Work Lines II (continuous update)

Agacinski

The sensitive object
TO TRY
Empiricism vs. Conceptualism

╚►

out of this an -No Theory
experiential mode
of DOING art emerges.


Representing the non-representable through the transformation of painting, through the mystery of the process of painting making real the mystery of the object (Idea or otherwise) itself. And visa versa...
Art being the act, the simple narrative of how it works.

Bernstein

Rationalism being a cognition of dead objects.
Living is deligitimised.
What would be the affinities between existences?
Wielding the critical axe - scything through the problem to pit the various conditions of the concept, question, problem against itself. Re-forming or reconfiguring the problem to produce a new object.


I am like a weather vane.

Where J. stands in for the cynic
<—> making both ways. All experiences, events, people, things like tokens, signs, symbols, for the meaning we have associated with them/it. For our own universe/service. Works both ways —> what happens as this tokenography works the other way?
Empty ourselves out from centre of universe - we are locus for other peoples!

David B. Smith
Charlotte Street

www.speculativeheresy.wordpress.com
www.planomenology.wordpress.com
http://www.k-punk.abstractdynamics.org/

laura douglas

Georges Braque
Bottle and Fishes, 1910-2

At losing ones job:
raw despair
at the primordial fear at prospect
of not being able
to support oneself,
elated at the
promise of new beginnings,
new chances, new
opportunities. Maybe
things'll get better!
Sick of this place
anyway.
Brutal anger at the
injustice of it all.
How has this been
allowed to happen?

www.opelori.com

MONOSKOP
PDFs.

Duty
manager
scoffing
the biscuits

The Overlap Series: Jogger
(with comic event)
2000-1


The Emancipatory.
Emancipation
as
revelation
Sacrifice
-McCarthy

Carly Simon
What's the rule?
Adorno?
(internalising the law/s)
Baldessari

Colouring my mind
Romanticism w/ its
cheap promise of c o m p l e t i o n


plays itself out at my mercy


Imagine, being given edifaces and abysses with our
birth and box of characteristics. The abyss we carry and on the other side of the cut
lies All That We Cannot See. All That We Cannot See - our blindnesses, our abjects, our beasts.
We cannot see them. They look like merky areas
of unseeing.
They unleash themselves on all that we encounter, colouring our perceptions, unknown to us.
Our neighbours,
the other beings we come into contact with can see,
they see our blindnesses, they make form
from what we don't delimit. Their eyes and their
powers make things out of our unseeing and give them back to us as real life encounters, the incidences, the bus stop chats with strangers, the friend round for tea, the kiss, the supermarket queue.

Other people see out blindnessess.

Bird song anchor points
To elevate
Come back to
yourself
Feel your periphery again
Feel your edge.

John Buckens

Save Middlesex University Philosophy

Petition
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Novalis Essay

Re: post below...

Writing an essay on Novalis' text Fichte Studies. Mostly I'm thinking about how to re-enact the movements he employs in both the concepts he explores and the flow of his text.

The movement is like this:

One thing moves forward. It meets something that divides it into two. Two things move forward. They meet something that synthesises them back together. Synthesis is more ideal than real and there is a discrepancy in the resolution. This pulls the thing ever more forward towards its resolution.

That probably seems really dull, but somehow I find it fascinating. Lets apply it to something:

I, a person/subject/consciousness posit myself and am promptly divided into two by this positing. The act of reflection on myself slices me into myself and my knowledge of myself, I become two. The two parts of me seek identity (what is known as an 'absolute I') and this search for absolutisation propels me forward. Identity is an ideal that I strive for but it is unachievable. The quest propels me forward.

I am not quite sure yet whether the is a convincing closure to the movement or not.

I want to write about the rhythm of the text and how the ideas Novalis posits follow their own momentum - a rhythmic, choreographical movement.

Flow.

It's a rain all day kind of day outside. Quite beautiful.

Observations #4

I want to give some proper time to the blog and maybe some writing but the days are so hot that I am reduced to that of a Vogue reader (Martha Rosler antidote here).

I have been feeling recently that there is a kind of illogical aesthetic to Chania though the ubiquity of being here day in day out prevents me from satisfactorily grasping and articulating it. These two photos are rough attempts to record some of it and I hope I have a chance to take some more. Then maybe more ideas can come from a later meditation.

Ach Thoughts.

I am deliberating over how much word I want to put on the blog. For the sake of visitors I tend to think pictures and minimal writing is enough; sometimes though I am in the mood to talk.

I just went off on one with an opinion on someone else's blog:

Jane McCoy's post brushing off the chips

I read myself in your excellent blogpost, not just in the persona but in the analysing it after. I've spent good hours negotiating the 'show myself/hide myself' dichotemy and thought I might share some thoughts with you (if you don't mind).

1) Coolness is always as we perceive. I have on several occasions been informed that it was me who appeared 'cool' at school despite the fact I was a nervous wreck. I am at the conclusion that everyone feels sensitive in the end, it just varies how we display it.

2) I come to the belief that there is something inherent to art-production that is about uncovering/covering or hiding/showing. It lead me to Heidegger.. blah blah and too much intellectualising later, I feel that the process of making art is experienced within us bodily as we bodily become extensions of the object we wish to manifest (or something..). Anyway, what I'm (taking too long) saying is that the negativity we experience is a crucial part of the dialectic and life and art-making - the boundaries, the retraction, assessment, etc. etc. Our abilities to be self-critical are not just psychologically the 'tortured artist' stereotype but just a necessary part of bringing something into the world. Being sensitive to it is because making art fine tunes our listening abilities precisely for this making process (and responding to the world around). If we had no doubt then we would be running ourselves and our art riot all over the world - a violent and monolithic way of making a mark. Ok, maybe I will make this into my own blog post... not sure... sorry to impose.... Keep up the good work, I like your drawings.

