tag:blogger.com,1999:blog-66277066285596525672024-02-07T18:50:22.706-08:00Housing the BodyTroy Rhoadeshttp://www.blogger.com/profile/07437032362077918351noreply@blogger.comBlogger16125tag:blogger.com,1999:blog-6627706628559652567.post-40842414056661658752007-09-03T09:33:00.000-07:002007-09-03T09:36:53.460-07:00Re: Andrew's accidental ecologiesHi Andrew/All<br />Enjoyed this post, and like your Bateson/Guattari-inspired concept of accidental ecology. This, I think, captures in particular the sense of something that happened on the last day of htb, when someone (not sure who this came from) proposed that we make something more of the architecture platform. From a conversation around a table through which variable constraints were established, a group started moving around the room (facilitated in part by Troy’s piece of string). At some point, this nexus of string, chairs, and people, “reached its own accidental satisfaction”, and did, as you say, refuel the conceptual work. Then, prompted by a suggestion by Mike, we started moving around again, this time in pairs. Some of us ended up moving with and within what Sher came to name as Ganzfield tents - mobile platforms for exploring sensing space without the familiar orientation of discrete objects of visual perception. This, for me, is a kind of accidental ecology. I’m not sure however that, in their enaction, such emergent ecologies “sacrifice themselves in their auto-critique”. The event of their happening is a passing, but the after-affects of this continue to resonate as real – if virtual – relations on the chromatic fringes of conceptual prehension. <br /><br />Not sure you need to fall on the side of pragmatist or philosopher. My sense is that like James, Guattari, and many others, you are both.<br /><br />Best <br />Derekderek mccormackhttp://www.blogger.com/profile/11432894220434430862noreply@blogger.com6tag:blogger.com,1999:blog-6627706628559652567.post-58763279167578924982007-09-01T19:38:00.001-07:002007-09-01T19:41:28.025-07:00"The Worm's" inner light<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5JIkag8ta1kq48I_U0rYXU7kUje8aTkpwMxTEVSLa5WzMiFsLOxDqUM5DrfqgWwgc-2cbUR9rEyqWnS9PQ-ZYRbHudbFnkaFC7imXhtnrnnjMsALydS-dfnHxL0dnta685NlcAJJUsdM/s1600-h/IMG_1978.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5JIkag8ta1kq48I_U0rYXU7kUje8aTkpwMxTEVSLa5WzMiFsLOxDqUM5DrfqgWwgc-2cbUR9rEyqWnS9PQ-ZYRbHudbFnkaFC7imXhtnrnnjMsALydS-dfnHxL0dnta685NlcAJJUsdM/s320/IMG_1978.JPG" alt="" id="BLOGGER_PHOTO_ID_5105431183911140226" border="0" /></a>John Paul Riccohttp://www.blogger.com/profile/05172255670623903975noreply@blogger.com1tag:blogger.com,1999:blog-6627706628559652567.post-61767940339106344832007-09-01T19:37:00.001-07:002007-09-01T19:38:16.454-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8v1VrDOlDc5TCfs1iPdjJXRzkZYFSB6jIstPA6QpbKgs0k9qJR3iRVAQl1gsv944CuutHlx9JtLzwXHq5Uq3N5PlZtx0iB_5faX4HiWyFUCjWQjWWUEQHSJCrx5OEusVgKbIuVPQpoEA/s1600-h/IMG_1990.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8v1VrDOlDc5TCfs1iPdjJXRzkZYFSB6jIstPA6QpbKgs0k9qJR3iRVAQl1gsv944CuutHlx9JtLzwXHq5Uq3N5PlZtx0iB_5faX4HiWyFUCjWQjWWUEQHSJCrx5OEusVgKbIuVPQpoEA/s320/IMG_1990.JPG" alt="" id="BLOGGER_PHOTO_ID_5105430582615718770" border="0" /></a>John Paul Riccohttp://www.blogger.com/profile/05172255670623903975noreply@blogger.com0tag:blogger.com,1999:blog-6627706628559652567.post-83824357362834203872007-09-01T19:33:00.000-07:002007-09-01T19:37:27.279-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiScp1VYzWX0ikUXVYHiGmFRIhr-TStCRk4fUNu3RY467M0Q5QnVb1qGwwysv_GnXo0U9mZ_Fq2UY7Vy_TxlYHz3CkEcoS2q_KJJhDjLS0mlUHTN0vMqY7bFf2a2YiLY2qUUVgOmW5lFO0/s1600-h/IMG_1988.