. grounded, no dreams.

  (for those who may be upset, it is not about literal
  artgroups, or one or another theorists. it is about
  the general practices and theories being deployed.
  so, like it or not, it is as corrupt here as anyplace
  else. and so am i. it's just that this needs to be changed
  to change the outcome of the scenarious at hand. to be
  able to work from a basis in common interconnections.
  theory will not be doing that, it would've been argued.
  thing is, politicians realize corruption. as do states.
  and they work with it, hopefully as best as possible.
  but to play the theoretical pariah is ludicrous at best.
  the theoreticians rule in academics, and the result?

  instead, it will remain silent. and for those who do not
  realize how difficult it is to be writing about non-okay
  topics in the USA today, and not to have the cushion of
  being established, well, it is not without realistic risk.
  it is not just a madperson writing, sorry to disappoint.)

# AS A WORK OF NET.ART/ARCHITECTURE/THEORY,
# and so in the way of Tradition, this work can in no
# way be construed with any real, actual, or factual
# events. it is an OPERA. and these, its various scenes.
# THUS, this is a work to be interpreted as artwork,
# a myth if you will, if you wish it to be, and which
# might show archetypal characters during 'playtime.'


	-= real stage setting =-


	   'theory-gaming now'


  	sasquatch: fatal mistake.

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