axiom, form, image, multiplicity, noise, ontology, parasite, real, spirit, theory, writing

Syntax

 

 

The actual trace or cutting edge of theory is a veritable penetration into reality, not a moment but a certain force or intensity of thought which maintains its position in relationship to the real (understood as the indeterminate gap between syntax and spirit, or between an axiom and the imaginative power which both conditions and evades its’ grammar.) Reality and image, disjoint but co-present, conjoined only asymmetrically at specific suture points of flux: a coiled loop of time.

This self-interrupting dimorph-system, the ‘formal’ figure of the parasite, is a property of not only every formal system but of formality itself, of the very essence of form; it undermines and coerces the event of transformation itself, as only a symptom of fate, of time. A feeling or noise which never goes away, and then suddenly disappears one day, for no reason at all — an inconsistent multiplicity, an ocean of light, a body. A writing which without being written is beyond any form, a language which without being spoken is beyond any thought. This disjunction is contact which provokes a co-evolution, an involution of every event, every moment into a single moment which effaces them.

Thought captures the self-effacing movement of the mark through a penetration or disjunction, a contact without resolution. The becoming-formal of the indeterminate displaces syntax itself: a rupture which no set of axioms, or finite set of symbols, could encompass or comprehend. This ideal object evades finite inference. No axiom grounds infinite inference, no formal system dividing propositions into nonsense and sound judgments distinguishes its subtle grammar, only constituted within this improbable trajectory from noise to sound, from sound to voice, from voice to light. A parasitic evolution which proceeds from multiplicity and marches towards the empty, the open, the blank, the possible. 

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actualization, artificial intelligence, behavior, being, cinema, cybernetics, drama, existence, image, interactivity, interface, language, one, reverie, story, theory

Literary Machines: Between Drama and Artificial Intelligence


Insofar as it tends towards a studied negation (or counter-actualization) of our numb existence, endlessly dramatizing the existential narrative of escape, contemporary cinema conveys an intense and disturbing truth about modern reality. It is not just the easy and everyday dissociation that life is a movie, but more surprisingly, that movies have become indistinguishable from our real lives. Drama is not merely a terrifying absence, simply the dissolution of the synchrony of the One, but an enigma even more puzzling still– the cinematographic interface is already an incontrovertible diachrony, a renegade communication across an abyss of broken myth. Cinema: the art of time turned in upon itself. The surface story splits the world in Two, by drawing a sacred circle (or rectangle) in which larval intensities can escape from their segmented order of time (or space.) Images transcend history.

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art, counter-symmetry, creativity, culture, difference, divinity, enlightenment, equilibrium, history, image, information, life, nature, noise, probability, revolution, Science / Mathematics / Technology, separation, symmetry, war machine

The Future of Information

In reality, goals are absent.

Nietzsche

Rivalry is only a spectacle; it is the state of appearance. Equilibrium is phenomenal, and the distance is real. The law of opposition belongs to phenomenology; the law of irreversibility or of falling downstream is real. Behind all representation.

Michel Serres

A Genealogy of Modern Science
Science appears to begin with the Greeks: somehow, somewhere, a resentful pre-scientific impulse begins to criticize the unity of life and culture. Some say that before this interruption, there must be an alien infiltration (the arguments for Oriental contributions to Greek culture,) but ultimately the “true” source is irrelevant, for it is this real criticism, this faithful engagement with the material culture, with everyday life, that is at once of the greatest importance, that is the authentic germ of enlightenment (Greek or otherwise.) For this criticism already contains a larval critique of creativity, of society, and most important for the development of a scientific instinct, a criticism of divinity and images. By Plato and Aristotle, science will separate itself completely from creativity, from works of the imagination and from art. Plato’s criticism of images (what we would call “advertising”) is well-known; Kant’s rejection of the empirical as a source for truth reproduces the same critique in reverse. In short, it is by rigorously separating life and culture that science discovers itself positively (i.e., as this objective dissocation, this symmetrically dis-sociative personality.)

