[...]m and the ="trms">social policies of laissez faire
="ppl">Campbell ='lgc'>='lgc'>--> what Harman misses is the elementary starting point for ="trms">sociologies of ="trms">science='lgc'>: ='strcls'>*that ="trms">social ="trms">science ="trms">translates ="trms">science='strcls'>* just as ="trms">science ="trms">translates “reality”
serial endo="trms">symbiosis theory ='lgc'>='lgc'>==>
="lstsrd">1. no theory of ="trms">social change is going to be value-free (endo="trms">symbiosis is a process that is always al="trms"nttrm="already,spread">ready highly charged with rich ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, entailing a ‘host’ that is in an ‘exchange,’ ‘="trms">relation’ or ‘merger’ with a ‘guest’ ='lgc'>='lgc'>--> a form of ‘living together’ that becomes ‘close’ over time)
="lstsrd">2. extraordinary range and ="trms">nature of these ="trms">relations can act as strategies for other ="trms">worldings (other ways of being with each other) ='lgc'>='lgc'>--> important normative function ='lgc'>[at the cataclysmic endings ='lgc'>=/= catastrophic ending='lgc'>]
="lstsrd">3. a way to think about temporalities (when a bacterium nestled into a simple cell, creating an intimacy that has lasted four billion years)
="lstsrd">4. a template for unlikely intimacies
Harman's philosophical monologue on ="trms">social theoretical practice (which might yet be remedied by actual dialogue with ="trms">social theorists) ='lgc'>='lgc'>==> performative fallacy (='lgc'><='lgc'>-- common in artist ="trms">writing)
='at'>@="nms">apass='strcls'>****
(="ppl">Campbell asking) why has object-oriented ="trms">ontology become such a popular force in other disciplines='qstn'>?
='lgc'><='lgc'>== complex ="trms">interplay between ="trms">sociological ='lgc'>+ logical factors
='lgc'>+ rise of ='strcls'>*para-academia='strcls'>*
="large lg2" stl="font-size:112%">
='at'>@artist (in proliferation of artist ="trms">writing)
='strcls'>****speculation='lgc'> = the alibi for a doctrine that wishes to spare itself the trouble of justification='strcls'>****
='lgc'>='lgc'>--> we need closer attention to rationality as the basis of judgement when we talk about speculation
='lgc'>='lgc'>--> we need to be more informed by (="trms">sciences) when we stretch ="trms">relations to our rational outposts, without ignoring their appeals
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posthumanism ='lgc'>='lgc'>--> any discursive or bodily con="trms">figuration that displaces the human, humanism, humanities ='lgc'>='lgc'>--> (21st century) ="trms">technology is the center of critical thought about culture and about ="trms">nature
='lgc'>[='strcls'>*='lgc'>]posthumanism='lgc'>: a structure of feeling (sense of an era starts to be experienced in the ="trms">social ="trms">imagination ='lgc'>='lgc'>--> ="trms">social forms become more recognisable when we had some time to classify them, ="trms">articulate them, theorize them)
(Williams > ="ppl">Campbell) structure of feeling
we can point to times in the ="trms">past and say that as an X sensibility (they were romantics, enlightenment, post="trms">modernism) ='lgc'>=/= sensing here and now ='lgc'>='lgc'>--> practical consciousness, a period at an embryonic ="trms">stage, at the very ="trms"nttrm="knowledge,Knowledge">edge of ='strcls'>*semantic availability='strcls'>*
what structure of feeling is forming in the contemporary western ="trms">world='qstn'>? ='lgc'>='lgc'>--> posthumanism
(postbiological, postcorporal, cyborg existence, etc.)
to be human ='lgc'><='lgc'>--attack='lgc'>-- genomics, global finance, ="trms">nature of ="trms">social in virtual ="trms">communities (telegram) ='lgc'>='lgc'>==> yet-to-be formalized paradigms of human experience
='lgc'>='lgc'>==> fracture the concept of legal self ='lgc'>[legal theory (arbiter of human ="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rights) ='lgc'>='lgc'>--> concerned with what is to be human='lgc'>]
(taxonomies of the human ="trms">species at its time ='lgc'>='lgc'>-->) humanitas='lgc'>: legal term used in public in ancient Rome to distinguish Romans and ="trms">Greeks from Barbarians
humans in persistent vegetative states
="trms">international trade of human organs
human genome project
xenotransplantation
="trms">technological unconscious
(tree of life replaced by) a model that='lgc'>:
="lsts lst1">•classifies ="trms">species ="trms">according to DNA
="lsts lst1">•disregards ="trms">morphological type (how elements of body appear)
="lsts lst1">•reveals human to be a tiny sub="trms">species in a mass of absolute diversity
classical philosophy ='lgc'>='lgc'>--> ="trms">scientized for a momden audience (by ="ppl">Descartes 17th century) ='lgc'>='lgc'>--> special status of human ='lgc'><='lgc'>-- seen as a totally transparent, secular, ="trms">scientific, liberal way of thinking about the ="trms">world
humanism='lgc'> = a belief in progress (implicitly conceived as a ="trms">technological ="trms">instrumental profit-oriented) ='lgc'>+ ="trms">technological masery over ="trms">nature ='lgc'>+ ‘human ='lgc'>=/= ="trms">animal’ ='lgc'>+ therapeutic approach to ="trms">scientific inquiry ='lgc'>}='lgc'><='lgc'>-- a 19th century anachronism ='lgc'>='lgc'>--> deeply ingrained in contemporary self-consciousness and everyday common sense
human='lgc'>: hero of liberty ='lgc'><='lgc'>-- french in o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin, political in purpose
August Comte ='lgc'>='lgc'>--> the universe can only e understood when the ="trms">scientific exploration of ="trms">phenomena was separated from super="trms">natural superstition ='lgc'>=/= ="nms">ajayeb
="ppl">Campbell making the case ='lgc'>='lgc'>--> humanism needs to be deconstructed (not in a blithe نرم وملایم post="trms">modern discursive way, rather) the de="trms">finitions of what it means to be human are of life-changing importance ='lgc'>='lgc'>--> humanism's ="trms">supposed universality and transparency masks the fact that it is ='strcls'>*an in="trms">herited western relatively recent philosophical perspective of the ="trms">world='strcls'>*
in ="trms">consumer research ='lgc'>='lgc'>--> human='lgc'>: culturally inflected, psycho="trms">social producer of ='lgc'>+ produced by the ="trms">market ='lgc'>=/= human='lgc'>: a dis="trms">embodied information-processor with a rationa="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic indentity and a computatinoal approach to the ="trms">market
='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> how can ="trms">interpretative ="trms">consumer research benefit from a perspective which acknowl="trms"nttrm="knowledge,Knowledge">edges this ideology of humanism='qstn'>?
