[...] heart of) what it means to be human

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[title]
system attic

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(in my work with apass digital designs, i have been trying to negotiate with the notion of)
*technological gaze*

what new modes of subjectivity are filtered through technological gaze?

(?how) high-tech images are cultural artifacts

technological gaze's method to put its meaning together:
1. impossible subject-positioning
2. codification of flesh
3. visualization of scientific narrative
4. aestheticization of information


(Maturana + Varela) everything said is said by an observer =/= philosopher


marketing communication theory

[*]gaze: (a technical term for) the ways we visually consume images of people and places + the ways images are constructed to entertain & encourage certain ways of seeing

•(using psychoanalysis) Mulvey's gaze: the way in which the camera acts as the eyes and ears of the spectator, presenting ways of framing the world (power-laden + not neutral position) ==> certain understanding of the world is assumed
•Shroeder --> gaze signifies a psychological relationship of power --> the gazer is superior to the object of the gaze [---> go to zoo]


how “human” ways of experiencing the world are gradually being integrated with non-human, technological ways of perceiving and understanding reality:
•Baudrillard --> virtual gaze
•Virilio --> automation of perception (war weaponry --> the idea that in west we have technologies so advanced we achieve absolute vision)
•Balsamo --> cosmetic surgery (~= new visualization technologies) ==> new forms of dominance [---> go to Kardashians TV shows], *replacing the male gaze with a normative disembodied technical gaze
•Haraway --> technocratic gaze
•Strafford --> (starting in enlightenment) *automated spectralization* (in visual presentation of the world) --> the intention and purpose of the gaze became medicalized and technologized [---> go to cartography]
•
}--> (from technoscience to feminism) theorists have noticed a *splicing* of direct and tactile human perception of reality with another reality, one that is mediated and technical ==produce==> a new reality that negotiates the individual's knowledge of the universe in diverse and complex ways (<-- not catastrophic =/= Hörl)


(time of) intellectual and artist upheaval ==> new and surprising modes of imagining the human


1950s concept of cybernetics constituted a fundamental change in thinking about control, communication, information, life itself (+ new language of feedback, autopoiesis, cellular automata, neural net)

1990s
computers + information --> cybernetic theory: (stressed that) information patterns are more important in understanding organisms than materiality
*cybernetic view of the world --> information coded in pattern & randomness =/= material absence & presence*
•(both) human and technological = informational entities
•human = cyborg: (human conceived as) cybernetic organism

[?how] discourses (narratives + metaphors + symbols) of science and technology --Campbell--> use in advertisement to create meaning

**technological imagination --seize--> social imagination**
always reinforcing the *awesome power of technology to capture reality* (objectively + without any agenda)
•movie Fantastic Voyage 1966 <--Dijck-- fascination with envisioning the body from a different perspective
•status of foetus (float in black and white) <--Haraway-- meanings whose legitimacy comes from technological systems of perception
•[computer-generated images =/=?] camera-generated images <--Cartwright-- (paradox of) camera's role in capturing the real + camera's capacity to evoke emotion and present a sense of the unattainable ~= (to appear to be at once) both *magical* & *truthful* ==introduce==> new subjectivities into marketplace

mediation of visual phenomena through the eye of technology ~=> new sets of truths (about the body, environment, etc.) --often--> a **disembodied technological gaze looks at the body**


advertisement becomes more highly finished, excessively produced, artificialized --> a technological gaze is found in the discourse of advertising --> scientized & technologized images celebrate a particular view of ***life as information***

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nature = figures + stories + images (~= topos, commonplace)

paying attention to nature like a child <-- Haraway

[*]trope: a verse interpolated into a liturgical text عبادات to embellish or amplify its meaning

language --> material-semiotic flesh

liturgical possibilities of nature
•Christian liturgical year
•Zaratusztrian nowruz
•star wars --?--> practice of turning tropes into worlds [--> war of imagess]
•war of words
•

(agonistic fields:)
military combat
sexual domination
security maintenance
market strategy

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(techniques of the observer - september 9, 2012)
•What is the relation between the dematerialized digital imagery of the present and the so-called age of mechanical reproduction?
•ongoing abstraction of vision - Problems of vision
•transformation in the makeup of vision
•history of art <-> history of perception?
•onlooker (Zuschauer)
•historically important functions of the human eye ==> medical, military, and police hierarchies
•Most of the historically important functions of the human eye are being supplanted by practices in which visual images no longer have any reference to the position of an observer in a “real,” optically perceived world.
•where abstract visual and linguistic elements coincide
•avoid mystifying it by recourse to technological explanations (this was my mistake!)
•an observer is more importantly one who sees within a prescribed set of possibilities, one who is embedded in a system of conventions and limitations.
•measurable in terms of objects and signs
•newly constituted human sciences in regulating and modifying the behavior of individuals.
•it was through these disciplines that the subject in a sense became visible
•passage from the geometrical optics of the seventeenth and eighteenth centuries to physiological optics
•to expose the idiosyncrasies of the “normal” eye
•Retinal afterimages, peripheral vision, binocular vision, and thresholds of attention
•outcome of a complex remaking of the individual as observer into something calculable-and regularizable and of human vision into something measurable and thus, exchangeable.
•standardization of visual imagery
•in the amphitheatre / on the stage / in the Panoptic machine
•dissociation of touch from sight ==> “separation of the senses” and industrial remapping of the body in the nineteenth century
•unloosening of the eye from the network of referentiality incarnated in tactility ==> fitted for the tasks of “spectacular” consumption
•Perception for Benjamin was acutely temporal and kinetic;
•a mobile consumer of a ceaseless succession of illusory commodity-like Images.
•Machines are social before being technical
•desiring machines
•The paintings of J-B. Chardin are lodged within these same questions of knowledge and perception His still lifes, especially, are a last great presentation of the classical object in all its plenitude, before it is sundered irrevocably into exchangeable and ungrounded signifiers or into the painterly traces of an autonomous vision.
•that the very process of becoming tired was in fact perception. “When the eye fixes itself on a single color...
•the clear eye of the world
•The more Schopenhauer involved himself in the new collective knowledge of a fragmented body composed of separate organic 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 demands of that body.
•the physiological makeup of the subject as the site on which the formation of representations occurs.
•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 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. (Schopenhauer)
•It is knowledge that Simultaneously provided techniques for the external control and domination of the human subject and was the emancipating ground for notions of subjective vision within modernist art theory and experimentation.