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiScp1VYzWX0ikUXVYHiGmFRIhr-TStCRk4fUNu3RY467M0Q5QnVb1qGwwysv_GnXo0U9mZ_Fq2UY7Vy_TxlYHz3CkEcoS2q_KJJhDjLS0mlUHTN0vMqY7bFf2a2YiLY2qUUVgOmW5lFO0/s320/IMG_1988.JPG" alt="" id="BLOGGER_PHOTO_ID_5105430277673040738" border="0" /></a>John Paul Riccohttp://www.blogger.com/profile/05172255670623903975noreply@blogger.com0tag:blogger.com,1999:blog-6627706628559652567.post-57386748568302079092007-08-26T10:05:00.000-07:002007-08-26T10:19:23.054-07:00Imaging III.2<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5uJxoV87d1xib_s9XAkabt_5WiJ26nU1jX5Rl4cMaZff1uN_y5uE8lM2Di55tSarCi1I6B0wO7ELC80iiCxpmbzylrG2Qvwwem21wKlrBvbC5hyphenhyphencoVVPNbVoWdErnNtX_zKoickF2-ly7/s1600-h/dia3_plataformas5.jpg"><img style="display:block; 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float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8Htf5_oOYwZB-WdvEeWT-aco7kAC_kM-XtKj2i7_hi3qKc4z7pU4wPdjmqy10boKD9gAIuWXrR7lF4rmW9MAEHQWe7R46XoTDpdPltJgfVzuqbugd4hvPFcI32cqwJeNNd7TPI8tG2uI/s320/IMG_3600.JPG" alt="" id="BLOGGER_PHOTO_ID_5103037806147025938" border="0" /></a>I've been wondering not only about the immanent critique of concepts in practices, but also about the way that practices, almost automatically, immanently critique themselves. This is not a matter of judgement - whether they are good or bad, better or worse, and certainly not whether they are true or not. It is not even only a matter of whether they fit or not, or whether they, as Deleuze says, "bring us forces or take these away from us". It is more than this. It is, in Bateson's terms, a question of ecology - of what I might call an accidental ecology.<br /><br />To put this simply, a normal conference - a bit like the tick Deleuze discusses in <span style="font-style: italic;">The Fold</span> - can get by with very clear or distinguished perceptions (at least in terms of structure). Give a paper (in tick terms "find the best place to burrow"), get some feedback (thankfully not always predictable although often, like the tick, involving an "olfactory perception of its prey"), have coffee ("a perception of light"), go out and drink too much. Wonder which city you're in next morning. It's a fairly regulated ecology - perhaps not too different from that Bateson writes about in alcoholism (where it is difficult to escape not because of the relationship between the drinker and bottle only, but because of an entire ecoloy of relations in which certain perceptions are distinguished and others remain obscure - Deleuze has a whole theory of appetites in this as well).<br /><br />HtB, on the other hand, gives up its "regulated ecology". It offers a structured space for a whole huge range of events, micro and macro (platforms, each of them with their ecological complexity, readings, movements, foods, etc) that must come together immanently - but are "critiqued" by the much more complex - and determinately <span style="font-weight: bold; font-style: italic;">accidental</span> - ecologies that emerge. This is a problem/advantage for research-creation in general. It must accept these accidental ecologies, indeed seek them, structure them in (I don't of course mean Steve who we all hope is well this morning) - indeed if research-creation structures anything - if it differentiates the remarkable in any regularity - it is that which will bring these accidental ecologies into being.<br /><br />The risk of course is that there is something of a survival of the fittest, which again does not necessarily mean the best - simple that which best fits the accidental ecologies that emerge. Once again the importance of accepting failure - the failure of emergence - alongside the success, not only of the invention of concepts, but of remarkable singularities that emerge and form new structures of experience.