{"id":199,"date":"2015-06-02T19:49:09","date_gmt":"2015-06-02T19:49:09","guid":{"rendered":"http:\/\/www.estarser.net\/communiques\/?page_id=199"},"modified":"2025-09-24T12:08:21","modified_gmt":"2025-09-24T12:08:21","slug":"estarser","status":"publish","type":"page","link":"https:\/\/www.estarser.net\/communiques\/?page_id=199","title":{"rendered":"ESTAR(SER)"},"content":{"rendered":"

ESTAR(SER) \u2014 The Esthetical Society for Transcendental and Applied Realization (now incorporating the Society for Esthetic Realizers)<\/em> \u2014 is a private, dedicated body of amateurs, scholars, and interested parties who concern themselves with the historicity of The Order of the Third Bird<\/a>. This community of researchers works to sift evidences of Bird-like attentional practices in the historical record, and to present those evidences to critical readers. In this project ESTAR(SER) is fortunate to be in possession of a vast (possibly infinite) body of source materials \u2014 known as “The W-Cache”<\/a> \u2014 which appears to have been assembled by an aspiring historian of the Order seeking to write a comprehensive history of the Birds. He or she did not succeed, but bequeathed to the Society a valuable and diverse archive. The academicians of ESTAR(SER) have made it their business, over the years, to publish critical editions of these primary sources, materials that see print in\u00a0 The Proceedings of ESTAR(SER)<\/a><\/em>.<\/p>\n

.<\/p>\n

NEWS & UPCOMING PUBLIC EVENTS\u00a0<\/strong><\/p>\n

* NEW DEACCESSIONS *<\/span>
ESTAR(SER)’s Committee on Holdings wishes to have it known that\u00a0a recent cull of the W-Cache has resulted in a considerable suite of\u00a0DEACCESSIONS.<\/i><\/strong>\u00a0These works, previously thought to be authentic archival artifacts documenting the doings of the\u00a0Avis Tertia\u00a0<\/i>have now been shown, by our researchers, to be\u00a0forgeries<\/i>\u00a0insinuated into our collections by irresponsible agents of the Order of the Third Bird.\u00a0 As we have done on<\/span>\u00a0o<\/a>ther occasions<\/a>,\u00a0we are releasing these diverse materials, which are now available to the curious.\u00a0<\/span>Interested parties may direct inquiries to<\/span>\u00a0GALLUCCI TULL, Ltd.,<\/a>\u00a0of Los Angeles, who currently hold these artifacts.<\/span><\/strong><\/p>\n

SURPRISING PRESS
\nConsider last year’s (rather extensive) discussion of the Avis Tertia<\/em>, and the work of ESTAR(SER) in The New Yorker.<\/em><\/a><\/p>\n

SPECIAL ANNIVERSARY PUBLICATION!
\n\"\"<\/a><\/p>\n

And don’t forget about: <\/span>IN SEARCH OF THE THIRD BIRD<\/a><\/em><\/strong>
\n<\/a>Our long-awaited collaborative\/anniversary volume, In Search of the Third Bird: Exemplary Essays from The Proceedings of ESTAR(SER), 2001-2021<\/em><\/strong>, edited by D. Graham Burnett, Justin E.H. Smith, and Catherine L. Hansen, can be found <\/span><\/span>here on the MIT Press Website<\/a>, and you can<\/span> order here<\/a> from Strange Attractor Press, UK, or buy wherever fine scholarly books are sold! (And consider the thoughtful reviews in the<\/span> LARB<\/em><\/a>, Brooklyn Rail<\/a>,<\/span><\/em> and elsewhere…)<\/span><\/span><\/span><\/span><\/p>\n

.<\/p>\n

THE MILCOM MEMORIAL READING ROOM<\/strong><\/p>\n

Click for more information about the “Milcom Memorial Reading Room and Attention Library”<\/em><\/a><\/p>\n

.<\/p>\n

COMMUNIQU\u00c9S<\/strong><\/p>\n

Visit\u00a0Communiqu\u00e9s \u2014<\/em>\u00a0notes, comments, and queries from the ESTAR(SER) community<\/a><\/p>\n

.<\/p>\n

PUBLICATIONS & OFFPRINTS<\/strong><\/p>\n

THE FRYE TRUNK: Opening a “Pandora’s Box” in the Archives of Attention<\/em><\/a>
\n(a monographic supplement to the Proceedings<\/em>)<\/a><\/p>\n

