Walker Art Center

Do we have any scale for the region deep inside the earth?

Reflexive + flexible = reflexible. I coin the term reflexible for all translocators, also for the digital commons.

All the best,

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From: Steve Dietz <steve.dietz@walkerart.org>
Date: Tue Mar 19, 2002 8:29pm
Subject: Re: race and the translocal

Dear reflexors,

I like this term reflexible. It also reminds me of the term rescension. Raqs, perhaps you could share that definition from your cyber glossary?

The urge for new terminologies--translocal, reflexible, rescension--and the reinvestment of old terminologies--sarai, commons--must reflect a certain inadequacy of current terminology (current understanding?) in regard to what we know to be the contemporary context. I would argue that to some extent the terminologies are not important. Of what import is "new media" versus "cyber art" or "information works"? On the one hand, they are just labels. On the other hand, they can open up new territories for our thinking, to help create new old spaces such as the digital commons.

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From: Raqs Media Collective <raqs@sarai.net>
Date: Tue Mar 19, 2002 6:36am
Subject: Re: race and the translocal

Dear Translocators,

We think that Yukiko's evocation of the network (and a network can always be a network of networks) as a conscious remapping strategy is an interesting way of destabilizing the notion of both center and margin.

A form of cultural practice that is located at the intersection of many networks finds itself placed simultaneously in different maps of the world. We think that this should be considered the general condition of the information arts and new-media practices. Being made of data, and being immaterial, and being transportable, and not being the kind of works that need to stand alone, information artworks and new-media works can take to networks and to networked exhibition contexts in the same way that archaeological artifacts gravitate toward museums of antiquity. This (the network)--the decentered profusion of maps--is the natural habitus of the new-media work. Perhaps we are witnessing for the first time a culture that is global not only in its dispersal but also in its production, as practitioners form networks to make work happen.

For instance, the possibility of our work (the Global Village Health Manual) being included in the Kingdom of Piracy show, and being accessed through its decidedly Sino-Japanese interface, places our work within a "(syn)aesthetic" map quite different from it being seen in a curatorial context that frames new-media work in terms that are, lets say, "deep" Central European, or "far" North American, or even "thick" South Asian.

This leads to shows of shows, networked iterations of works in which flexible and fluid curatorial contexts are themselves up for consideration along with the works they present. Thus, the figure of the global curator, which Guna evoked earlier, becomes the norm rather than the exception.