the term posthuman has been used to describe anything which extends human capcity ='lgc'>--ironically='lgc'>='lgc'>--> something as ubiquitous banal ancient and human as ='strcls'>*tool-use='strcls'>* could itself be described as posthuman (Hayles, Stiegler, Wills) ='lgc'>='lgc'>==> ='strcls'>**posthuman is as ancient as the human itself='strcls'>** ='lgc'>}='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]posthuman='lgc'>: (a radical recognition that) ="trms">technological='lgc'> = ='strcls'>*o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">riginary logic='strcls'>* ='lgc'>+ ='strcls'>*ethical sensibility='strcls'>* (= a stepping-out ='lgc'>[='lgc'>=/= coming-after='lgc'>] of the enclosure of what is only important and necessary to the human)
="lsts lst1">•a concept that draws attention to the cracks that have always existed in the water-light descriptions of the human
="lsts lst1">•the ethical and radical realisation that the human only comes into existence by the work of (organic ='lgc'>+ ="trms">technological) nonhuman others
cyborg ='lgc'>='lgc'>--> as="trms">sociated with liberatory modes of identity
='strcls'>**="trms">technology deconstructs everyday human experience of ="trms">agency, free will, choice, self='strcls'>** ='at'>@="nms">apass
21st century ='lgc'>='lgc'>--> ="trms">technology is the center of critical thought about culture and ="trms">nature (='lgc'>='lgc'>--> ='thdf'>that is why it became organically part of my ="nms">ajayeb research)='lgc'>='lgc'>--> ='strcls'>*to think about ="trms">technology in a manner which reflects its ubiquity, its deeper ="trms">symbolic and ="trms">aesthetic dimensions, the way in which it can radically chnage humanness and human-centered approaches
(humanistic ="trms">epistemology ='lgc'>='lgc'>==>) mode of the human='lgc'>:
="lstsrd">1. information processor
="lstsrd">2. cognitive subject
="lstsrd">3. cultural subject
posthuman mode='lgc'>:
="lstsrd">1. to widen the temporal range of research (deep future, deep ="trms">past)
="lstsrd">2. take the form of an ethical inquiry (where the human is no longer the center of the ="trms">world)
="lstsrd">3. to think about the ="trms">ontology of ="trms">technology
="lstsrd">4. the ="trms">relationship of the human and the nonhuman (sustainability)
20th century ='lgc'>='lgc'>--> gene
21st century ='lgc'>='lgc'>--> posthuman (postgenetic ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors)
robotic revolution ='lgc'>+ bio="trms">technology revolution > agricultural revolution ='lgc'>+ industrial revolution ='lgc'>+ information revolution
(="trms">consumer research started to develop an outlook that) things are just as complex and ="trms">social as people
="lsts lst1">•brand='lgc'>: entities that talk to and ="trms">interact with other brands, entities that form ="trms">relationships with humans
(lives that seem to exist in on the ="trms"nttrm="knowledge,Knowledge">edges of simple humanist life='lgc'>:)
="lsts lst1">•='strcls'>*massive='strcls'>* life of ="trms">market
="lsts lst1">•='strcls'>*="trms">excessive='strcls'>* life of the brnad image
="lsts lst1">•='strcls'>*virtual='strcls'>* life of Face="trms">book
="lsts lst1">•
="trms">consumer research focuses on the ="trms">ontological and ="trms">epistemological givens of only the ="trms">consumer
(Turkle theorizing) how ="trms">consumers change through their ="trms">relationship with the nonhuman
="lsts lst1">•="trms">children view certain objects in the ="trms">world around them as having degrees of aliveness
="lsts lst1">•="trms">children who have grown up with computers do not experience a dichotomy between biological and computatinoal processes
="lsts lst1">•playing with a toy like transformers, the toy shifs from being machines to being robots to being ="trms">animals ='lgc'>--learning='lgc'>='lgc'>--> fluid boundaries between mechanism and flesh
="lsts lst1">•(the ="trms">ontological stickiness of the) ='lgc'>[='strcls'>*='lgc'>]computer='lgc'>: a mind that is not yet a mind, inanimate yet ="trms">interactive, it does not think yet neither is it external to thought
(Menser ='lgc'>+ Aronowitz) television='lgc'>: a complex object constituted by and related to many fields (solid-state physics, politics, etc.)
="ppl">="ppl">Latour...
='lgc'>}='lgc'>='lgc'>--> (such way of theorizing ='lgc'>='lgc'>==> precondition of) an era where radically mew ="trms">technologies produce entities as indefinable complex global (as the Human Genome project) biofuel supply-chains or climate change models ='lgc'>[='lgc'>='lgc'>--> also cryptocurrencies, blockchain='lgc'>]
='lgc'>}='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ="trms">consumer rese="trms"nttrm="search">archers are creating new concepts and ="trms">figurations in order to expand the borders of waht constitutes life ='lgc'>[='thdf'>for example “living-product” ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'>]
(the problem of the) ='lgc'>[="trms">ontological division of='lgc'>] ="trms">consumer ='lgc'>=/= ="trms">world of objects ='lgc'>='lgc'>==> (ideological move ='lgc'>='lgc'>-->) privileges human ='lgc'>: it is understood by the human, because the human (the only source of analytical attention) is the only thing doing the ="trms">consuming, having the experience, making the meaning