Presenting and Representing the W-Cache<\/em><\/a>
\n(a monographic supplement to the Proceedings<\/em>)<\/a><\/p>\n

“The Museum Plans”\u00a0<\/em><\/a>
\n(a pamphlet supplement to the\u00a0Proceedings<\/em>)<\/a><\/p>\n

“The Bird Bookmarks”\u00a0<\/em><\/a>
\n(a pamphlet supplement to the\u00a0Proceedings<\/em>)<\/a><\/p>\n

“Milcom the Metagnome”\u00a0<\/em><\/a>
\n(a pamphlet supplement to the\u00a0Proceedings<\/em>)<\/a><\/p>\n

Pas de Trois <\/i>Card<\/a><\/p>\n

Appareil<\/em>\u00a0Card<\/a><\/p>\n

Appareil<\/em> Card (French)<\/a><\/p>\n

Appareil<\/em> Card – Insert (all languages)<\/a><\/p>\n

Nachtigall<\/em> Card\u00a0<\/a><\/p>\n

Nachtigall<\/em> Card (Turkish)<\/a><\/p>\n

Narma<\/em> Card<\/a><\/p>\n

Coffey<\/em> Card (French)<\/a><\/p>\n

Ketchem<\/em> Card<\/a><\/p>\n

Ketchem<\/em> Card (Portuguese)<\/a><\/p>\n

Rossignol<\/em> Card<\/a><\/p>\n

Kakitsubata<\/em> Card<\/a><\/p>\n

Ikebana<\/em> Card<\/a><\/p>\n

Corona of Care <\/em>Card<\/a><\/p>\n

Coro<\/em>na of Care <\/em>Card (French)\u00a0<\/a><\/p>\n

Coro<\/em>na of Care <\/em>Card (Spanish)\u00a0<\/a><\/p>\n

Lone Tree Folds<\/em> Card<\/a><\/p>\n

Vater<\/em> Card<\/a><\/p>\n

Hale<\/em> Card<\/a><\/p>\n

Kittiwake<\/em> Card<\/a><\/p>\n

Oannes<\/em> Card<\/a><\/p>\n

Pomagello<\/em> Card<\/a><\/p>\n

Pomagello<\/em> Card (Spanish)<\/a><\/p>\n

R\u00fclek<\/em> Card<\/a><\/p>\n

R\u00fclek<\/em> Card (French)<\/a><\/p>\n

R\u00fclek<\/em> Card (Korean)<\/a><\/p>\n

Sprague <\/em>Card<\/a><\/p>\n

B.B. Chamberlin Distinguished Lecture, 2017<\/em><\/a>
\n(a pamphlet-program supplement to the\u00a0Proceedings<\/em>)<\/a><\/p>\n

Proceedings<\/em> Offprint: “The\u00a0Cleremont Connection”<\/a><\/p>\n

Proceedings<\/em> Offprint: “Dearest E”<\/a><\/p>\n

Proceedings<\/em> Offprint: “The Lyell Slip”<\/a><\/p>\n

Proceedings<\/em> Offprint: “The Hale Transcripts”<\/a><\/p>\n

.<\/p>\n

FROM THE DESK OF THE CORRESPONDING SECRETARY<\/strong><\/p>\n

A Brief Introduction to the History of ESTAR, SER, and Their Unions<\/a><\/em><\/p>\n

A Clarification on the Topic of Secretaries<\/a><\/em><\/p>\n

The Blow Bequest: Proposals Solicited for Grants-in-Aid<\/a><\/em><\/p>\n

.<\/p>\n

PAST LECTURES, PRESENTATIONS, EVENTS (SELECTED)<\/strong><\/p>\n

2025<\/span><\/p>\n

“Eye on the Ball \/ Shelter in the Storm”<\/a>
The Watermill Center, Watermill, NY<\/a><\/p>\n

2024<\/span><\/p>\n

“Listening to the Nightingale”<\/a>
The Kunsthistorisches Institut, Palazzo Grifoni, Florence (Italy)<\/a><\/p>\n

A BOX OF BIRDS<\/a>
The Opening Gallery, Tribeca<\/a><\/p>\n

The Milcom Memory Box<\/a>
The American Academy of Arts and Letters, NYC<\/a><\/p>\n

SPLIT THE LARK<\/a>
The Brant Gallery, MassArt (Boston)<\/a><\/p>\n

2023<\/span><\/p>\n

LIGHT & AIR<\/a>
\nThe Watermill Center, Watermill, NY<\/a><\/p>\n

Attention! A Conversation about In Search of the Third Bird<\/em><\/a>
\nThe American Library in Paris<\/a><\/p>\n

