depth, disorder, dream, language, Plato, space, story, surface, theory, time

Ratio

 

Between science’s eternal youth, forever sprouting green shoots, and the crumbling timelessness of art’s old age, there may yet emerge a new, a third kind of time, a crossing between the unique and universal which could bestow a new measure. 

The dream is young, the awakening ancient. 

Between the transformation and the formula, in the middle of the two shores of language, a glittering goal which shifts along with us, a nearly-invisible position which threatens to forever slip between the stories and theories into the depths. 

Between itself and itself, the earth is always the story — the only one we can remember or tell, that is, the one we are — this dream, and this awakening.

On the surface, the two series don’t align, cracks burst throughout the volume. A map of hidden tensions is revealed. The lines don’t originate from a central point. They swerve and intersect madly, though they may sometimes seem parallel. 

It is only in the depths, where mixtures reign, that all is equilibrium — a transcendental immanence. All impossibilities are nullified by a smooth consistency of oscillation, a balance without ratio. All formulas, and none. 

Perfect peace, though it may sometimes seem chaotic. 

And between the surface and the depth, an interval, the third space: the profound Being of depth crossed with the mad beings of the surface — a plague or a prophecy? 

Even now, I still do not know. 

The law of bifurcation rules the depths of the sea, of the skies, and of time. Everything is reversible. It is a lesson found in the most ancient books, the law of the parasite, whose tiny silver thread always manages to cross the borderline. 

The least can become the greatest: everything can become nothing, and nothing — everything. 

Thus, upon the surface, reversibility gives way to the irreversible. The law of anarchy, of entropy, rules the surface — a kind of royal madness which sets about organizing chaos, even creating complexity to maximize disorder. Time itself expresses this blistering of the surface, the irreversibility of creation. 

Finally, there could be no formal law for the space in between, spoken of even less than the depths and repressed by the surface-depth system — another wisp of Plato’s ghost. Yet it would be that ratio whose reason was precisely pure love, or humility — the meaning, and perhaps the very reality of humanity.

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animal, art, becoming, flesh, freud, guattari, human, lacan, machine, ontology, space, territory

It Means Becoming Human

But he [Lacan] did not realize the consequences of his rupture with Freudian determinism, and didn’t appropriately situate “desiring machines” — whose theory he had iniated — within incorporeal fields of virtuality. This object-subject of desire, like strange attractors in chaos theory, serves as an anchorage point with a phase space (here, a universe of reference) without ever being identical to itself, in permanent flight on a fractal line. In this respect it is not only fractal geometry that must be invoked, but fractal ontology. It is the being itself which transforms, buds, and transfigures itself. The objects of art and desire are apprehended within the existential Territories which are at the same time the body proper, the self, the maternal body, lived space, refrains of the mother tongue, familiar faces, family lore, ethnicity… No existential approach has priority over another. Thus it’s not a question of a causal infrastructure and of a superstructure representative of the psyche, or of a world separated from sublimation. The flesh of sensation and the material of the sublime are inextricably interwoven. Relationship to the other does not proceed through identification with a preexisting icon, inherent to each individual. The image is carried by a becoming other, ramified in becoming animal, becoming plant, becoming machine and, on occasion, becoming human.

Felix Guattari, Chaosmosis

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barrier, break, capital, cycle, difference, economy, energy, flow, paradox, Politics, space, subjectivity

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Capital is nothing without energy, without a working which it desires to measure in terms of itself — and often wishes to imagine itself coincident with (and even more original than) this working — so much so that capital is often said to “represent” the flow of energy into the machine. On this reading, the economy is a largely imperceptible field of forces which, like a magnetic field, disappears instantaneously when the flow of energy stops. But capital is not quite this virtual flow (e.g., of electricity,) nor its abstract numerical representation — and furthermore, capital is not even the surplus energy guaranteed by distribution, or “real” profits (the actual satisfaction of desire.) Rather, capital appears in the spontaneous transfer of segments between flows of energy.

To be sure, desire makes an appearance here, too. When aspects or “internal relations” of capital grow rigid or supple, forming fields and blocks, they begin to produce breaks in the flow; this process is like an infinite division, a decoding without boundaries. Divide by zero. At some moment within history, the virtual body of capital produces an indirect appearance in the form of money, but its true appearing occurs in the gesture of acquisition, only coinciding with itself as a kind of indigestion which takes hold of the body from without.

What remains is perhaps the husk; capital “realized” is nothing but an englobing retention of matter. “Things” multiply ceaselessly: an obsessional matrix of part-objects, a machine built around “breaks” or “fissures,” places where a flow of energy breaks apart, explodes, ruptures, starts leaking from the seams. When do we discover that these apparent blockages are “really” just a species of more slowly-moving flows of energy? How does this imperceptible differential shift occur, this minimal break between the part and the flow? Is it finally “all” a question of spacings, different speeds, elliptical cycles? If indeed, we walk the thin line of supposing that neither can we presume absolute chaos, nor a fundamental harmony.