="trms">figuration='lgc'>: new ways of taking account of the ="trms">world ='lgc'>=/= ="trms">anthropo="trms">morphism
='lgc'>--="ppl">="ppl">Haraway='lgc'>='lgc'>--> practices that create ='strcls'>*knots='strcls'>* of ="trms">material-="trms">semiotic actors ='lgc'>{='lgc'><='lgc'>-- art does that='qstn'>? art's sometimes unreal ="trms">figurations ='lgc'>=/= ='strcls'>**="trms">interpretative ="trms">consumer research makes the most rea="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listic ="trms">figurations of this century='strcls'>**='lgc'>}='at'>@="frds scrmbld">="frds scrmbld">Chloe2
the ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors of our time='lgc'>:
="lsts lst1">•becoming (='lgc'>=/= being) ='lgc'><='lgc'>-- a shift towards a ='strcls'>*process ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphysics='strcls'>*
="lsts lst1">•
(Parsons ='lgc'>+ Maclaren)
items of disposal (do not fail to exists, but rather they) are ='strcls'>*moved along='strcls'>* to other spaces or politics and become other things
="lsts lst1">•becoming a precious antique
="lsts lst1">•becoming a water blockage
="lsts lst1">•becoming a source of marine death
="lsts lst1">•becoming a ="trms">materially precious thing (in another part of the ="trms">world)
="lsts lst1">•
='lgc'>='lgc'>--> ='strcls'>**how things actually move, how they ="trms">transition between many states='strcls'>**
='lgc'>='lgc'>--> ='strcls'>*object='lgc'> = ="trms">data about the object ='lgc'>=/= tangible thing='strcls'>* ='lgc'><='lgc'>-- (="trms">transition) from thinking of object as the primary reality ='lgc'>--to='lgc'>='lgc'>--> perceicing the object as ="trms">data in computatinoal environments
='lgc'>==='qstn'>?='lgc'>='lgc'>==> (change of the ="trms">nature of object ='lgc'>='lgc'>==>) radical shift in theorizing ="trms">consumer behavior
posthumanism
="lsts lst1">•a key term in contemporary western postindustrial era
="lsts lst1">•a term htat has been used ti describe a highly ="trms">technologized future existence
='lgc'>--variationally='lgc'>='lgc'>--> other ="trms">stories (="trms">fables) about ="trms">technology exists ='lgc'>=/=
="lstsrd">1. the claim of (often monolithic) novelty of the ="trms">historical moment in the west
="lstsrd">2. that ="trms">technology is a sterile ="trms">instrument
="lstsrd">3. that ="trms">technology aids the human in his ascent to ever greater degrees of humanity
="large lg22" stl="font-size:130%">
(="trms">greek tradition ='lgc'>='lgc'>-->) ='strcls'>*to think deeply about ="trms">technology, we have to think about its ="trms">ontology='strcls'>*
="lsts lst1">•="trms">techno-="trms">sociology ='lgc'>='lgc'>--> ="ppl">="ppl">Latour
="lsts lst1">•="trms">ecological feminism ='lgc'>='lgc'>--> ="ppl">="ppl">Haraway
="lsts lst1">•post-="ppl">Marxism ='lgc'>='lgc'>--> Tiziana Terranova
="lsts lst1">•
="lsts lst1">•philosophy of tech ='lgc'>='lgc'>--> ="ppl">Heidegger='lgc'>: the most d="trms"nttrm="danger,stranger">angerous thing we can do is to think of ="trms">technology as something neutral ='lgc'>='lgc'>--> we often make two ='strcls'>***intuitive ideological jumps of reason='strcls'>*** when we think of ="trms">technology='lgc'>:
1. “="trms">technology='lgc'> = means to an end”
2. “="trms">technology is created by humans”
='lgc'>}='lgc'><='lgc'>-- ='thdf'>example of ="trms">anthropological truth (about ="trms">technology) ='lgc'>~ it is a truth as it appears to human beings ='and'>& it is an ='strcls'>*="trms">instrumental truth='lgc'>: truth aimed at getting things done or making things work='strcls'>* ='lgc'>=/= ='lgc'>[='strcls'>*='lgc'>]="trms">technology='lgc'>: the mode by which realities are brought into existence in the ="trms">world (hervorbringen) ='lgc'>{unconcealing ='lgc'>='lgc'>==> a concealment of another reality='lgc'>}= (process of) ='strcls'>*="trms">poiesis='lgc'> = bring out ='lgc'>+ conceal='strcls'>*
="prgrph prgrph2">-the ="trms">greek word ='strcls'>*="trms">techne='lgc'> = ="trms">technology ='lgc'>+ art='strcls'>* derived from the term ="trms">episteme (the ways in which one can know reality) ='lgc'>='lgc'>==> ='strcls'>****="trms">technology='lgc'>: a type of ="trms">epistemology, a way of knowing='strcls'>****
='lgc'>}='lgc'>==="ppl">Heidegger='lgc'>='lgc'>==> ='strcls'>*="trms">technology needs to be understood beyond its ="trms">instrumenta="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list humanist ="trms">history='strcls'>* ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ='strcls'>*seeing ="trms">technology ="trms">historically as an ancient ="trms">phenomenon='strcls'>*
="trms">technology thought of as something that comes from the west ='and'>& does something to other people in other placers ='lgc'><='lgc'>-- a framework (even well-intentioned) that denies both ="trms">agency ='and'>& contemporaneity to the ‘other’
(-McQuire)
="large lg34" stl="font-size:108%">
(we are told that)
="lsts lst1">•the era we exist in is the “information age”
="lsts lst1">•the ="trms">world is “="trms">networked”
="lsts lst1">•marheting is “service-dominant”
='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> what realities do the terms “information” “="trms">network” “service-dominant” create, unconceal, conceal='qstn'>?
='lgc'>='lgc'>==> ="trms">questions of='lgc'>:
="prgrph">-what is the ="trms">consumer='qstn'>?