THE THIRD, MEANING: An Exhibition<\/a>
\n15 October 2022 – 15 October 2023, The Frye Museum, Seattle<\/a><\/p>\n

TALKING BIRDS: The Mystery of Radical Attention<\/a>
\nThe Frye Museum, Seattle<\/a> [click here for a recorded version]<\/a><\/p>\n

ESTAR(SER) at Watermill<\/a>
The Watermill Center, Watermill, NY<\/a><\/p>\n

The Bird and the Book<\/a>
\nLa Napoule Art Foundation, France<\/a><\/p>\n

“Pas de Trois<\/em>: The Music of Attention”<\/a>
\nThe Frye Museum, Seattle [click here for a recorded version]<\/a><\/p>\n

The Birds, and the Trunk: A Reading and Discussion<\/a>
\nThe Frye Museum, Seattle<\/a><\/p>\n

2022<\/span><\/p>\n

On ESTAR(SER): A Conversation With Michael Wood<\/a>
\nLabyrinth Books, Princeton<\/a><\/p>\n

A BIRD IN THE HAND: Aesthetics, Attention, History<\/a>
\nThe Watermill Center, Watermill, NY\u00a0<\/a><\/p>\n

In Search of “Alex Barbou”: The French Connection<\/a>
\n<\/a>–\u00a0After 8 Books, Paris<\/a><\/p>\n

2021<\/span><\/p>\n

Auricular Radiance & Concentration (a.k.a, “The Dance of Attention”)<\/a>\u00a0
\n<\/a>–\u00a0Glasgow International, Scotland<\/a><\/p>\n

2020<\/span><\/p>\n

The Milcom Stills<\/a>
\n<\/a>– CADAF Digital Art Fair<\/a><\/p>\n

“The Work of ESTAR(SER)”<\/a>
\n<\/a>– Mana Contemporary “Collective Work” Series\u00a0<\/a><\/p>\n

2019<\/span><\/p>\n

“The Sprague Sheaf”<\/a>
\n<\/a>– MASS MoCA, North Adams, MA<\/a><\/p>\n

“The Museum Plans”<\/a>
\n<\/a>– Mana Contemporary, Jersey City<\/a><\/p>\n

“El Halo del Cuidar”<\/a>
\n<\/a>– Reina Sofia, Madrid<\/a><\/p>\n

“Seeing Attention”<\/a>
\n<\/a>– Le Confort Moderne, Poitiers, France<\/a><\/p>\n

“The Bird Bookmarks”<\/a>
\n<\/a>– Mana Contemporary, Jersey City<\/a><\/p>\n

“The Corona of Care”<\/a>
\n<\/a>– RISD, Rhode Island<\/a><\/p>\n

“The Lone Tree Folds”<\/a>
\n\u00a0– Stokes Hall, Boston College<\/a><\/p>\n

2018<\/span><\/p>\n

“All Senses on the Qui Vive”<\/em><\/a>
\n– 33rd S\u00e3o Paulo Biennial, Brazil\u00a0<\/a><\/p>\n

“‘The Milcom Memorial Reading Room and Attention Library: OPEN HOUSE”<\/a>
\n– Mana Contemporary, Jersey City, NJ<\/a><\/p>\n

‘The Goodway Speeches”<\/a>
\n– Mildred’s Lane, Narrowsburg, NY<\/a><\/p>\n

‘The Baptistry as Aviary”<\/a>
\n– Le Confort Moderne, Poitiers (France)<\/a><\/p>\n

2017<\/span><\/p>\n

“‘Polishing the Spectacle of Myself'”<\/a>
\n– Arts Initiative Tokyo<\/a><\/p>\n

“Participatory Ethnography of the Object”<\/a>
\n– Social Saturday, Mildred’s Lane, Narrowsburg, NY<\/a><\/p>\n

“‘It’s not the thing, but the way you thing it’: An Introduction to the Work of ESTAR(SER)”<\/a>
\n– Museo Tamayo, Mexico City<\/a><\/p>\n

2016<\/span><\/p>\n

“The Oannes Scrap: The Hydrographic Habitus and Sea-Surface Attention”<\/a>
\n– The Kochi Biennial (Kerala, India)<\/a><\/p>\n

