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[...] in a language.
metaphors somehow mobilize the difference between the two domains
arena of alienation
Cut the Noise
mirrors with (/without) memories
optical appearances (mind ~ eye)
Dioptrics (science of refraction), catoptrics (reflection),
that could not be spoken of or represented, because it was empty of discourse and thus of meaning.
innocence of the eye
Poor Unfortunate Souls
being useful, like a prison guard
autopoetic (complex self-referential systems)
to take up the motives from the external world
will-less perception, “the pure eye of genius”
bringing from the artificial world to the art world
object oriented programming / subject oriented
Observer, system and environment
a system (designed) with a purpose of itself
magnifying or light-collecting optical device
social selfish
gray area
self-identity is bad visual system
Vision requires instruments of vision; an optics is a politics of positioning. Instruments of vision mediate standpoints;
Identity, including self-identity, does not produce science; critical positioning does, that is, objectivity
docile body
technological visioning (vector of secret texts, books within books, ancient curses, digital dreams, and medieval cyber-art)
empty space left by theory and philosophy
technical visioning
Technology is never merely “used,” never merely instrumental. It is always ” incorporated” and “lived.”
In his last paintings, such as the Bride of 1912, Duchamp both elaborated an iconography that combined mechanical and visceral forms and began to move away from any procedures that revealed the artist's hand to create “retinal” or “anecdotal” art.

lemon grass plant, marigold

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newer medium may be ‘nested’ inside of an older medium (or vice versa)

mental life (memory, imagination, fantasy, dreaming, perception, cognition) is mediated and is embodied in the whole range of material media… we not only think about media, we think in them (Mitchell)

The shock of new media is as old as the hills

Franz Reuleux described this correlation: the more primitive the technology, the less attuned the parts of the machine to each other, the greater the degree of play -- the more perfected the technology, the closer the fit, the less play between the individual parts.

(For Winnicott,) play is a psychological state where the boundaries between self and the world remain labile and fluid, (a state which is important not only for the development of the child, but with significant ramifications for human life and culture in general.)

Representation is a distinctive manner of imagining the real, and is a fundamental phenomenon upon which all culture rests.

Henri Lefebvre distinguishes Representations of space and Representational spaces . ... Representational spaces are “directly lived” through associated images and symbols which overlay physical space, making symbolic use of its objects.

map cartography trajectory unknown figure diagram composition [source: Al Istakhri, Kitab al masalik wa l mamalik, Book of roads and kingdoms] the conceiving mind over the perceiving body (vision/touch)
touching was considered “a cruder scanning at close range,” and seeing “a more subtle touching at a distance.”

for Berkeley there is no such thing as visual perception of depth, and Condillac's statue effectively masters space with the help of movement and touch. The notion of vision as [Ouch is adequate to a field of knowledge whose contents are organized as stable positions within an extensive terrain.

a technological gaze
way of seeing (Derridean deconstructed)
high-tech images
artifact (cultural artifact, social)
image of the or a body and its environment
impossible subject-positioning, the codification of flesh, a visualization of scientific narratives and the aestheticization of information, all of which tell us about a longer line of cultural fantasies about information, code and technology. (Norah Campbell)
Everything said is said by an observe (Maturana and Varela)
framing the world
virtual gaze (Baudrillard)
achieve absolute vision, while seeing nothing.
very much as real; human and technological, both
i say this as someone who thinks that we are part of this digital world, but we are not necessarily subject to its terms
splicing of direct and tactile human perception of reality with another reality, one that is mediated and technical
the naration is not pure nor whole (why cyborg?)
place of visibility (/ field of articulability)
it is an aesthetic dream, dream of ismorphism between the discursive object and the visible object
exteriorization of the body (relation between face / hand / tool )
The “exact meeting place” of form, matter, tool, and hand is the touch(Henri Focillon)


In this interconnection of embodied being and environing world, what happens in the interface is what is important.
--Don Ihde, Bodies in Technology

At first glance, strapped to the body of critters such as green turtles in Shark Bay, off Western Australia, humpback whales in the waters off southeast Alaska, and emperor penguins in Antarctica, a nifty miniature video camera is the central protagonist. Since the first overwrought seventeenth-century European discussions about the camera lucida and camera obscura, within technoculture the camera (the technological eye)seems to be the central object of both philosophical pretension and selfcertainty, on the one hand, and cultural skepticism and the authenticitydestroying powers of the artificial, on the other hand. The camera--that vault or arched chamber, that judge's chamber--moved from elite Latin to the vulgar, democratic idiom in the nineteenth century only as a consequence of a new technology called photography, or “light-writing.” A camera became a black-box with which to register pictures of the outside world in a representational, mentalist, and sunny semiotic economy, an analogy to the seeing eye in brainy, knowing man, for whom body and mind are suspicious strangers, if also near neighbors in the head. Nonetheless, no matter how gussied up with digitalized optical powers, the camera has never lost its job to function as a judge's chamber, in camera, within which the facts of the world--indeed, the critters of the world--are assayed by the standard of the visually convincing and, at least as important, the visually new and exciting.
... first we have to plough through some very predictable semiotic road blocks that try to limit us to a cartoonish epistemology about visual self-evidence and the lifeworlds of human-animal-technology compounds.

Gilbert stresses that nothing makes itself in the biological world, but rather reciprocal induction within and between always-in-process critters ramifies through space and time on both large and small scales in cascades of inter- and intra-action. In embryology, Gilbert calls this “interspecies epigenesis."43 Gilbert writes: “I think that the ideas that Lynn [Margulis] and I have are very similar; it's just that she was focusing on adults and I want to extend the concept (as I think the science allows it to be fully extended) to embryos. I believe that the embryonic co-construction of the physical bodies has many more implications because it means that we were ‘never’ individuals”

caring: becoming subject to the unsettling obligation of curiosity, which requires knowing more at the end of the day than at the beginning


Nietzsche also said, at the very beginning of the second treatise of The Genealogy of Morals, that man is a promising animal, by which he meant, underlining those words, an animal that is permitted to make promises (das versprechen darf). Nature is said to have given itself the task of raising, bringing up, domesticating and “disciplining” (heranziichten) this animal that promises.


the talk, also works the notion of mirror stage and what does it mean for us and for the companien species that are entangled. what threads of meaning are taken apart by pulling on the thread of self reflection and self vision, what will gets account as nature for whom and when. the animal that is in charge of her own image is the representation of the universala man.