acceleration, becoming, control, Deleuze, machine, Nietzsche, subjectivity, virtual

Technoscience and Expressionism

Alfred Muller -- Plaza Juarez, Mexico City 2006

Alfred Muller — Plaza Juarez, Mexico City 2006

Technology and Control

The technocrat is the natural friend of the dictator—computers and dictatorship; but the revolutionary lives in the gap which separates technical progress from social totality, and inscribed there his dream of permanent revolution. This dream, therefore, is itself action, reality, and an effective menace to all established order; it renders possible what it dreams about (Gilles Deleuze, Logic of Sense)

Gilles Deleuze’s indication of a certain affinity between technocrats and dictators seems prescient. By Postscript on Control Societies the new realities resonating between society and its machines, in the middle of technological acceleration and social upheaval, have become so intense that every interior is in crisis, and the entirety of society has to be organized to resist the eruption of these dreams into reality.

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acceleration, becoming, inhumanity, language, machine, ontology, radiation

Edges

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Richard Long, “Walking a circle in mist” (Scotland, 1986)

Beyond telepathy. At long last, after centuries if not millennia, and perhaps only if conditions will have it such that the voice may reach its fullest expression and height, we may foresee it finally passing; into the imperceptible. In this future beyond the future, the noontide of vocal expressivity; the death, or at least becoming invisible, through an unrecognizable transformation, of speech. At the outer limit of writing, beyond telepathy, an opening onto new luminous substrates of expressivity.

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acceleration, becoming, machine, ontology

Surf

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Soaring above the waves, the surf line finds or creates a means of encrypted communication with the conjoint or conjugal striation of the surface and the disjunct or disastrous perplexity of the depths. A nomad geometer, the navigator of singular and extraordinary waves, the surfer of the pure multiple of the sea, journeys in place to remain in place. The surfer occupies a finely balanced territory, between infinitesimal inclination and infinite extension; an absolute survey becomes possible.

An occupation replete with indeterminations, bristling with events and pure qualities; which can perhaps be defined in terms of the flowing athletic de-situation of centrality, non-motion rather than the catastrophe of activation or spatiality, of extraordinary or disruptive points or segments or the epidemiology of too rigidly fixed positions or too fluidly supple segments. The telepathic geometer or temporal metallurgist, the surfer of future waves, oscillates internally then between two very different kinds of axioms or principles; apparently in real and irresolvable contradiction.

Between restrained or disjunctive materiality (the wave function, if you like) and generalized or conjunctive aesthetics, the depths of the sea or its xeno-crystalline temporality, characterized by chaotic and lawless interventions across streams, between ontologically foreign regimes of development and organization; expressing itself perhaps as future light, infinite glare of machinic resonance from the hard-right edge of time…

A hyperlink is determined dimensionally by planar waves and volumetric surf. It is politics itself, solidary with the delirium at the heart of our highest reason (all too anthropoid, neurotic, regional, drifting…) Conjunction and disjunction; but there is always a ductile and cybernetic surf line. What is the relation between the surf line and the smooth space, or between the line of creative extension and intensive striation? How does surfing make machines rhizome, become a line of flight capable of possibly, if it survives many risks, surveying from hyperborean heights of intensity the haunted depths that separate and link us? –At infinite speed, “all at once”; rather than falling back onto furious mechanical redundantly-parallel recursive analysis? Nevertheless, one must be careful with all these intensities, one must be ready. Hyperlinear conjunction accelerates too rapidly to control, maximizing trauma and bliss at once. But after all the link is a connection, an arrow cast into a void. Whereas conjunction and disjunction are primarily traits of relations produced in tactical route analysis; in which case there is a geographical problem of establishment of points that determine pathways for striating vessels, or smooth transmission, etc. –Rather than the geological or ethological problem of the relay itself or pure logistics, which converts striated positions into smooth spaces, invents or discovers means of oscillating between, a higher-order calculus of acceleration, speeds and slownesses (convalescence.)

The other lines — the subaqueous assemblage of supple lines of the sea; the rigidly delineated striations of oscillatory forces — are no better or worse than the surf line, which wouldn’t exist without them, even though it does not relate to movement in the same way they do. Rather than extend traits the link activates relays or actualizes virtuality, proliferates pure becomings and stationary journeys. The political infrastructure of the hyperlink dominates resonance; this machinery is the accelerating index of redundancy. The surf line is operated by a plane of virtual judgment; hungry for resonance and singularization. They are the teeth of the vampire.

Conjunction occurs precisely because bodies are not yet connected. Because judgment has decreed gravity, ideas are voidic compositions… And the surf of course always overflows itself into death; risking along the way any danger imaginable: and of course the surf line itself emanates a strange melancholy melody. The unsegmentary secretes authorities and pieties and fascisms of its own unique type. The surf is no better than the sea or the waves.