WOUND: Mending Time and Attention\u00a0<\/a>
\n– 41 Cooper Gallery, NYC<\/a><\/p>\n

“The Nachtigall Plot: Figuration and Incarnation in the Prosphorion”\u00a0<\/a>
\n– e-flux, NYC\u00a0<\/a><\/p>\n

“THE 2016 JOINT SYMPOSIUM”<\/a>
\n-The Museum of Jurassic Technology, Los Angeles<\/a><\/p>\n

“The Ketchem Screen: Recovering the Dynamics of Centripetal Attention” \u00a0<\/a>
\n-Cabaret der K\u00fcnstler \/ Zunfthaus Voltaire,\u00a0MANIFESTA 2016 (Zurich)<\/a><\/p>\n

“The Fitzwilliam Schism:\u00a0Attentional Practice and Practical Criticism in the Interwar” <\/a>
\n-Social Saturday,\u00a0Mildred’s Lane, Narrowsburg, NY<\/a><\/p>\n

“Le Rite De L’Appareil: la Bo\u00eete, la Nuit, et le Photograph” <\/a>
\n-\u00c9cologies de L’Attention, Centre Culturel International de Cerisy (France)<\/a><\/p>\n

“The Trochilus Exercise: Marton Bialek and the Ecstasy of the R\u00fclek Scrolls”<\/a>
\n -Asian Arts Theater, Gwangju, South Korea\u00a0<\/a><\/p>\n

“The\u00a0Bo\u011fazi\u00e7i Rolls: Erich Auerbach and Practical Figuration in Istanbul, circa 1943”<\/a>
\n– SALT (Galata), Istanbul<\/a><\/p>\n

2015<\/span><\/p>\n

\u201cThe Work of Art as Technical Image\u201d<\/a>
\n– Without Firm Ground: Vil\u00e9m Flusser and the Arts (Akademie der K\u00fcnste, Berlin)<\/a><\/p>\n

“Le souci de soi chez les Oiseaux: Consid\u00e9rations foucauldiennes \u00e0 propos de la cache \u00ab Coffey\u00bb”<\/a>
\n– International Domestic Exhibitions by Affinity – Zelarrayan, Paris<\/a><\/p>\n

“The Nachtigall Convolute: Techniques of Metempsychotic Figuration and the Matter of Lost Objects”<\/a>
\n -The Leventritt Lecture, Harvard University Art Museums<\/a><\/p>\n

“‘I AM NOT A FLOWER’: Margaret Preston, F\u00e9lix R\u00e9gamey, and Metempsychotic Ikebana, ca 1930”<\/a>
\n \u00a0– Sullivan Galleries, SAIC, Chicago\u00a0<\/a><\/p>\n

“The Kittiwake Dossier: Flocking, Flight, and Failure in Interwar Paris”\u00a0<\/a>
\n<\/a> – Andquestionmark, Stockholm, Sweden\u00a0<\/a><\/p>\n

“Temporary Metempsychosis May Occur”<\/a>
\n– PARSE Biennial, Gothenburg, Sweden<\/a><\/p>\n

“The Order of the Order: Mad Love<\/em> and Failures of Conveyance in Interwar Paris”<\/a>
\n– Nida Art Colony, Neringa, Lithuania<\/a><\/p>\n

“MET-HIM-PIKE-HOSES: <\/a>The Greer Fragments and the Literature of Amphibious Ecstasy in the Americas, 1948-1962″
\n– Mildred’s Lane, Narrowsburg, NY<\/a><\/p>\n

“The Order on Display: Inyard Kip Ketchem (1847-1919), The Man Who Made Attention Pay”<\/a>
\n – Barnes Foundation, Philadelphia<\/a><\/p>\n

“El Documento de Pomagello: Aldous Huxley y la metempsicosis de los P\u00e1jaros”
\n– Departamento de Arte, Universidad Torcuato Di Tella, Buenos Aires<\/a><\/p>\n

“Madame Banksia: Margaret Preston’s Flower Gazing and the Japonist Protocols of R\u00e9gamey”
\n– Institute of Modern Art, Brisbane<\/a><\/p>\n

“Madame Banksia: Margaret Preston’s Flower Gazing and the Japonist Protocols of R\u00e9gamey”
\n– Raygun Projects, Toowoomba<\/a><\/p>\n

“Madame Banksia: Margaret Preston’s Flower Gazing and the Japonist Protocols of R\u00e9gamey”
\n– RMIT, Melbourne<\/a><\/p>\n