="prgrph">-the ="trms">nature of ="trms">consumer consciousness, knowl="trms"nttrm="knowledge,Knowledge">edge, desire
='strcls'>*far from being a neutral uncomplicated ="trms">relationship, ="trms">consumers develop strategic behaviors for ='strcls'>*coping with ="trms">technology='strcls'>* that is paradoxial ='lgc'>+ fantastical ='lgc'>+ ideological ='lgc'>+ multidimensional
(-Konzinets)
="lsts lst1">•DIY ="trms">technologies='lgc'>: forms of competence redefined ='lgc'>+ redistributed between hardware ='and'>& human
="lsts lst1">•="trms">technology ='and'>& identity ="trms">interpolate each other
global debates of='lgc'>:
="lsts lst1">•fear of genetic determination
="lsts lst1">•="trms">nature of consciousness ='lgc'>='lgc'>--> similarities and ="trms">differences between computation and human being
="lsts lst1">•
='lgc'>='lgc'>--> intimately concerned with the status of humanness
1990s theories of gift-giving, possession, labour, self-concept ='lgc'>=/= ='strcls'>*cyber ="trms">consumer='strcls'>* ='lgc'>='lgc'>--> circulation of desire and commodities in environments that are so highly mediated and ="trms">technological that it begins to generate behavior and ="trms">situations that are quite foreign to existing thinking about that ="trms">markets are and what ="trms">consumers want
='strcls'>**="trms">technology='lgc'>: an active force that both ="trms">consumes ='and'>& creates ="trms">consumers='strcls'>**
(problem of) sustainability
="lstsrd">1. to sustain='lgc'>: rest, retreat ='lgc'>='lgc'>--> humannes is a major threat to all nonhuman planetary existence ='lgc'>='lgc'>==> ='thdf'>the idea that radical threats to nonhumanness must be warded off by radical decreases in human population, ="trms">consumption, normtive standards of living
='lgc'><='lgc'>-- this notion of sustainability exists radically at the limits of human capability (more than ="trms">ecological crisis or human inequality, more than the threat of terrorism or nuclear proliferation)
="lstsrd">2. to sustain='lgc'>: to extend, strengthen ='lgc'>='lgc'>--> ='thdf'>the idea that if we are not here then nothing on the planet has worth; if humans ado not exists, then the earth does not exists ='lgc'>='lgc'>==> our efforts of ="trms">ecological sustainability are intrinsically human-centered ='lgc'>[='lgc'>--(implicit attitude)='lgc'>='lgc'>--> prolonging humanness='lgc'>]='lgc'>='lgc'>==> ="trms">ecological problem='lgc'> = crisis='lgc'>: an intense, short-lived episode in human ="trms">history ='lgc'>+ it will be solved by high-="trms">technology solutions
="trms">technology has co-evolved with being throughout billions of years ='lgc'>--Hayles='lgc'>='lgc'>--> (myriad profound subtle ways) to make ="trms">nature
='lgc'>--paradox='lgc'>='lgc'>--> ='strcls'>*it is “human ="trms">nature” to use ="trms">technology ='lgc'>+ ="trms">technology changes “human ="trms">nature”='strcls'>*
='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ='strcls'>***while not everything is ="trms">technical, everything is ="trms">technological='strcls'>***
='strcls'>*posthuman stance (strategically oriented towards deep future, pays attention to the lives of nonhuman others) gets ="trms">ontological with ="trms">technology='strcls'>*
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McQuire
defining the ="trms">technological ='lgc'>--activate='lgc'>='lgc'>--> the border between ="trms">nature ='and'>& culture='lgc'> = (the heart of) what it means to be human
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='lgc'>[title='lgc'>]
="trms">system attic
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(in ='mywrk'>my work with ="nms">apass digital designs, i have been trying to negotiate with ='thdf'>the notion of)
='strcls'>*="trms">technological gaze='strcls'>*
what new modes of subjectivity are filtered through ="trms">technological gaze='qstn'>?
(='qstn'>?how) high-tech images are cultural artifacts
="trms">technological gaze's ="trms">method to put its meaning together='lgc'>:
="lstsrd">1. impossible subject-="trms">positioning
="lstsrd">2. ="trms">codification of flesh
="lstsrd">3. visualization of ="trms">scientific ="trms">narrative
="lstsrd">4. ="trms">aestheticization of information
(Maturana ='lgc'>+ Varela) everything said is said by an observer ='lgc'>=/= philosopher
="trms">marketing ="trms">communication theory
='lgc'>[='strcls'>*='lgc'>]gaze='lgc'>: (a ="trms">technical term for) the ways we visually ="trms">consume images of people and places ='lgc'>+ the ways images are constructed to entertain ='and'>& encourage certain ways of seeing
="lsts lst1">•(using psychoanalysis) ="ppl">Mulvey's gaze='lgc'>: the way in which the camera acts as the eyes and ears of the ="trms">spectator, ="trms">presenting ways of framing the ="trms">world (power-laden ='lgc'>+ not neutral ="trms">position) ='lgc'>='lgc'>==> certain understanding of the ="trms">world is assumed
="lsts lst1">•Shroeder ='lgc'>='lgc'>--> gaze signifies a psychological ="trms">relationship of power ='lgc'>='lgc'>--> the gazer is superior to the object of the gaze ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="trms">zoo='lgc'>]
how “human” ways of experiencing the ="trms">world are gradually being ="trms">integrated with non-human, ="trms">technological ways of perceiving and understanding reality='lgc'>:
="lsts lst1">•="ppl">Baudrillard ='lgc'>='lgc'>--> virtual gaze
="lsts lst1">•="ppl">Virilio ='lgc'>='lgc'>--> automation of perception (war weaponry ='lgc'>='lgc'>--> ='thdf'>the idea that in west we have ="trms">technologies so advanced we achieve absolute vision)
="lsts lst1">•Balsamo ='lgc'>='lgc'>--> cosmetic surgery (='lgc'>='lgc'>~= new visualization ="trms">technologies) ='lgc'>='lgc'>==> new forms of dominance ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to Kardashians TV shows='lgc'>], ='strcls'>*replacing the male gaze with a normative dis="trms">embodied ="trms">technical gaze
="lsts lst1">•="ppl">="ppl">Haraway ='lgc'>='lgc'>--> ="trms">technocratic gaze
="lsts lst1">•Strafford ='lgc'>='lgc'>--> (starting in enlightenment) ='strcls'>*automated spectralization='strcls'>* (in visual ="trms">presentation of the ="trms">world) ='lgc'>='lgc'>--> the intention and purpose of the gaze became medicalized and ="trms">technologized ='lgc'>[='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to cartography='lgc'>]
="lsts lst1">•
='lgc'>}='lgc'>='lgc'>--> (from ="trms">techno="trms">science to feminism) theorists have noticed a ='strcls'>*splicing='strcls'>* of direct and tactile human perception of reality with another reality, one that is mediated and ="trms">technical ='lgc'>==produce='lgc'>='lgc'>==> a new reality that negotiates the individual's knowl="trms"nttrm="knowledge,Knowledge">edge of the universe in diverse and complex ways (='lgc'><='lgc'>-- not catastrophic ='lgc'>=/= Hörl)
(time of) intellectual and artist upheaval ='lgc'>='lgc'>==> new and surprising modes of ="trms">imagining the human