I have decided to re-post it here because it collates some of my thinking on this subject of disclosure, uncovering, truth, the ground of truth.. and the role of doubt in this process. Having suffered from doubt in various forms of discomfort/self abasement, it comes to me as something in the end that must be necessary. There is nothing more grounding than the continual return to making, producing, thinking, writing - even if this production is just the debris or excess of a kind of striving, aspiration.

Was writing a little recently on the violence of totality and the drive towards totalisation. I come to this from reading some discussions on the nature of knowledge (being a drive towards co-opting every 'thing' out there into the system of knowledge), and I live this through the disappointment of hearing sentences that I have somehow heard before, and before, and before... I'm not asking for pure originality (what's that?!) but instead am just recognising how homogeneous we insist on being in the name of our insertion into the world. I make a case for subtlety, listening, small things, sensitivities, taking the time to respond honestly, a commitment to letting ourselves respond.

(This last paragraph is woefully without references and steps rudely onto Derrida's toes. I will return to it as I think Derrida is right and that there is nothing really grounding beneath it all. But this is another post.... ach! thoughts!)

And More Pigeons

Yes I may be pushing up against the line between absurdity and boredom, but I am still very much in love with pigeons. It could be a little harmless anthropomorphism, it could be an attraction to their purely instinctual being. They seem to embody 'flow'. In groups their spacial awareness causes them to make evenly balanced patterns best seen from above.

And finding the odd squashed one on the road still affects me.

Solid

Solid, a bit out there on a limb.

More Treats

http://www.philipglass.com/audioplayer/audioplayer.html
It's the Violin Concerto that's got me.

Crete

I Am Going To Start Using Titles Now. Better For Organising.

Aesthetics coupling, making solid in time, construction,
belief beasts interest,
abstract drawing
order.

Sense Uranus op. Saturn,
virtual awe axiom,
beginning, brain conflict
flowers intuition, love make.

Contradiction, hairline crack mimesis,
shattered, spring,
Chania Crete, Saturn Return,
angel elegance happy.

Line incoherent,
pigeon twisted,
affetti feet grief.

Mezzanine the slack,
virgo.
Άνοιξη Neptune difference,
electro.

So many reasons to write, and yet, there is a judgment system to determine whether the writing is worth something.

I think sometimes that what we absorb from around us - ideas I mean, though they can come to us in many forms, may only become absorbed when the conditions are right, ripe?. I think sometimes that something is too different, too whack for us to be able to integrate it within us without causing a damaging split. Ideas somehow take on a materiality when they get inside of us. Sometimes we just need to wait until something has become a little more divested of meaning.

Hello again.

I have enlisted the help of a service called FeedBurner to provide a subscription service for the blog. As part of this service it provides me with stats on how many subscribers I have and some information about where they are coming from (only browser info, I don't get to know who they are).

It says: "FeedBurner Stats provides publishers with a single interface for analyzing the content consumption habits of their audience — be it feed subscribers or website/blog visitors. This insight can help you determine which content is performing best, where your audience is located, and better understand detailed information about traffic sources such as search engines." (1)

I also tried to make an account with Technorati which is a blog community site and quite interesting because it reads labels to tell us what are the hot topics at any one time in the blogosphere. Bit like the way Twitter is a window into the (mostly US) world. But Technocrati doesn't like something about me and refuses to take my blog, and I found in the small print that once you are accepted into their community they still might chuck your blog out.

They say: "Do not tag exessively. Make sure the tags you use to describe your posts really do describe your posts. If we see high occurrences of unrelated, variants and synonyms, or over-use of tags in your posts, we may conclude that your site is trying to game the system." (2)

Guess that's me then.

I am thinking about the rules that govern, the market-consumer model for people, performance/audience metaphors, organising criteria always being political, the community/exiled binary, blog-as-me-me-as-blog, where does experimentation belong?, politics of visibility (which as a term is usually associated with identity politics - sexuality, race, and so on)... The internet can only reflect our own organising structures.

A beautiful capitalist critique for you.

I wonder how many times I will go back to FeedBurner today to see if anyone else has subscribed...

Really excited this morning. Found a video of a talk by Margaret Wertheim on TED about a project to crochet coral reefs - an environmentalist, artistic and scientific collaboration. Apparently crochet is perfect for representing hyperbolic space. Wicked!



Without dwelling too long on what intuition is, I have been thinking about why we respond to certain ideas so well, perhaps picking up on them previously in other guises. Is this mimesis again? Communication through metaphor, understood abstractly (in language?) on an intuitive level, empathised with through emotions in real-life human interaction, reproduced in creativity as new ideas, plastic or virtual... blah blah, I'm just buzzing like I did reading William Gibson as a teenager. Uranus again. Communication, it's overwhelming. These fishes know where they're going.

Hello, welcome. This blog is to try and make something of what goes on in my head and record it. I have a history of writing about myself, diaries and blogs, but am feeling resistant at the moment to sharing. We shall see then what happens between some conflicting interests. I hold that we are vessels for what goes on outside of ourselves and that we mirror, mimic, the world at large. This enables me to write, as the oscillation between inside and out is where we live and how we make sense.

On making sense I am not particularly interested in being coherent. It's been a tough winter and I am shattered; this is a beginning and an axiom. I suspect what starts off very raw and messy here will be edited into something more solid in time, but for now, pictures are easier as expressions and I'm wondering if keywords, labels and tags are the new criticism.

Luna