“‘Is Lying There’: The Hale Experiments and Object-Oriented Ventriloquy in the Cold War”
\n– The New Museum R&D Seminar, New York<\/a><\/p>\n

“The Narma Tapes: Polyphony and Politics in the Postwar”
\n– Art in General & Vera List Center (“What Now? The Politics of Listening”), New York<\/a><\/p>\n

“Philistine Aesthetics: How the Philistine Entered the Humanities Through a German Door”
\n– American University Beirut, Beirut<\/a><\/p>\n

“Re-reading the Hale Experiments: Object-Oriented Ventriloquy in the Cold War”<\/a>
\n– Keynote: Hybrid Practices, Spencer Museum of Art, Lawrence<\/a><\/p>\n

“The Pomagello Document: Considerations, Animadversions, Reconsiderations, etc.”
\n– Pomona College Museum of Art, Claremont<\/a><\/p>\n

2014<\/span><\/p>\n

“Prosopopoeia as Protocol: The Hale Experiments and Object-Oriented Ventriloquy \u2028during the Cold War”<\/a>
\n– RISD Museum, Providence, RI\u00a0<\/a><\/p>\n

\u001b-Le souci de soi chez les Oiseaux: Consid\u00e9rations foucauldiennes \u00e0 propos de la cache \u00ab Coffey\u00bb”<\/a>
\n– Centre Pompidou,\u00a0\u00a0Paris\u00a0<\/a><\/p>\n

“If These Stones Could Talk: The Hale Transcripts and Cold War Tactical Prosopopetics”
\n– Mildred’s Lane, Narrowsburg, NY<\/a><\/p>\n

“The Pomagello Document: Considerations, Animadversions, Reconsiderations, Etc.”
\n– Guggenheim Museum, New York<\/a><\/p>\n

“The R\u00fclek Scrolls and the Practice of the Door”
\n– MoMA PS1, New York<\/a><\/p>\n

“The R\u00fclek Scrolls and the Practice of the Door”
\n– with Family Business at Palais de Tokyo, Paris<\/a><\/p>\n

“Fix Your Eyes Right Here!”
\n– with Family Business at Chalet Society, Paris”<\/a><\/p>\n

2013<\/span><\/p>\n

The Pomagello Document: Considerations, Animadversions, Reconsiderations, Etc.”
\n– Contemporary Issues (“People’s Art Center”), MoMA, New York<\/a><\/p>\n

“The Pomagello Document: Considerations, Animadversions, Reconsiderations, Etc.”
\n– Dairy Art Centre, London<\/a><\/p>\n

2012<\/span><\/p>\n

“Further Research on the Fascicle of E”
\n– Harvard University, Cambridge<\/a><\/p>\n

“The Order of the Third Bird: Documents and Considerations”
\n– Bard Graduate Center, New York<\/a><\/p>\n

.<\/p>\n

 <\/p>\n

NOT UNRELATED MATTERS, BODIES, WRITINGS\u00a0<\/strong><\/p>\n

ESTAR(SER) is in sympathetic association with the so-called\u00a0“FRIENDS OF ATTENTION”<\/a>
\nand would recommend their “TWELVE THESES ON ATTENTION”<\/a><\/p>\n

.<\/span><\/p>\n

To contact ESTAR(SER) directly: esthetical.society[at]gmail.com<\/p>\n","protected":false},"excerpt":{"rendered":"

ESTAR(SER) \u2014 The Esthetical Society for Transcendental and Applied Realization (now incorporating the Society for Esthetic Realizers) \u2014 is a private, dedicated body of amateurs, scholars, and interested parties who concern themselves with the historicity of The Order of the Third Bird. This community of researchers works to sift evidences of Bird-like attentional practices in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-199","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.estarser.net\/communiques\/index.php?rest_route=\/wp\/v2\/pages\/199","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.estarser.net\/communiques\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.estarser.net\/communiques\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.estarser.net\/communiques\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.estarser.net\/communiques\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=199"}],"version-history":[{"count":10,"href":"https:\/\/www.estarser.net\/communiques\/index.php?rest_route=\/wp\/v2\/pages\/199\/revisions"}],"predecessor-version":[{"id":1070,"href":"https:\/\/www.estarser.net\/communiques\/index.php?rest_route=\/wp\/v2\/pages\/199\/revisions\/1070"}],"wp:attachment":[{"href":"https:\/\/www.estarser.net\/communiques\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=199"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}