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bad visual systems

narcissism as a cultural practice (that also motivates and steers 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 submission of the unconscious to the globalized machine


latest theoretical buzzwords

control over the interpretation of the world

circulation of the global image machine

tree-made paper

who are (not) allowed (not) to have a body?

all forms of knowledge claims,

acting on the ideological doctrines of disembodied 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 paranoid science fiction

getting to know the world effectively by practising the sciences

tools of semiology

rhetorical nature of truth

not Romantic nor modernist objects:
1. infective vectors (microbes)
2. elementary particles (quarks)
3. biomolecular codes (genes)


view of the relationship of body and language (the problem of metaphor)
those of us who would still like to talk about reality

imagery of moves in the fully textualized and coded world
high tech (military) field

recognizing our own ‘semiotic technologies’ for making meanings,
life is semiotic as well as technology

(commitment?) to faithful accounts of a ‘real’ world

Haraway writes: All components of the desire are paradoxical and dangerous, and their combination is both contradictory and necessary.

We need the power of 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?)

insist on the embodied nature of all vision, and so reclaim the sensory 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 positing in the work? ground me in an embodied vision? my situation. to situate me. not necessarily organic embodiment? what have i need to learn in my bodies?)

perverse capacity of the eye

culture disembodies. (nature embodies?)
to distance the knowing subject from everybody and everything

visualizing technologies are without (apparent) limit?

linked to:
-artificial graphic manipulation systems
-computer aided scanners
-colour enhancement techniques

mapping is at stake. what kind of mapping the Kinect image provides? that is opposite to the zeiss lens?

how to go there with the technology and not fuck the world? carefully not give birth to mythical ideological seeing or promising transcendence

Kinect's generative, but not devouring vision

the 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 writing of the body that metaphorically emphasizes vision
= and commit to deconstruction and passionate construction.
= and passionate detachment, which is dependent on the impossibility of innocent ‘identity’ politics and epistemologies as strategies for seeing from (any) standpoints, in order to see well. (refer to lecture-performance Standing on the Shoulders of Giants - Sina Seifee 2015, on a critical epistemology of seeing-from-far)
= whom to see with?

Haraway: only partial perspective promises objective vision. This is an objective vision that initiates, rather than closes off, the problem of responsibility for the generativity of all visual practices.

The ‘eyes’ made available in modern technological sciences shatter any idea of passive vision? these prosthetic devices show us that all eyes, including our own organic ones, are active perceptual systems, building in translations and specific ways of seeing, that is, ways of life.


partial way of organizing worlds

is unlocatable irresponsible?
is my visual exhibition a knowledge claim?

To see from below (or the perspective of the mathematics, Kinect, hacker?) 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 traveling with relation to my co-travelers and a technology relation) my issue with the images is their generality and perhaps that is their unlocatablilty. but to situate my knowledge and myself i am not solely depending on the image rhetoric. i was committed to mobile positioning, and that is critical.


mediate vision

knowledge potent for constructing worlds
trying to be less organized by axes of domination

Science has been utopian and visionary from the start? that is one reason ‘we’ need it.

my eye were crafted by the blood of mosquitoes...

translations and exchanges, material and semiotic
what has the property of systematicity in my Amazon?
orientations and responsibility in material semiotic fields of meaning.

is Here, Kinect's vision not immediately a very powerful metaphor or technology (for political epistemological clarification)?

The visual metaphor invites us to investigate the varied apparatuses of visual production, including the prosthetic technologies interfaced with our biological eyes and brains.

should i have an argue for (politics and) epistemologies of location, positioning, and situating?

view from a structuring and structured body

we love stuttering, and the partly understood

Translation is always interpretative, critical, and partial

Amazon (location) resists (the politics of) closure

logic of culture (nature made flexible)

science coded body
black coded body
colonised coded body
coded as self sufficient (when?)



the project and me are not boundary object (i am not tarzan)

suppress the lost text of aristotle on the rhetoric of humor


how can something work and not work?!

mathematical competition


what is the other story (of forest, journey, etc.) that i want urgently tell?
or the rhythm of what story i want to change?

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In 1905 the French neurologists G. Deny and P. Camus recounted the case of Madame I who had lost body awareness. She described her “general insensibility” as follows: “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 imagine myself. My insensibility is frightening, as if everything were empty.” Madame I was unable to recognize the position of her arms and legs and was completely insensitive to pain. According to Israel Rosenfeld's thesis, Madame I was unable to know her body as part of her memory. (her brain could not create a body image) She could not 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 woul[...]