[...] 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
(i don't do filmic voyage)
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
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.
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”?
(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
how an artwork may account for the ways ecological change registers in vision?
geo-aesthetics
information is not energy-specific (
theory of affordance
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
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?
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 as we do
but to parlay (double up) our perceptual system into a modality of processing, response, and responsiveness
(the aesthetics of) the visual brain is the contact (not contract) between the individual and the ecosystem
modulation of ethos in landscape?
Kinect is not bringing a knowledge that is neurobiologically imperceptible to the naked eye nor is it technologically making a 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 integral to or explicit within new media, visualising the specifically neurological dimension of ecologicity and mobilizing vision as a perceiving organ to cultivate this self-awareness.
(McKenzie Wark)
climate science, a key science of our time, rests on an apparatus of very powerful computers and communication vectors, which overcome the “friction”, as Paul
(Irmgard Emmelhainz)
(anthropocene) change in the conditions of visuality
transformation of the world into images
phenomenological
images participate now in the forming of worlds, they have also become forms of thought
the radical change in the conditions of visuality has brought about a new subject position or point of view, announce by the trajectories of
this regime of visuality implies
resulted to
“vision cancelled”
linearity of the Renaissance perspective plan created the illusion of a view to the outside world, analogous to a window.
perspectival multiplicity became embedded in the picture plane.
invented a discontinuous space, making identity and difference relative (questioning the classical
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