[...]xtual non-accounted-for moments that bleed in absolute non-contractual and non-appropriable event? (the so-called moment when we show things to each other)
•his ‘climate of creativity'~~~_[what does ‘criticism’ mean for him?]
•when he says “gesture,” is he accessing ‘gesture’ having an uncalculable semiotic value =/= ‘performance’ that can be measured in economical terms? [but, what kind of consequential work is gesture doing?]
(Nicolas's order of inquiry and discovery)
(--> what is at stake is how do you locate the effects of your work. for Nicolas it is locate at the “sides” [which is already problematically prepositioned outside of him] --Ahmed--> ab object can be affective by virtue of its own *location* [...] and the *timing* of its appearence)
[the ‘image of the rigid’ in his presentation]

Kristien's chart:
questions <--> symptoms
answers <--> openings
past <--> diary

for Lilia: apparatus = score
for Eszter: apparatus = preparation {--?--> everything depends on the ways we prepare}
for Sina: apparatus = (chaotic/strange) attractor
for Hoda: apparatus = negative feelings
for
for
(other non-Agambenian notions of apparatus: Katie King's, Barad's, Wark's)
[Agamben still thinks of structure in Euclidian terms, pre-chaos theory and fractal geometry of (non)equilibrium. thermal chaos and dynamic system theory has changed the ways we think about global/local stabilities, discontinuities and noise. sympoiesis is another one.]
-with ‘apparatus’ what is at stake: flow of energy, order, waste, transformation,

Vladimir's tether on disambiguity

Elen, adding her own wheels to the flow(s)
and putting a stick/spoke in a rolling wheel (of others?) [her saboteur trends, چوب لای چرخ (=/=? kharab-kari خراب کاری), what is chub lay-e charkh for her? vandalizing the discourse of others]
-the famous vandal of wikipedia with the recursive name “-on wheels” (Willy on Wheels, adding “on wheels” to the title of every single page, using the move function of Wikipedia: renaming the existing title ==> moved to another namespace, without changing the base title)
-like myself, her saboteurs are critically not symbolic nor ontic, rather sometimes epistemic, or better, ontologic: they don't vandalize the “thing” itself, but the “nature of the properties” that constructs that thing for us
-rocket sculture (what does it mean for her?)


...................................

[the question of inevitability of anthropical view]
there is no final answer to a kind of question but a lot of answers
through inhabiting a figure you are crafting you find yourself addressing a set of problems
agency: liveliness of artifacts (?). there is some kind of liveliness that is both human and nonhuman
the kind of sociality that joins two catego[...]

[...]e 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 Edwards calls it, between data and communication. it brings together global data according to global standards, mathematical models of physics of climate drawn from fluid dynamics, and massive computational power. the model and data coproduce each other in a way, as the data sets are all partial, and many data points have to be 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.







(Irmgard Emmelhainz)

(anthropocene) change in the conditions of visuality
transformation of the world into images
phenomenological + epistemological consequences

images participate now in the forming of 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 position or point of view, announce by the trajectories of:
1. antihumanism (between impressionism and cubism)
2. posthumanism (between cubism and experimental film)
3. non-grounded form of vision (from experimental film to digital media)

this regime of visuality implies: automatization, tautological vision, and signs leading to other signs
resulted to => the proliferation of images also implying the cancellation of vision

“vision cancelled”

linearity of the Renaissa[...]