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Diffstat (limited to 'eies.otx')
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1 files changed, 15 insertions, 2 deletions
@@ -220,7 +220,7 @@ Each \dq{reality} opens upon the realm of the semi-factual, bringing into bas re The following originates with paradigm-fragments that have remained with the \e{bricoleur,} that have impressed themselves upon his intuition, having passed through the private filters of subjective validation. For example, from something as crusty as Hobbes' \booktitle{Leviathan} this strange rhyme: \dq{Words are wise men's counters; they do but reckon by them; but they are the money of fools.} Here is another chard, another refracting \dq{mind-facta} to rub against the Hobbesian assessment: \dq{The words remained in his heart like a burning fire} and \dq{because ye speak this word, behold, I will make my words in thy mouth fire, and his people wood, and it shall devour them.} (Jeremiah 10:9, 5:14). Metaphors enfolding back on language are in a class by themselves because they speak with what they point at. This is especially acute when the messaging system is exclusively textual. Jeremiah and Hobbes both suggest a \e{cor irrequietem} hovering around the capacity for language, for words. They imply a restless discontent growing into anxiety over their apparent power. -\ehdr{[]}{}{Re: \dq{The eye believes and its communion takes} ---Wallace Stevens} +\ehdr{[]}{}{Re: \dq{The eye believes and its communion takes}\fnote{Wallace Stevens}} Problematically, art fluctuates between the optical and haptic. To receive a tactile sensation by simply seeing something vs. the haptic reconversion of the sensation: the felt is seen. Haptic is that element in the aesthetic experience that is grasped independently of optical-formal considerations (interpretations). Teleconferencing (as a network of bricoleurs) is haptic-simply incapable, as yet to seriously address the optical dimension. The felt in this case is a mode of discourse: a collective text building up from initial definitions. @@ -297,6 +297,13 @@ I think this information is of the greatest interest both for its conceptual imp \Q{What semiotics has discovered is that the law governing or, if one prefers, the major constraint affecting any social practice lies in the fact that it signifies; i.e., that it is articulated like a language.} \Qs{Julia Kristeva} +\midinsert +\centerline{\picw=3in\inspic{bollee.png}} +\cskip +\caption/f Léon Bollée with his multiplier. Only a few of the massive machines were sold, one of them to the Belgion Ministry of Railroads. Bollée's long career as an inventor behan at the age of thirteen when he patented an unsinkable aquatic bicycle. (An Englishman named Rigby rode it across the English Channel.) He followed this success with others, among them a cash register and a machine which distributed railway tickets. When Wilbur Wright came to France in 1908 to demonstrate his airplane, Bollée placed his automobile factory at Wright's disposal. +Bollée +\endinsert + \ehdr{[]}{}{Teleconference as Small Group} \sideblock{An aside: Thus far Brendan's text assumes the characteristic identity of the cybernetic adept. It has pointed out and defined the cybernetic controls lodged in the value system created by this exchange. The \e{bricoleur} accepts and adopts these definitions, in the main; where he feels an urge to add or (presumes to) modify a definition he will enter into the glossary of terms next to the existing definition(s).} @@ -536,4 +543,10 @@ I am interested in Bateson, for example, because within his work are the rudimen One recent example of \dq{expansion of the aesthetic text} is the appropriation of the context of sculpture which allowed artists to see sculptural form in processes, activities, and events extended and disembodied in time and space. This clear conceptual leap brings into existence a new object and creates a new ontology by which to \dq{frame} new objects. -The questions we are addressing here (and I take many of Frank's entries this way) are procedural: How do we formulate, by our participation in a teleconference, a poetics of thought and interaction that gives content to new concepts of shapeliness? Are these concepts immanent in the technology or do they rather adhere to the climate of mind around these instruments? The technology seems to offer a way of reconceptualizing the realm of the mind; since art-making and the total experience of art seems most like a form of thought, if our models of the mind and organism evolve, so must the ecology of art.
\ No newline at end of file +The questions we are addressing here (and I take many of Frank's entries this way) are procedural: How do we formulate, by our participation in a teleconference, a poetics of thought and interaction that gives content to new concepts of shapeliness? Are these concepts immanent in the technology or do they rather adhere to the climate of mind around these instruments? The technology seems to offer a way of reconceptualizing the realm of the mind; since art-making and the total experience of art seems most like a form of thought, if our models of the mind and organism evolve, so must the ecology of art. + +\topinsert +\centerline{\picw=3.5in\inspic{harmanal.png}} +\cskip +\caption/f A precursor of the modern digital computer: replica of the Michelson-Stratton harmonic analyzer. Developed in 1989, the machine was capable of handling Fourier series of 80 terms. Fed the Fourier coefficients of a trigonometric series, it could produce a graph of the sum function and also perform the reverse process. (IBM) +\endinsert
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