<br /><br />When something "works" it is very beautiful. When things don't - as is inevitably, ecologically - the case, they return to more obscure, more chaotic world of micoperceptions which remains, however, that into which we will plunge again so as to find life once this ecology has reached its own accidental satisfaction.<br /><br />At times I wonder, however, if the practices sacrifice themselves in their auto-critique - fuelling the conceptual work (which as always in events such as Housing the Body occurs at a high level) which boils down to wondering whether I am a philosopher or a pragmatist. They are not always easy companions.<br /><br />- <span style="font-style: italic;">Andrew<br /><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiTlnRO-mXplymsYxQG3Kr2sPes15ApGZxM4XGb_PaMBkutJaF2SafaE1d635yH1XRUqFEmLBfK6PVGkagkMDXiW610SFyL2oYSz4tyce6u3wn62MScZ0-XypaRegoU38XzuVVifUW-U/s1600-h/IMG_3610.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoiTlnRO-mXplymsYxQG3Kr2sPes15ApGZxM4XGb_PaMBkutJaF2SafaE1d635yH1XRUqFEmLBfK6PVGkagkMDXiW610SFyL2oYSz4tyce6u3wn62MScZ0-XypaRegoU38XzuVVifUW-U/s320/IMG_3610.JPG" alt="" id="BLOGGER_PHOTO_ID_5103037337995590594" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFC9_lk5iGjRVNFkHRfiMgemcVUuZKpuYNU6DwnX8Pl2ShcmF9N1rJ4OKPDxpFb9-S_3Xda_qfzZLpnBghoxAALZmvMHFFZHfIxR44pVJj_wn0BjqORd5tgK4xXZfEi8Sm4dlwGP8aImU/s1600-h/IMG_3606.JPG"><img style="margin: 0pt 10px 10px 0pt; 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cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8UWhZk8OGkBO1V1YXjCIofmgpMUhqNxrLXY6FPLGJjT4mmz_3ICPaLL-KhiP4XokJTefSJWZzLisk1nXOHFzmVEBjysD8Yuoy1WE-uWHcnZl0lALp8DXUenR45UStPTemaA1dsmDrBAJL/s200/dia1_4.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5102108455433963970" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTBzK4AotA2XD03ZhSZxD4mm9TW6RFVqQfHKiELbcWeGATUUrBxw0JHC77Q3s7ADB9ybhGkqbOd5H4WlD8eWdBx4DrLaXAU3qK7O87RlniGRVWbYtjBWto2eFOjFqICSgNbSak5e7vTMc/s1600-h/dia1_5.jpg"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYTBzK4AotA2XD03ZhSZxD4mm9TW6RFVqQfHKiELbcWeGATUUrBxw0JHC77Q3s7ADB9ybhGkqbOd5H4WlD8eWdBx4DrLaXAU3qK7O87RlniGRVWbYtjBWto2eFOjFqICSgNbSak5e7vTMc/s200/dia1_5.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5102108455433963986" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifMZ3sMgLEdJtnOg7DaFKYq4aT9jbvS8-tVrbIecaGlE51ZeT54tsOqwklMXrjJFPfSk7nXs95Wkqw7VAqAZHSyUiM_wAUfyv9yrU7FHyas7Y87p9Ge-DiyY8lr9vGxTGWAQnL3-wLOnjv/s1600-h/dia1_7.jpg"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifMZ3sMgLEdJtnOg7DaFKYq4aT9jbvS8-tVrbIecaGlE51ZeT54tsOqwklMXrjJFPfSk7nXs95Wkqw7VAqAZHSyUiM_wAUfyv9yrU7FHyas7Y87p9Ge-DiyY8lr9vGxTGWAQnL3-wLOnjv/s200/dia1_7.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5102110272205130242" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOY3YIGt3wVyfJS3TcAmNZzuIe9WHEVXO9RkOTlEbeoQqOrHXnllAa830A1-XflG9Yp8-xIzddPJIZajEwirsQt1JY40f_qOXttQSmqQJzs4wdyiv6Hc7kmDXGDiNJKUghzKNi7ZVlj64z/s1600-h/dia1_6.jpg"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOY3YIGt3wVyfJS3TcAmNZzuIe9WHEVXO9RkOTlEbeoQqOrHXnllAa830A1-XflG9Yp8-xIzddPJIZajEwirsQt1JY40f_qOXttQSmqQJzs4wdyiv6Hc7kmDXGDiNJKUghzKNi7ZVlj64z/s200/dia1_6.