1950s concept of cybernetics constituted a fundamental change in thinking about control, ="trms">communication, information, life itself (='lgc'>+ new ="trms">language of feedback, auto="trms">poiesis, cellular automata, neural net)
1990s
computers ='lgc'>+ information ='lgc'>='lgc'>--> cybernetic theory='lgc'>: (stressed that) information patterns are more important in understanding organisms than ="trms">materiality
='strcls'>*cybernetic view of the ="trms">world ='lgc'>='lgc'>--> information ="trms">coded in pattern ='and'>& randomness ='lgc'>=/= ="trms">material absence ='and'>& ="trms">presence='strcls'>*
="lsts lst1">•(both) human and ="trms">technological='lgc'> = informational entities
="lsts lst1">•human='lgc'> = cyborg='lgc'>: (human conceived as) cybernetic organism
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='lgc'>[='qstn'>?how='lgc'>] discourses (="trms">narratives ='lgc'>+ ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphors ='lgc'>+ ="trms">symbols) of ="trms">science and ="trms">technology ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> use in advertisement to create meaning
='strcls'>**="trms">technological ="trms">imagination ='lgc'>--seize='lgc'>='lgc'>--> ="trms">social ="trms">imagination='strcls'>**
always reinforcing the ='strcls'>*awesome power of ="trms">technology to capture reality='strcls'>* (objectively ='lgc'>+ without any ="trms">agenda)
="lsts lst1">•movie Fantastic Voyage 1966 ='lgc'><='lgc'>--Dijck='lgc'>-- fascination with envisioning the body from a ="trms">different perspective
="lsts lst1">•status of foetus (float in black and white) ='lgc'><='lgc'>--="ppl">="ppl">Haraway='lgc'>-- meanings whose legitimacy comes from ="trms">technological ="trms">systems of perception
="lsts lst1">•='lgc'>[computer-generated images ='lgc'>=/=='qstn'>?='lgc'>] camera-generated images ='lgc'><='lgc'>--Cartw="trms"nttrm="righ,rigo,riga,rigi,trig,rign">right='lgc'>-- (paradox of) camera's role in capturing the real ='lgc'>+ camera's capacity to evoke emotion and ="trms">present a sense of the unattainable ='lgc'>='lgc'>~= (to appear to be at once) both ='strcls'>*magical='strcls'>* ='and'>& ='strcls'>*truthful='strcls'>* ='lgc'>==introduce='lgc'>='lgc'>==> new subjectivities into ="trms">marketplace
mediation of visual ="trms">phenomena through the eye of ="trms">technology ='lgc'>='lgc'>='lgc'>~=> new sets of truths (about the body, environment, etc.) ='lgc'>--often='lgc'>='lgc'>--> a ='strcls'>**dis="trms">embodied ="trms">technological gaze looks at the body='strcls'>**
advertisement becomes more highly finished, ="trms">excessively produced, artificialized ='lgc'>='lgc'>--> a ="trms">technological gaze is found in the discourse of advertising ='lgc'>='lgc'>--> ="trms">scientized ='and'>& ="trms">technologized images celebrate a particular view of ='strcls'>***life as information='strcls'>***
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="trms">nature='lgc'> = figures ='lgc'>+ ="trms">stories ='lgc'>+ images (='lgc'>='lgc'>~= topos, commonplace)
paying attention to ="trms">nature like a ="trms">child ='lgc'><='lgc'>-- ="ppl">="ppl">Haraway
='lgc'>[='strcls'>*='lgc'>]="trms">trope='lgc'>: a verse ="trms">interpolated into a liturgical text عبادات to embellish or amplify its meaning
="trms">language ='lgc'>='lgc'>--> ="trms">material-="trms">semiotic flesh
liturgical possibilities of ="trms">nature
="lsts lst1">•="frds scrmbld"nttrm="Christianson">Christian liturgical year
="lsts lst1">•Zaratusztrian nowruz
="lsts lst1">•star wars ='lgc'>--='qstn'>?='lgc'>='lgc'>--> practice of turning ="trms">tropes into ="trms">worlds ='lgc'>[='lgc'>='lgc'>--> war of imagess='lgc'>]
="lsts lst1">•war of words
="lsts lst1">•
(agonistic fields='lgc'>:)
military combat
sexual domination
security maintenance
="trms">market strategy
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="brkr">
(="trms">techniques of the observer - september 9, 2012)
="lsts lst1">•What is the ="trms">relation between the de="trms">materialized digital imagery of the ="trms">present and the so-called age of mechanical reproduction='qstn'>?
="lsts lst1">•ongoing abstraction of vision - Problems of vision
="lsts lst1">•transformation in the makeup of vision
="lsts lst1">•="trms">history of art ='lgc'><-> ="trms">history of perception='qstn'>?
="lsts lst1">•onlooker (Zuschauer)
="lsts lst1">•="trms">historically important functions of the human eye ='lgc'>='lgc'>==> medical, military, and police hierarchies
="lsts lst1">•Most of the ="trms">historically important functions of the human eye are being supplanted by practices in which visual images no longer have any reference to the ="trms">position of an observer in a “real,” optically perceived ="trms">world.
="lsts lst1">•where abstract visual and ="trms">linguistic elements coincide
="lsts lst1">•avoid mystifying it by recourse to ="trms">technological explanations (this was my mistake!)
="lsts lst1">•an observer is more importantly one who sees within a prescribed set of possibilities, one who is embedded in a ="trms">system of conventions and limitations.
="lsts lst1">•="trms">measurable in terms of objects and signs
="lsts lst1">•newly constituted human ="trms">sciences in regulating and modifying the behavior of individuals.
="lsts lst1">•it was through these disciplines that the subject in a sense became visible
="lsts lst1">•passage from the ="trms">geometrical optics of the seventeenth and eighteenth centuries to physiological optics
="lsts lst1">•to expose the idio="trms">syncrasies of the “normal” eye
="lsts lst1">•Retinal afterimages, peripheral vision, binocular vision, and thresholds of attention
="lsts lst1">•outcome of a complex remaking of the individual as observer into something calculable-and regularizable and of human vision into something ="trms">measurable and thus, exchangeable.
="lsts lst1">•standardization of visual imagery
="lsts lst1">•in the amphitheatre / on the ="trms">stage / in the Panoptic machine
="lsts lst1">•dis="trms">sociation of touch from sight ='lgc'>='lgc'>==> “separation of the senses” and industrial remapping of the body in the nineteenth century
="lsts lst1">•unloosening of the eye from the ="trms">network of referentiality incarnated in tactility ='lgc'>='lgc'>==> fitted for the tasks of “="trms">spectacular” ="trms">consumption
="lsts lst1">•Perception for ="ppl">Benjamin was acutely temporal and kinetic;
="lsts lst1">•a mobile ="trms">consumer of a ceaseless succession of illusory commodity-like Images.
="lsts lst1">•Machines are ="trms">social before being ="trms">technical
="lsts lst1">•desiring machines
="lsts lst1">•The paintings of J-B. Chardin are lodged within these same ="trms">questions of knowl="trms"nttrm="knowledge,Knowledge">edge and perception His still lifes, especially, are a last great ="trms">presentation of the classical object in all its plenitude, before it is sundered irrevocably into exchangeable and ungrounded signifiers or into the pa="trms">interly traces of an autonomous vision.
="lsts lst1">•that the very process of becoming tired was in fact perception. “When the eye fixes itself on a single color...
