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“Meaning and understanding are parts of the structure of consciousness that emerge from self-reference; they cannot exist without a body image.” (p.55)

“Self-reference is not a hypothetical idea but a demonstrable part of the structure of consciousness; a partial breakdown in the physiological mechanisms that create it give us the phenomenon of phantom limbs.” (p.56)



Two English neurologists, Lord Russell Brain and Henry Head (!) coined the phrase “body image” for the internal image and memory of one's body in space and time. The 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 contingencies of experience.

The body image can also incorporate external object, implements, and instruments. When they are being used, they can become intimate, vital, even libidinally cathected parts of the body image.



(Don Ihde:) “To embody one's praxis through technologies is ultimately an existential relation with the world.” (Technology and Lifeworld, p.72)

Embodied 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 technology into the perceptual-bodily self-experience. The mediating technology becomes part of the body image, and achieves “instrumental transparency”

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(Giuliana Bruno)

This tangible, superficial contact, in fact, is what allows us to apprehend the objects and the spaces of art, turning contact into the communicative interface of a public intimacy. (but not in the Amazonian skin contact) (it is different than Lucretius reflecting upon the nature of things)

(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 materiality as they convey the virtual transformation of our material relations. And these screens, which have become membranes of contact, exist in our environments in close 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 matters?

layered space of interaction between subject and object

surface can be read as an architecture

from mediated encounters with material space to mobilization of cultural space (the exhibition)

memory, imagination, and affect are linked to movement -- embodied in jungle walk?



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 imagination -- effects of a 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 = interconnection in the sequence of ideas expressed during a connected discourse and how this sequence leads from one idea to another (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 indifferently.” (— Thomas Hobbes, Leviathan, The First Part: Of Man, Chapter III: Of the Consequence or Train of Imagination)

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the current forms of biotic forests is due to the spreading of seed-dispersing plants millions years ago (what about abiotic? Kinect)

one of issues related with rate/speed is synchronicity

the effects of biotechnically / bioculturaly situated people

Amazon's nature in opposition to slave gardens (slave plantation systems with factory machine) (along with imperial botanical gardens)
for travel and propagation of...
moving material 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 (poetic, visual, etc.) is dangerously ambiguous?

are we really immersed in data realities? and that really means we are losing the sight on experiences fetched by our bodies?

co-existing and contradictory incomplete models that ground us in our critically limited existence. what does beyond the (techno-cartographic-episto-cogno-histo-) map's horizon means for this situated “us”?

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(Amanda Boezkes)

the ontological purification apparatus

we are now on an idea of the earth in so to calibrate our sensorial systems to adjust to human-born unpredictabilities that override and neutralize long-standing histories of local knowledge.

how an ecological perspective can be incorporated into vision -- become a visuality? -- mobilization of visuality

how an artwork may account for the ways ecological change registers in vision?

geo-aesthetics

information is not energy-specific (Gibson)

theory of affordance : information pick-up process --> threshold between the sense-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 relational.
that is, it acknowledges that objective information about an environmental system can be obtained both in spite and because of perceptual change. in this respect an indigenous knowledge 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? it is not objective info nor culture, what is it? personal testimony? descriptions of a technological reading?!

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 world -- it permits a level (horizon) of consciousness of the world beyond function.

how a beetle may rest on the retina of bird's eye like pieces of puzzle fitting together

facts of environment

to what extent can an ecological perception become virtualized, represented, and returned to vision as a condition, or style of being? that is how to take conscientious of the ecological beings that we are in any project? -- that is attuning vision to an ecological reality

E. h. Gombrich understood the perception of art as a process of cultivating the visual skills of recognition in the eye itself
historical ways of seeing
any skill we have in spite of environmental variances, is operating from visual schema that are geared to trigger pattern recognition, (art?)

visuality vs vision
the caricaturist does not teach us how to see, but rather instantiates a new code of recognition. a visuality is nested into vision; vision is reciprocally primed to recognize a visuality ***

visuality involves more than pattern recognition

perception is not the tool by which we experience art, but its very content and substance. john Onians concludes that “each painting forms its own ‘eye’.”

what kind of eye the art (of my Kinect) cultivates? (a techno-aesthetic eye?) (the diagrammatic eye?) (referring to the diagram project “sadistic statistics”)

the ways we see ...ly (historically, ecologically, evolutionary, technologically,) more part and parcel of the visuality of the anthropocene

the neuro-aesthetic eye

to “read” environment in terms of info pick-up and accommodation
to simply perceive[...]