The surf line itself is not the secret, though it may seem to be inventing and discovering a strategy or machine by which the sea and waves may communicate. But even though it is between the supple political segments of biology and the rigid macropolitical lines configuring abstract machines, it is still only a memory-machine; victories are rare. Between inter-involution of a multiplicity of imbricated and mutating rhythms, overflowing organized ontologies, the surf line faces infinite risks, worse perhaps than madness and death; but nevertheless can sometimes navigate an escape into survey, resonating with a wild becoming and expressing the movement of the actualization of the virtual (a world into a city…)

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acceleration, corruption, disorder, growth, language, limit, organization

Remember

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A signal develops conditions suitable for conviviality of noisy lines, conjunction of colored planes, convergence of pure volumes. Development emerges encoded from the remotest and most alien depths of the sea. Chaos filtered: decrypted or machined.

Evolution or the pure differentiation of a life? From a crystalline substrate, from the earth to the navigation of the world. Analysis of stratigraphic zones and synthesis of degrees of proximity. Integration of the night, the indifferent — the universe.

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Organization overflows time. Death, or beginning without limit? Production or product? –But the simulacrum is mute. Enfolding infinity, life eclipses itself. The full body is annihilation. Every horizon collapses. Light dissolves. Time crumbles. Movement decelerates into imperceptibility. One becomes old. A word always turns to ashes; all books burn. Any duration elapses. Seas freeze. Channels fade into silence. Creation halts in the middle.

Between blindness and visionary dilation, the long winter of a dying cosmos. Spirit unfolds, converges with eternity; comes and goes. Everything is forgotten.

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acceleration, complexity, exchange, laughter, network, relation

Between Planes

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Relata. Noise (always-already virtually present) vibrates, and only indicates in becoming-channeled. Primary indication is extinction, dis-embodiment (subject), dis-articulated (sign), dis-simulated (situation). Immediate indicia; omen or axiom? –At any rate the percept and the affect are in a troubled relation. We attempt to attune a machine to this relationality; its speed approaches infinity asymptotically; it is exologically “determinative” insofar as:

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acceleration, becoming, language, metaphysics, ontology

Eternity

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Artist or artists unknown. [Though I suspect Nicholas Alan Cope & Dustin Edward Arnold.]

Since before memory, certainly the Greeks, a temporal continuum supervening upon the physical universe delimited the scope of ontological speculation. This delimitation of vision to a vertical axis transpiercing the cosmos necessitates a moment of insight generated through a brutal acceleration or jerk into clarity/modernity, or alternately futurity/sightedness; at any rate unleashing an irreversible and continuous transposition of subjects, translation of signifiers, transversalization of situations.

The fluidity of this image of time is experienced only in absolute survey, from the perspective of a violently-interpellated point at infinity. The displacement of phenomenological time depends on the decoding of the cosmos enabled through the impossible division of ordinary time by nullity. Primal or ordinary time, before the letter, is more ostensibly fluid than this terrifying vista of an eternal time of equivalence (born alongside tragic mythopoesis.)

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acceleration, code, light, metaphysics, spirit

Notes towards a Metaphysics of Light

Alchemy-2012-07-13-11-34-38 (work in progress) Neil Nieuwoudt 2012

Every tool carries with it the spirit by which it has been created. (Heisenberg)

I would like to think light as the dynamic interval between events, as a kind of singular tension between time and space, determining in the last instance both the simultaneity of the event as well as the order of succession for chains of causal relations. Light as the luminous matrix of the substrate and the glare of its utter annihilation; as the divergence of the world and the immolation of empty time; as the only term which could bridge these mutually-incomprehensible infinities — the future, the cosmos. What is it to think the photon as ontological fundament, light-like intervals as the atomic relata of eventful worlds?

For phenomenology, consciousness is the “light” in which light itself becomes visible; so from the outset we must carefully distinguish between virtual and actual light, eventuation and ideation — differentiation or diffraction of null space and repetition or refraction of empty time. The phenomenological photon can be determined through a very precise axiom: light is the term which renders intervals of space and durations of time mutually comprehensible in absolute motion. How to think this pure life at the unreachable speed of the photon, asymptote of velocity itself?

Light, then, in both senses at once: information and data, mind and matter, event and subject. The momentary madness of the act; and the perpetual motion of the waves which erase its traces. Light, then, precisely as it emerges from or falls back into space and time. The decoding of illumination as it opens onto the future, time, the world. What is needed is a new prism, a transoptical machine for calculating the conditions for the crystalline explosion of luminous impulses. We have a rainbow series of colors organized by wavelength; but what is needed is pure white light,  differential mixture of all possible values of light, simultaneously resonating with every element of the series.