="lsts lst1">•the clear eye of the ="trms">world
="lsts lst1">•The more ="ppl">Schopenhauer involved himself in the new collective knowl="trms"nttrm="knowledge,Knowledge">edge of a fragmented body ="trms">composed of separate organic ="trms">systems, subject to the opacity of the sensory organs and dominated by involuntary reflex activity, the more intensely he sought to establish a visuality that escaped the ="trms">demands of that body.
="lsts lst1">•the physiological makeup of the subject as the site on which the formation of re="trms">presentations occurs.
="lsts lst1">•Of these only the cerebrum, together with the sensory nerves attached to it, and the posterior spinal nerve fascicles are intended to take up the motives from the external ="trms">world. All the other parts, on the other hand, are intended only to transmit the motives to the muscles in which the will directly manifests itself. (="ppl">Schopenhauer)
="lsts lst1">•It is knowl="trms"nttrm="knowledge,Knowledge">edge that ="trms">Simultaneously provided ="trms">techniques for the external control and domination of the human subject and was the emancipating ground for notions of subjective vision within ="trms">modernist art theory and experimentation.
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bad visual ="trms">systems
="trms">narcissism as a cultural practice (that also motivates and steers ="trms">technological inventions)
accelerationism
(Accelerationism may also refer more broadly, and usually pejoratively, to support for the deepening of capitalism in the belief that this will hasten its self-destructive tendencies and ultimately eventuate its collapse.)
Selfie
seems to me the perfect example for this sub="trms">mission of the unconscious to the globalized machine
latest theoretical buzzwords
control over the ="trms">interpretation of the ="trms">world
circulation of the global image machine
tree-made paper
who are (not) allowed (not) to have a body='qstn'>?
all forms of knowl="trms"nttrm="knowledge,Knowledge">edge claims,
acting on the ideological doctrines of dis="trms">embodied ="trms">scientific (cinematic) objectivity
all seem just effects of delayed render algorithms in the play of signifiers in a virtual force field
space of simulations
not giving up to the ="trms">paranoid ="trms">science ="trms">fiction
getting to know the ="trms">world effectively by practising the ="trms">sciences
tools of ="trms">semiology
="trms">rhetorical ="trms">nature of truth
not Romantic nor ="trms">modernist objects='lgc'>:
="lstsrd">1. infective vectors (microbes)
="lstsrd">2. elementary particles (quarks)
="lstsrd">3. biomolecular ="trms">codes (genes)
view of the ="trms">relationship of body and ="trms">language (the problem of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor)
those of us who would still like to talk about reality
imagery of moves in the fully textualized and ="trms">coded ="trms">world
high tech (military) field
recognizing our own ‘="trms">semiotic ="trms">technologies’ for making meanings,
life is ="trms">semiotic as well as ="trms">technology
(commitment='qstn'>?) to faithful accounts of a ‘real’ ="trms">world
="ppl">="ppl">Haraway ="trms">writes='lgc'>: All components of the desire are paradoxical and d="trms"nttrm="danger,stranger">angerous, and their combination is both contradictory and necessary.
We need the power of ="trms">modern critical theories of how meanings and bodies get made, not in order to deny meaning and bodies, but in order to live in meanings and bodies that have a chance for a future. (reductionism='qstn'>?)
insist on the ="trms">embodied ="trms">nature of all vision, and so reclaim the sensory ="trms">system that has been used to signify a leap out of the marked body and into a conquering gaze from nowhere. (how the exhibition can make visible my ="trms">positing in the work='qstn'>? ground me in an ="trms">embodied vision='qstn'>? my ="trms">situation. to ="trms">situate me. not necessarily organic ="trms">embodiment='qstn'>? what have i need to learn in my bodies='qstn'>?)
="trms">perverse capacity of the eye
culture dis="trms">embodies. (="trms">nature ="trms">embodies='qstn'>?)
to distance the knowing subject from everybody and everything
visualizing ="trms">technologies are without (apparent) limit='qstn'>?
linked to='lgc'>:
="prgrph">-artificial graphic manipulation ="trms">systems
="prgrph">-computer aided scanners
="prgrph">-colour enhancement ="trms">techniques
mapping is at stake. what kind of mapping the Kinect image provides='qstn'>? that is op="trms">posite to the zeiss lens='qstn'>?
how to go there with the ="trms">technology and not fuck the ="trms">world='qstn'>? carefully not give birth to mythical ideological seeing or promising transcendence
Kinect's generative, but not devouring vision
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the ="trms">perversion of the zeiss lens is in that it tries to let the viewer ‘experience’ the moment of discovery in immediate vision of the ‘object’
the exhibition is about a ="trms">writing of the body that ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphorically emphasizes vision
= and commit to deconstruction and passionate construction.
= and passionate detachment, which is dependent on the impossibility of innocent ‘identity’ politics and ="trms">epistemologies as strategies for seeing from (any) standpoints, in order to see well. (refer to ="trms">lecture-performance Standing on the Shoulders of Giants - ="frds">Sina ="frds">Seifee 2015, on a critical ="trms">epistemology of seeing-from-far)
= whom to see with='qstn'>?
="ppl">="ppl">Haraway='lgc'>: only partial perspective promises objective vision. This is an objective vision that initiates, rather than closes off, the problem of ="trms">responsibility for the generativity of all visual practices.
The ‘eyes’ made available in ="trms">modern ="trms">technological ="trms">sciences shatter any idea of passive vision='qstn'>? these prosthetic devices show us that all eyes, in="trms"nttrm="cluster,club">cluding our own organic ones, are active perceptual ="trms">systems, building in ="trms">translations and ="trms">specific ways of seeing, that is, ways of life.
partial way of organizing ="trms">worlds
is unlocatable ir="trms">responsible='qstn'>?
is my visual exhibition a knowl="trms"nttrm="knowledge,Knowledge">edge claim='qstn'>?
To see from below (or the perspective of the mathematics, Kinect, hacker='qstn'>?) is neither easily learned nor unproblematic
ways of being nowhere while claiming to see comprehensively (i did not claim any of these - i didn't try even. i was there ="trms">traveling with ="trms">relation to my co-="trms">travelers and a ="trms">technology ="trms">relation) my issue with the images is their generality and perhaps that is their unlocatablilty. but to ="trms">situate my knowl="trms"nttrm="knowledge,Knowledge">edge and myself i am not solely depending on the image ="trms">rhetoric. i was committed to mobile ="trms">positioning, and that is critical.
mediate vision
knowl="trms"nttrm="knowledge,Knowledge">edge potent for constructing ="trms">worlds
trying to be less organized by axes of domination
="trms">Science has been utopian and visionary from the start='qstn'>? that is one reason ‘we’ need it.
my eye were ="trms">crafted by the blood of mosquitoes...
