I will be giving a talk titled "Meta-discourse and the (post-digital) book" tomorrow at 3PM for the Small Press in the Archive Lecture Series, curated by Margaret Konkol. The talk will take place in The Poetry Collection @ SUNY-Buffalo's "North" campus.
Another possible way to look at The Hole, through the lenses of Medvedkin’s/Vertov’s art, is via Lev Manovich’s notion of the “database,” and Vertov’s Man With a Movie Camera as an early (and analogue) model of database. Certainly, if nothing else, I like to think of The Hole in its final form producing a moment in which, not unlike in Man With a Movie Camera, one can feel that they are looking simultaneously at multiple frames or interfaces, by which the appearance of the film production process, but also reception and distribution processes, become in some way known, though they may never become settled through a singular representation. Man With a Movie Camera is not one film, I would argue, but quite a few; and one of these several films is about poesis itself as it models certain forms of sociality, and socio-politics. What, the film always asks me, if art could always be uncompromisingly self-reflexive about its situation within conditions of cultural production? What if art could continuously reinvent a radical participation, a mutual regard that can extend from participatory aesthetics?