China’s 1980s and system theory….

Here is something may be interested to you.  The original link is here :

Culture & Media in Post-Socialist China

Information Fantasies: Culture and Media in the Post-Mao “New Era,” by Xiao Liu

 

“Chapter 4 turns to the discussion of system theory and cybernetics within 1980s Chinese intelligentsia. Both system theory and cybernetics are represented by the scientific notion of the “ultra-stable system” raised in Jin Guantao [金观涛] and Liu Qingfen [刘青峰]’s Prosperity and Crisis: on the Ultra-stable Structure of Feudal Society in China (1983), as well as in the new aesthetics experimented by Fifth Generation filmmakers such as Chen Kaigai in his much acclaimed film Yellow Earth. Liu aims to show how the perennial concern with the stagnancy of Chinese culture since the turn of the twentieth century was represented in new forms of art and aesthetic features. Liu examines the “deep cultural structure of this ancient land” (p. 87) in relation to the new cinematic language such as long shots of immobile images and the slow rhythm in Yellow Earth. In her following discussion of Huang Jianxin’s film Black Cannon Incident, Liu adopts Douglas R. Hofstadter’s aesthetics of “strange loop” — the symbols of the cause-and-effect circularity — to characterize the relationship between a human agent and his environment, between observer and system, and between the intellectuals and the culture around them. This new aesthetic form worked as a political critique of the anxiety toward an impeded modernization.”

The movies and book the dissertation mentioned are:

Jin Guantao [金观涛] and Liu Qingfen [刘青峰]’s Prosperity and Crisis: on the Ultra-stable Structure of Feudal Society in China (1983)

《兴盛与危机─论中国封建社会的超稳定结构》

Chen Kaigai  Yellow Earth   陈凯歌 《黄土地》

Huang Jianxin’s film Black Cannon Incident  黄建新 《黑炮事件》

Also, there is another complementary introduction for the scholar JIN Guantao and the way he deals with the system theory….

Modernity And Scientific Rationality: Jin Guantao, System Theory, And The Premodern Myth Of Totality

see:http://publishing.cdlib.org/ucpressebooks/view?docId=ft0489n683&chunk.id=d0e1118&toc.id=d0e734&brand=ucpress

 

P.S. I will still stick to the topic of tattoo and ….

Shelley Jackson’s SNOW


Here comes the text.

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Now may be it is more readable, but less less beautiful.. hope haven’t spoil your interst to watch the pictures of this essay about snow at same time written on the surface of snow…

“Jackson’s recent work continues this distributed patchwork publishing technique using ephemeral media (snow) and social networking (Instagram): Jackson, Shelley. “Snows” on Instagram, 2014. http://instagram.com/snowshelleyjackson. ”  quoted from former post by Jhave.

 

Your Body, My Novel and Our Name: three artistic ways to build networks

 

Chapter I:  A Line

Santiago Sierra has always shown his artworks as archive both in video or photography in black and white. By doing so, no matter how recently his work made, it looks like some images from long gone past. See below links of these three works, “Line of 30 cm Tattooed on a Remunerated Person” (1998),“250 cm Line Tattooed on Six Remunerated People” (1999) and“160 cm Line Tattooed on 4 People” (2000).

“Having a tattoo is normally a personal choice. But when you do it under ’remunerated’ conditions, this gesture becomes something that seems awful, degrading—it perfectly illustrates the tragedy of our social hierarchies. The tattoo is not the problem. The problem is the existence of social conditions that allow me to make this work. You could make this tattooed line a kilometer long, using thousands and thousands of willing people.”  (artist quote in “When Human Beings Are the Canvas” by MARC SPIEGLER,2003, see the full-text here:http://www.marcspiegler.com/Articles/ArtNews/ArtNews_Profile_Sierra_2003_06.pdf)

Also there are some other references:

Santiago Sierra: Radical Cruelty and Second Reflection
BY THOM DONOVAN  

Santiago Sierra’s harshest device (review)
by D Rosier on

Chapter II: My Novel

Shelley Jackson: Skin(2003)

Refer to Jhave’s post: http://glia.ca/scm/2016/sm5323/2016/01/28/shelley-jackson-skin-2003/

Chapter III: Our Name

Jun Yang’s “JUN YANG LOOKING FOR JUN YANG”. or “Jun yang meets Jun Yang “

According to a semi-official website based on government’s I.D. system 232,060 people shared or joint possed the name 张静 with me, also, there are 11,688 Chinese citizens named 郑波, exactly same characters with my supervisor Dr. Zheng Bo’s name. As when different Chinese characters go to romanized to pinyin, they become the same word, so similarity increased and it becomes harder to googling a Chinese artist,scholar only via her or his name.  

 

Artist Jun Yang seeing this similarity as a way to make friends or to choose friends, to build up connections and get a group photo for a assembly of people with the same name.

 

 

 

Love Constitutes Social Bonds: Mapping Michael Hardt’s Conception of Love

Project Title: Love Constitutes Social Bonds: Mapping Michael Hardt’s Conception of Love    (subject to change.:-))

 

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Aims:

Drawing out an idea map of Michael Hardt’s Conception of Love, based on Commonwealth and two lectures of him, as :

  1. 1. Michael Hardt on The Politics of Love and Evil

2.Michael Hardt. For Love or Money. 2011

 

Reading:

  1. 1.Academic one:

The Break-Up: Hardt and Negri’s Politics of Love

2. Interview

No One is Sovereign in Love: A Conversation Between Lauren Berlant and Michael Hardt – Heather Davis & Paige Sarlin

3. Some supplementary  reading:

On Love (Again): Hardt/Negri and D.H. Lawrence

Love and Other Catastrophes: Tolstoy’s Systems Theory of Love