="trms">translations and exchanges, ="trms">material and ="trms">semiotic
what has the property of ="trms">systematicity in my Amazon='qstn'>?
orientations and ="trms">responsibility in ="trms">material ="trms">semiotic fields of meaning.
is Here, Kinect's vision not immediately a very powerful ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor or ="trms">technology (for political ="trms">epistemological clarification)='qstn'>?
The visual ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor invites us to investigate the varied ="trms">apparatuses of visual production, in="trms"nttrm="cluster,club">cluding the prosthetic ="trms">technologies ="trms">interfaced with our biological eyes and brains.
should i have an argue for (politics and) ="trms">epistemologies of location, ="trms">positioning, and ="trms">situating='qstn'>?
view from a structuring and structured body
we ="trms">love stuttering, and the partly understood
="trms">Translation is always ="trms">interpretative, critical, and partial
Amazon (location) resists (the politics of) closure
logic of culture (="trms">nature made flexible)
="trms">science ="trms">coded body
black ="trms">coded body
colonised ="trms">coded body
="trms">coded as self sufficient (when='qstn'>?)
the project and me are not boundary object (i am not tarzan)
suppress the lost text of aristotle on the ="trms">rhetoric of humor
how can something work and not work='qstn'>?!
mathematical competition
what is the other ="trms">story (of forest, journey, etc.) that i want urgently tell='qstn'>?
or the rhythm of what ="trms">story i want to change='qstn'>?
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In 1905 the French ="trms">neurologists G. Deny and P. Camus recounted the case of Madame I who had lost body awareness. She described her “general insensibility” as follows='lgc'>: “I'm no longer aware of myself as I used to be. I can no longer feel my arms, my legs, my head, and my hair. I have to touch myself constantly in order to know how I am. I have the feeling that my entire body is changed, even at times that it no longer exists. I touch an object, but it is not I who am touching it. I no longer feel as I used to. I cannot find myself. I cannot ="trms">imagine myself. My insensibility is f="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rightening, as if everything were empty.” Madame I was unable to recognize the ="trms">position of her arms and legs and was completely insensitive to pain. ="trms">According to Israel ="ppl">Rosenfeld's thesis, Madame I was unable to know her body as part of her ="trms">memory. (her brain could not create a ="nms">body image) She could not ="trms">imagine, or create in her mind, images of parents or the houses where she had lived. Lacking a continuous image of herself, she could re-create momentary images only when she was verifying to herself that she had a body. (see Strange, Familiar and Forgotten pp 40-42)
“If all self-reference were destroyed, consciousness and understanding would not be possible.
“Meaning and understanding are parts of the structure of consciousness that emerge from self-reference; they cannot exist without a ="nms">body image.” (p.55)
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“Self-reference is not a hypothetical idea but a de="trms">monstrable part of the structure of consciousness; a partial breakdown in the physiological mechanisms that create it give us the ="trms">phenomenon of ="nms">phantom limbs.” (p.56)
Two English ="trms">neurologists, Lord Russell Brain and Henry Head (!) coined the phrase “="nms">body image” for the ="trms">internal image and ="trms">memory of one's body in space and time. The ="nms">body image is not only a picture of the body but also an anticipatory plan for the detailed movements of the body, and rather than a fixed structure, it is dynamic and plastic, capable of reorganizing itself radically with the ="trms">contingencies of experience.
The ="nms">body image can also incorporate external object, implements, and ="trms">instruments. When they are being used, they can become intimate, vital, even libidinally cathected parts of the ="nms">body image.
(Don ="ppl">="ppl">Ihde='lgc'>:) “To ="trms">embody one's praxis through ="trms">technologies is ultimately an existential ="trms">relation with the ="trms">world.” (="trms">Technology and Life="trms">world, p.72)
="trms">Embodied ="trms">relations such as the experience of “seeing through” glasses (or the use of hearing aids, blind man's cane, or driving a car) take the ="trms">technology into the perceptual-bodily self-experience. The mediating ="trms">technology becomes part of the ="nms">body image, and achieves “="trms">instrumental transparency”
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(="ppl">Giuliana ="ppl">Bruno)
This tangible, superficial contact, in fact, is what allows us to apprehend the objects and the spaces of art, turning contact into the ="trms">communicative ="trms">interface of a public intimacy. (but not in the Amazonian skin contact) (it is ="trms">different than ="ppl">="ppl">Lucretius reflecting upon the ="trms">nature of things)
(="trms">materiality of) cultural surfaces
As a form of dwelling that engages mediation between subjects and with objects, the surface also can be viewed as a site for screening and projection.
The surfaces of the screens that surround us today express a new ="trms">materiality as they convey the virtual transformation of our ="trms">material ="trms">relations. And these screens, which have become ="trms">membranes of contact, exist in our environments in close ="trms">relation to the surfaces of canvas and walls—also undergoing a process of substantial transformation. And so it is here—in this meeting place that is surface—that art forms are becoming reconnected and creating new, hybrid forms of admixture.
who shares (deep) engagements with superficial ="trms">matters='qstn'>?
layered space of ="trms">interaction between subject and object
surface can be ="trms"nttrm="already,spread">read as an architecture
from mediated encounters with ="trms">material space to mobilization of cultural space (the exhibition)
="trms">memory, ="trms">imagination, and ="trms">affect are linked to movement ='lgc'>-- ="trms">embodied in jungle walk='qstn'>?
="trms">modernity's desire and fancy for tactile experience, driving and impulse to expand one's universe and eventually to project it, to exhibit personal passionate voyage of ="trms">imagination ='lgc'>-- effects of a ="trms">spectatorial movement that is evolving further in Selfie. that is the emergence of such sequential virtues motion capturing that comes to inhibit the train of thought='lgc'> = ="trms">interconnection in the sequence of ideas expressed during a connected discourse and how this sequence leads from one idea to another (="trms">modernity).
(i don't do filmic voyage)
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By Consequence, or train of thoughts, I understand that succession of one thought to another which is called, to distinguish it from discourse in words, mental discourse.