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becoming, Deleuze, event, image, internal resonance, Logic of Sense, metaphysical surface, paradoxes, Plato, sense, signal-sign system, simulacrum

Notes on Logic of Sense: Preface, Series 1 and 2, Appendix 1 on Simulacrum and Ancient Philosophy

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Logic of Sense: Preface

Here Deleuze begins by highlighting Carroll and the Stoics for their theory of events; he says that there is a marriage of language and the unconscious at work.

Paradoxes imply that sense is a nonexisting entity (xiii). Deleuze claims that the Stoics formed a new image of thought [how can this be linked to Difference and Repetition wherein Deleuze claims that it’s imperative to move beyond a certain dogmatic image of thought? Ultimately, in the preface Deleuze claims that Logic of Sense will attempt to develop a logical and psychological novel (xiv).

Series 1: Paradoxes of Pure Becoming

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code, decode, encode, flusser, gaze, image, metacode, photography, significance, surface, textuality

Notes on Vilém Flusser’s Philosophy of Photography: Chapter 1, the Image


Goraczka, Tomasz Setowski

Images are significant surfaces. This means that images signify, as well as make comprehensible as an abstraction, “something ‘out there’.” Images are reduced from “four dimensions of space and time” to “two surface dimensions.” (8)

Imagination is this specific ability to abstract surfaces out of space and time and to project them back into space and time. Imagination is the precondition for producing and decoding images. “The ability to encode phenomena into two-dimensional symbols and to read these symbols.” (8)

The significance of images is on the surface. A single glance remains superficial and doesn’t reconstruct the abstracted dimensions. One has to “allow one’s gaze to wander over the surface feeling the way as one goes” in order to enhance and deepen the significance. The path the gaze follows is “complex” and formed by the “structure of the image” and the “observer’s intentions.” (8) This is called ‘scanning’ and reveals the significance of the image. Therefore, it is a kind of synthesis between the intention manifested in the image and the intention belonging to the observer.

Images are not ‘denotative’ (unambiguous) complexes of symbols (like numbers, for example) but ‘connotative’ (ambiguous) complexes of symbols. Images provide space for interpretation. The space reconstructed by scanning is the space of mutual significance. The gaze produces specific relations between elements of the image. Scanning is thus a kind of eternal return: the gaze “can return to an element of the image it has already seen, and ‘before’ can come ‘after: the time reconstructed by scanning is an eternal recurrence of the same process.” (9)
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capitalism, commodity fetishism, consumption, Debord, image, isolation, marxism, materialism, May 68, reification, representation, separation, simulacrum, Society of the Spectacle, spectacle, Theory / Philosophy

Notes to Guy Debord’s Society of the Spectacle: Chapters 1 and 2


Separation Perfected

But certainly for the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, the appearance to the essence…illusion only is sacred, truth profane. Nay, sacredness is held to be enhanced in proportion as truth decreases and illusion increases, so that the highest degree of illusion comes to be the highest degree of sacredness.
–Feuerbach, Preface to the second edition of The Essence of Christianity

Feuerbach—copy/original—simulacrum—Deleuze and Baudrillard?
Accumulation of spectacles—”All that once was directly lived has become mere representation” (12).
Detached images enter into a common stream—partial aspects of reality congeal into a pseudo-world set apart as object of contemplation/autonomous image where deceit deceives itself–autonomous movement of non-life.
Three aspects of the spectacle—society itself/parts of society/means of unification. This is the place of false consciousness because it is where all consciousness converges–it is merely the official language of generalized separation
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difference, flux, God, image, imaginary, individuation, insanity, logic, metaphysics, symmetry, void

Imaginary

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Wild Magic of the Unbeliever (Dave Makin)

How much of our lives are caught up, inextricably, with the imaginary? A dangerous question only because it is silly, and stupid; why? Because it’s answer is both simple and impossible. For we know: none of it is imaginary, it is all real; and we also know: nothing is real, all of it is imaginary. A dangerous idea, a poisonous idea: there is contradiction at the origin. An unrest, a turbulence at the heart of being — not smooth immobility. There is origin only through explosion, individuation, hyperdifferentiation.
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