An event risks being misunderstood as an actual extraordinary point. On the one hand there there are nevertheless certainly extraordinary points which fail to become actual; but there are also certain (series of) lines which develop in singular ways that evade being identifiable with punctuation, with the syntax of history. Alien symbolic matrices, foreign ontological foundations; the event is the intrusion of another scale, leakily-abstracted inter- or infrastructure, a message from an unexpected outside or inside demanding a radically foreign coding and decoding system. A new language, a new subject; but also a de-languaging, a de-subjectivation, de-individuation; in this passage to the ontological limit, the individuated subject risks being compromised by alien memories. Becoming-everything, becoming-imperceptible: the event in this sense denotes a strategic methodology for suturing reality to its outside. The spirit of an evental metaphysics is a being ontologically ‘harassed’ — compelled to differentiate the world from itself without separation or subtraction, in a manner marked by secrecy, darkness and a kind of espionage on behalf of the radical outside.

Such an integrated nodal point-subject submits all too readily to certain utterly inhuman (animal, vegetal, cosmic) relationships to the inhuman; just as it cannot resist certain ‘voidic’ ontological vortexes which engulf the structuring matrix it adheres to.What is the structure of the subject or the world — these self-interrupting, simultaneously virtual, semiotic and biological vectors; these cosmos-machines at once psychic, social and physical? Is it not the case that assemblages become visible, comprehensible in the last instance, only by way of universal history, by way of the experimental mutations of the collective assemblages of enunciation which give rise to discourses and disciplines? The structure of the subject is luminous and territorial, an intensive and topologically indeterminate zone of proximities which has to be mapped anew in each instance. (Thus the paradoxical demand upon the analyst that she generate an effective cartography of a world which isn’t there, populated by people who don’t exist yet.) The structure of a world is irreducible and opaque, a matter of intensive transversality.

To have a world is always already to be madly on the run across it, hunted for simply existing, unless perhaps… –Unless perhaps one is a spirit, or a body of light; unless perhaps I am not this body; unless I am no longer the speaker which says “I”; unless perhaps I am not here at this very moment in this text as it is being written. –Light, glare is also disappearance, traversal to the limit of perceptibility; or subtraction via the intensive reduction or n-1, the erasure of all traces of the subjectile — so that it no longer matters whether one is or is not stuttering along the ego, parroting “I-I-I…”; since at least we have pushed language to an external edge, to its (e.g.) musical or animal limit; we have made failure impossible and succeeded, even (and perhaps especially) if we fall back into triangulation. –The mediation of fantasy, the commercial, bureaucratic, familial reductions of desire in psychoanalysis, reflect a generalized and even globally-extended process of subjectivation, integrated at all costs, however intolerable or mad, into local regimes of semiotic and virtual exchange.

The node already participates with the darkness that permeates the network; every node is a ‘terminal’ point, a vector between the system and the world and between the system and itself — at once the flow and its interruption, the channel and its subversion. This dual differentiation permits the network-system to exist as an irreducibly generative assemblage — which is to say, neither individual or collective (both of which collapse to an individuated matrix in the last instance.) The question of the exploit is therefore primary, the essential matter of worldic, evental and subjectile effectivity and generativity. Power, or voidic and plastic generativity, discovers an infinite deferral of its own origin in this productive assembly which establishes functional inter-relationships between one or several war machines. The generativity of the collective assemblage exceeds its effectivity, it becomes expressive of modalities of existence, when permitted to establish uncertain communications channels with alien machines (with potentially wildly divergent and even mutating universes of reference and value.) The molar subject — that ‘healthy’ consciousness or prepossessed self-awareness of innately-political beings, robust with respect to some permutability of external reality and its own substrate (in other words possessing a unity of identity and differentiation of self-representation and reflected image; the capacity for deception, secrecy, falsehood, “hollowness”) — this psychic effectivity of identity can perhaps be considered as an external agency, one which establishes a kind of universal exchange between various systems of meaning.

Light, or this labyrinth leading to the black heart of the death-drive; a parasite which interrupts the flow of unconscious desire, transcoding it into a series of signifying chains, muffling the articulation of fragmentary collective enunciations. Thought and language reach towards their others and outsides in order to escape syntagmatic isolation or pragmatic identifiability — towards music, silence; towards that infinite speed of thought which manages to discover a way outside the territory. We cannot “think” the disaster, the fragmentariness of the substrate, just as we cannot think our own deaths — at least, not without paying what is perhaps the most dangerous cost exacted by a thought: the risk of the collapse of ontological coordinates or foundations, of infection by mutant or even alien universes of reference. Thinking the disaster is impossible without this risk of breaking, halting, becoming-frozen; of a radical trauma beyond reintegration. A hideous arresting of individuation; a new silence, coldness, darkness: the break risks leaving us “beyond thinking and feeling” (optical nerves burned out, ear drums ruptured.) Perceptions themselves even risk becoming ‘infested’ by alien continuities. In short: we risk no longer being able to trust the ground, the weight of things. A strange coldness and indifference radiates from the paradox, the disaster, the break; it coincides with the invasion of an alter-subject which cannot be reintegrated. An enemy within which doesn’t coincide with another personality, but a radically independent and ontologically-disruptive line of free variation which depersonalizes and distorts perceptual semiologies.

Joshua Kirch, “Concentricity” (Interactive Light Sculpture Series)

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