“When a man thinketh on anything whatsoever, his next thought after is not altogether so casual as it seems to be. Not every thought to every thought succeeds in="trms">differently.” (— Thomas ="ppl">Hobbes, Leviathan, The First Part='lgc'>: Of Man, Chapter III='lgc'>: Of the Consequence or Train of ="trms">Imagination)
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the current forms of biotic forests is due to the sp="trms"nttrm="already,spread">reading of seed-dispersing plants millions years ago (what about abiotic='qstn'>? Kinect)
one of issues related with rate/speed is ="trms">synchronicity
the effects of bio="trms">technically / bioculturaly ="trms">situated people
Amazon's ="trms">nature in op="trms">position to slave gar="trms">dens (slave plantation ="trms">systems with factory machine) (along with imperial botanical gar="trms">dens)
for ="trms">travel and propagation of...
moving ="trms">material ="trms">semiotic
part-time organisms
when visuality is looked at in a haptic modality (the tentacular face for example), vision can be figured as touch, not distance. negatively curving in loops and frills, not surveying(/surviving) from above.
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when a depiction (="trms">poetic, visual, etc.) is d="trms"nttrm="danger,stranger">angerously ambiguous='qstn'>?
are we really immersed in ="trms">data realities='qstn'>? and that really means we are losing the sight on experiences fetched by our bodies='qstn'>?
co-existing and contradictory incomplete models that ground us in our critically limited existence. what does beyond the (="trms">techno-cartographic-episto-cogno-="trms">histo-) map's horizon means for this ="trms">situated “us”='qstn'>?
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(="ppl">Amanda ="ppl">Boezkes)
the ="trms">ontological purification ="trms">apparatus
we are now on an idea of the earth in so to calibrate our sensorial ="trms">systems to adjust to human-born unpre="trms">dictabilities that override and neutralize long-standing ="trms">histories of local knowl="trms"nttrm="knowledge,Knowledge">edge.
how an ="trms">ecological perspective can be incorporated into vision ='lgc'>-- become a visuality='qstn'>? ='lgc'>-- mobilization of visuality
how an artwork may account for the ways ="trms">ecological change registers in vision='qstn'>?
geo-="trms">aesthetics
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information is not energy-="trms">specific (="ppl">="ppl">Gibson)
theory of affordance ='lgc'>: information pick-up process ='lgc'>='lgc'>--> threshold between the sense-="trms">system of organism and the invariance of the environment
an experience of an observer that is not a property of the observer, it is invariant and ="trms">relational.
that is, it acknowl="trms"nttrm="knowledge,Knowledge">edges that objective information about an environmental ="trms">system can be obtained both in spite and because of perceptual change. in this respect an indigenous knowl="trms"nttrm="knowledge,Knowledge">edge is not simply an order of cultural perspective, they are rather a form of objective testimony, by the people who are attuned to the environment's invariant structure. they are not simply a traditional or local “point of view.”
in this sense what kind of info is the image of Kinect about the environment='qstn'>? it is not objective info nor culture, what is it='qstn'>? personal testimony='qstn'>? descriptions of a ="trms">technological ="trms"nttrm="already,spread">reading='qstn'>?!
affordance, as a concept, allows complexity and refusal to reduce environments, objects, and actions to the basic function they may have to the perceiver in her/his/its ="trms">world ='lgc'>-- it permits a level (horizon) of consciousness of the ="trms">world beyond function.
how a beetle may rest on the retina of ="trms">bird's eye like pieces of puzzle fitting together
facts of environment
to what extent can an ="trms">ecological perception become virtualized, re="trms">presented, and returned to vision as a condition, or style of being='qstn'>? that is how to take con="trms">scientious of the ="trms">ecological beings that we are in any project='qstn'>? ='lgc'>-- that is attuning vision to an ="trms">ecological reality
E. h. Gombrich understood the perception of art as a process of cultivating the visual ="trms">skills of recognition in the eye itself
="trms">historical ways of seeing
any ="trms">skill we have in spite of environmental variances, is operating from visual schema that are geared to t="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigger pattern recognition, (art='qstn'>?)
visuality vs vision
the caricaturist does not teach us how to see, but rather instantiates a new ="trms">code of recognition. a visuality is nested into vision; vision is reciprocally primed to recognize a visuality ='strcls'>***
visuality involves more than pattern recognition
perception is not the tool by which we experience art, but its very content and substance. john Onians con="trms"nttrm="cluster,club">cludes that “each painting forms its own ‘eye’.”
what kind of eye the art (of my Kinect) cultivates='qstn'>? (a ="trms">techno-="trms">aesthetic eye='qstn'>?) (the diagrammatic eye='qstn'>?) (referring to the diagram project “sadistic statistics”)
the ways we see ...ly (="trms">historically, ="trms">ecologically, evolutionary, ="trms">technologically,) more part and parcel of the visuality of the ="trms">anthropo="trms">cene
the ="trms">neuro-="trms">aesthetic eye
to “="trms"nttrm="already,spread">read” environment in terms of info pick-up and accommodation
to simply perceive as we do
but to parlay (double up) our perceptual ="trms">system into a modality of processing, ="trms">response, and ="trms">responsiveness
(the ="trms">aesthetics of) the visual brain is the contact (not contract) between the individual and the eco="trms">system
modulation of ethos in landscape='qstn'>?
Kinect is not bringing a knowl="trms"nttrm="knowledge,Knowledge">edge that is ="trms">neurobiologically imperceptible to the naked eye nor is it ="trms">technologically making a ="trms">worldview accessible.
“it is low tech”, its images are born of partial recognition, attunement, and attention
low-tech works may be critical for developing a visuality that is not yet ="trms">integral to or explicit within new media, visualising the ="trms">specifically ="trms">neurological dimension of ="trms">ecologicity and mobilizing vision as a perceiving organ to cultivate this self-awareness.
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(="ppl">McKenzie ="ppl">Wark)
climate ="trms">science, a key ="trms">science of our time, rests on an ="trms">apparatus of very powerful computers and ="trms">communication vectors, which overcome the “friction”, as ="ppl">Paul ="ppl">Edwards calls it, between ="trms">data and ="trms">communication. it brings together global ="trms">data ="trms">according to global standards, mathematical models of physics of climate drawn from fluid dynamics, and massive computational power. the model and ="trms">data coproduce each other in a way, as the ="trms">data sets are all partial, and many ="trms">data points have to be ="trms">interpolated to make the models work. and then all of that has to be mediated back to human awareness via tables, graphs, computer simulations, and so forth.
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(="ppl">Irmgard ="ppl">Emmelhainz)
(="trms">anthropo="trms">cene) change in the conditions of visuality
transformation of the ="trms">world into images
="trms">phenomenological ='lgc'>+ ="trms">epistemological consequences
images participate now in the forming of ="trms">worlds, they have also become forms of thought
the optical mind
the radical change in the conditions of visuality has brought about a new subject ="trms">position or point of view, a[...]