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certainty, chaos, complexity, creative, decay, ontology, Science / Mathematics / Technology, space, structure, symmetry, theory, time, universe

Symmetry within Chaos: On Science and Difference

Symmetric Relations

A scientific theory classifies phenomena based on a universal set of structural relationships. Experiments and theories which deserve the name scientific thus share a coherent set of properties. First, they are systematic, meaning that phenomena as presented possess certain structural or virtual unities despite actual or potential diversities. A fully systematic theory is also complete in that nothing is arbitrarily left out of the universe of discourse.

Events, spaces and processes are presented as approximating a mode of relation which is in every case either symmetrical or complementary, and possibly even transitive (symmetrical and complementary.) Consider the relation between two inter-connected processes A and B. A symmetric relationship could be as follows: A exhibits behavior x when B exhibits behavior x, and A exhibits behavior y when B exhibits behavior y. Complementary relations, on the other hand, could be (for example): A exhibits x when B exhibits y, and A exhibits y when B exhibits x. Complementary relations are characterized by a disjoint or heterogeneous symmetry which distinguishes them from the smooth or homogenous symmetries of the first type of relation.
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abyss, autopoeisis, chaos, creation, death, decay, deviance, fecundity, health, inevitability, libido, life, machine, nature, parasite, space, symbiosis, Thought

Liquid Generations: Decay, Creation and Morphogenesis


Flow

The moment of death is uncertain and inevitable; its shadow approaches from an unknown region like a silent stranger. Death does not need to follow us; it just meets us where we will be. Like a memory fragmenting, bodies rush towards singular points of annihilation, just as the very possibility of negation is implied by the presence of the law. Protection is absurd, insulation a pure minimum; there is but the most fragile and insufficient veil between ourselves and our vulnerabilities.

Even laughter is a deflective shield for the futile anxiety over this very insufficiency. The subject exhausts its becoming and dies; thus until death he is not composed of a lack but indeed an overflowing surplus, of new expressive modalities, energy transformation-processes, event encoding/decoding regimes. Death crumbles the ground beneath us; it is the pure undecodable, it is a decoding space, a pure body with organs, a body full of pulsating acephalous organisms.
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becoming, birth, composition, expression, mathematics, music, Nietzsche, resonance, rhythm, sensitivity, space, transformation

Rhythm, Expression, Transformation: Music and Nietzsche

(Image by Hectik, http://www.hectik.com/)

In music the passions enjoy themselves.
Friedrich Nietzsche

In early 1872, the same year The Birth of Tragedy was published, Nietzsche delivered a series of lectures entitled “An Investigation into Rhythm and Meter.” (The lecture which interests me, “Toward a Theory of Quantified Rhythm,” appears to still be untranslated!)

Music is at the heart of Nietzsche’s effort. In a very important sense, without a musical ear, his work cannot be understood. Music is his framework. Not only that he writes in arpeggios, but that his thought is arpeggiated; to make sense or value from his work, we must hear it performed; that is, we must realize through ourselves all the properly musical moments of discord and accord in his thought, all the contradictions and harmonies which resonate not only through his critique but also through his concepts.

The moment of accord between morality and genealogy (or discord between truth and science) must be felt; they cannot be simply understood. His account of the origin of morality, for example, only seems not to be completely rational for the reason that it is perfectly and even sublimely rational; it is in fact a mathematical argument! Just as the infinite overflows reason, Nietzsche’s style, his thoughts and ideas, must be heard and felt, not only read but performed. His voice must become as a pulsation or rhythm seizing us; or else it remains, merely a contradiction, merely a static critique.
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architecture, health, love, multiplicity, noise, Politics, reason, space, transformation, voice

Tunnels and Voices: Love and the Cultural Architectonic of Space

(Ken Garduno)

We were a silent, hidden thought in the folds of oblivion; and we have become a voice that causes the heavens to tremble.
(Kahlil Gibran)

Love is the voice under all silences, the hope which has no opposite in fear; the strength so strong mere force is feebleness: the truth more first than sun, more last than star…
(E. E. Cummings)

The voice — what an unnatural and traumatic element! It is the theoretically irreconcilable, the ever-ambivalent (a voice is never univocal.) It is an everted organic flow, a living sonority: the voice is the elemental flow exchanged through the logic and the architecture of social arrangement. But the really critical question is the architecture of spaces: how are the tunnels and pathways through which the voice flows formed? How do we ‘build’ these vacuoles, tubules, these micro-vortices?

In brief, our question is: how are subjectivities produced which are able to listen, which can become points in a signal-sign network? Where does this noise-filled tunnel lead, where else but somewhere within, somewhere between? The voice comes from inner space, between the tribe, a virtual univocal space that becomes individual, becomes a part-object; or rather, the individual, the voice-machine, rises up only against the tribe, in pitched battle against its calming background-noise and static ritornelles. The tribe reacts against the jagged neologism, this unsanctioned activity of deviational intuition, the echoic profanation; the word which cannot be integrated becomes a war, it is the spark which flies between disparate spaces, presaging millennia of arguments, violence and bloodshed.
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