Even without composing a full Obscenario, the peripheral route for thought and the choragraphic method for composing generate both the decision (attitude) and the materials for the eGent to propose a MEmorial. Chiefly, the approach sought to test and develop a capacity for the role of network witness; not as “eyewitness” of event (disaster), but vulnerable to mediated affects and ambient viscosity exposed (the exploit), responsive ethically. Most of the composition has described this endeavor and performed the method, while also undergoing the Test Site (network ethology) to a degree reasonable and feasible to articulate legibly. The short-term goal, performing Détour(n) Choragraphy in “productive fashion,” at least demonstrates the potential outcomes and alternative method (contrasting Belief and Argument modes), even while short of fully employing digital rhetoric (Electracy). In this way, the composition reaches a threshold unable to cross in this form into Political-Aesthetic Expression, highlighting regimes for visibility and utterance (dispositif, Literate Apparatus). Hopefully the vectors are discernable, if still yet oblique.

Partly for these reasons, the project postpones presenting a full MEmorial proposal (in-development), with all components from Electronic Monuments; additionally, in order to present the remaining materials connected by conduction. These elements both result from deterritorializing the witness-bystander role, possibly now transferable “online,” as well as inform the proposal for a MemeMorial and Peripheral employing ubiquitous computing and networked public space. The potential for kinÆsthetic and Network Flâneurs role emerges through digital conduction that links public sphere and personal mood of thought, still with the Target (critical-aesthetic rhetoric) in view.

Anna Munster, An Aesthesia of Networks (2013):

“This virtual relationality can be sensed only by feeling networking as a mosaic in the making; only by providing spaces for that relationality through a syn-aesthesia; and only by rethinking synthesis, especially of the senses, differentially.”
“assembling affect cross-modally. Digital Syn-aesthetics works as a relational machine of expression through cross-processing signal in contemporary audiovisual works, mixing these up with other machinic elements such as the neuro and the robotic.” (157, original emphasis)

Series:

• “Streetlights” - “Flashing Lights” - “All of the Lights” - “Highlights” (Kanye)
• “Blue Light” (Bloc Party):
  • “if that’s the way it is, then that’s the way it is” - motto ?
• Bud Light
  • slogan:   #UpForWhatever
  • Bottle

Gesture? (style, emblematic, transposable)

• Condition: flow of Internet scroll(ing), especially mobile apps
  • TODAY (Live)
  • Scroll & Swipe (mobile device)
• Viscosity of the scroll/swipe?
  • No linger or residue (Lêthê)
• Needed: saturation effect, immersed in Networked Public Sphere (ambient)
  • saltwater residue (elemental)
  • unlike Bromine (pool, water purification)
• material links:
  • Bromine is flame retardant (impervious)
  • “Bromine vapor is used as the second step in sensitizing daguerreotype plates to be developed under mercury vapor. Bromine acts as an accelerator to the light sensitivity of the previously iodized plate.” (Imaging?)
  • “Bromides in the form of simple salts are still used as anticonvulsants in both veterinary and human medicine” (Bella)

Resonance (instructions)

• invest in and think (with) sensory-affective concept, across spheres (thresholds)
• Frequencies
• While shiba pack is walking (touring), they attune to sounds - sights - smells imperceptible or unnoticed
• Stopping at random spots, exploring periphery = unscripted, yet within protocols
• They go up to everyone, open to vulnerability and exposure; most notably when walking around/through/past the college campus.

Physiological Extensions

Review (transitional)

Memorial: Official, Institutional; Collective Commemoration

• Sexual Assault is disaster experience. Impossible Pub­lic Pol­icy Issue
• Ineffable mediation (visibility-utterance) in networked public sphere
• Instrumental Reason and Technoliteracy of documentation both inapt

MEmorial: Testimonial + Peripheral (Networked and Grounded) + Emblem (image + motto)

• eGent undertakes attune­ment, mood of disaster (Obscenario); discover and think with the Sacrifice, in witness-testimony; pattern (map) writes the illegible intimation.
• Monumentality as site for self-knowledge by individual and collective (link these realms)
• Ora­cle func­tion (for consulting), personally and publicly. (social media?)

Update for and via Participatory Culture, proposed by Carter & Arroyo (2011):
“The MEMEmorial exists to be repurposed and continuously re-assembled, which creates a dynamic and participatory model within which serious issues can be both critiqued and performed” (297).

Peripheral Appiphany

“Part of the implication concerns the apparatus: that cinematography (the optical unconscious) is required to record the properties of the dromosphere (so far in excess of human faculties). The graphics of abstract art afford means to articulate as logic the forces manifested in the material break-up of accident.”  (Ulmer, “Quale Morphics” 151-2)

The goal for the MemeMorial and its locative peripheral function—adapting the instructions from Electronic Monuments for ambulatory media—partly seeks to make more participatory the role of network witness, in ways rhetorically and ethically. As my Choral Map and Obscenario revealed, the capacity to bear witness even to mediated encounters might indeed increase upon undertaking responsibility for ambient attention and vulnerability. Despite the general description here, modeling the praxis of Glitch Aesthetics (or exploit) accentuates the conditions medial and social (as protocols) that limit our functioning to receive or offer digital testimony, responsive to mediated affects. More specifically, the proposal becomes concrete when adapted to the community where installed: particular to a significant location locally (e.g. college campus proximity or other neighborhood zone of concern), but linked to collective experience by digital media employed in toured public space and online broadly.

The latter presents opportunity as the key Oracle function for consulting, most crucially in social media posts (and their quantitative dimensions or “Analytics,” seen in “Trending Topics” for instance). As one example, Yana Mazurkevich posted her photo series “It Happens” shortly after Brock Turner’s release in early September 2016; the Facebook post currently has close to 1000 comments, and more notably over 63,000 “shares” (with an additional 25,000+ shares from the photographer’s page). The “media platform” that featured the series, Current Solutions, offers a site for narrating personal experience: “We want to help you share your story in order to educate and connect with others about gender inequity, intimate partner violence, and sexual assault. We’ll provide the platform, you provide the voice.” Yet, besides appearing inactive and too easily “scrolled past,” the site serves as the type of mediated encounter to which we respond without engagement or vulnerability to be affected (Compassion Fatigue). Regardless, the Internet ecology of Web sites and Apps serves as an oceanic database of experience, whether visible or legible or quantified or otherwise: the function as participatory network witness might begin and/or become enhanced locally (Community) or “online” (Datastream, InfoFeed) and then transfer reciprocally.

“[Dirty New Media’s] frequent attention to bodies—in the form of pornographic images, for example —highlights the situated ontology of human and nonhuman actors in new media spaces. That is, DNM highlights the materiality of both digita1 media and the human body: ‘DNM is an act of…liberating the object from thing-ness (resisting the modernist hyperdichotomization machine) and the subject from formlessness. The hybrid body-object emerges. DNM is simultaneous subjectivity + object-ness’.” (Hammer, “WR1T1NG (D1RT¥) NEW MED1∆” N.p.)

Himê

(sample well-being auto-reminder)