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5102110276500097554" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6627706628559652567.post-54101027855995859762007-08-23T13:48:00.000-07:002007-08-23T14:17:48.204-07:00from whitehead's nature alive«the individual enjoyment is what i am in my role of a natural activity, as i shape the activities of the environment into a new creation, which is myself at this moment; and yet, as being myself, it is a continuation of the antecedent world. if we stress the role of the environment, this process is causation. if we stress the role of my immediate pattern of active enjoyment, this process is self-creation. if we stress the role of the conceptual anticipation of the future whose existence is a necessity in the nature of the present, this process is the teleological aim at some ideal in the future. this aim, however, is not really beyond the present process. for the aim at the future is an enjoyment in the present. it thus effectively conditions the immediate self-creation of the new creature.»Nasrin Himadahttp://www.blogger.com/profile/18191345256146139537noreply@blogger.com0tag:blogger.com,1999:blog-6627706628559652567.post-31220439253617006732007-08-23T10:18:00.000-07:002007-08-23T11:09:01.964-07:00Quotes from Animate Form Part II"A landscape is a system where a point change is distributed smoothly across a surface so that its influence cannot be localized at any discrete point. Splines are the constituent element of topological landscapes. (...) The slow undulations that are built into any landscape surface as hills and valleys do not mobilize space through action but instead through implied virtual motion. The movement of a point across a landscape becomes the collaboration of the initial direction, speed, elasticity, density, and friction of the object along with the inflections of the landscape across which it is traveling." (29)<br /><br />"topological surfaces that store force in the inflections of ther shape behave as landscapes in that the slopes that are generated store energy in the form of oriented rathr than neutral surfaces. (...) The boat hull is itself a micro-landscape for the movements stored in its surface shapes, across which viscous water flows. Similarly the global flows of the water and wind present a macro-landscape for the motion of the boat to flow through." (30)<br /><br />"The relationship between a system of internal constraints (...) and the context in which they unfold is intensive, just as a topological landscape or an assemblage f blobs stores various attractions and combinations in a single surface, so too can topological entities be mutually inflected by the fields in which they are situated." (32)<br /><br />"The spatial context within which surfaces and splines are conceived then is also animate rather than static. This possibility of an animate feld opens up a more intricate relationship of form and field than has been previouly possible. Rather than an entity being shaped only by its own internal definition, these topological surfaces are inflected by the field in which they are modeled." (32)<br /><br />"Difference and repetition, when thought of in a continuous rather than discrete manner, mandate a thinking in duration rather than in points." (34)<br /><br />"The dynamic concept of architecture, however, assumes that in any form there are inflections that direct motion and provoke and influence the forces moving through, over, undr and around surfaces. The form is the site for the calculation of multiple forces." (34)<br /><br />"A landscape is a ground that has been inflected by the historical flows of energy and movement across its surface. These historcal forces manifest a geological form of development that is inflected and shaped by the flows that hav moved acroos it. These slow transformational processes result in forms which are oriented with motion, both the virtual motion of their history and the actual motion they indicate through their slopes and valleys. " (35)<br /><br />and anypassage really between pp. 39 and 41, which I think are trully beautiful. See you all tonight I hope for Spectropia, PaulDJSnafu--Paulhttp://www.blogger.com/profile/01780855887157240102noreply@blogger.com0tag:blogger.com,1999:blog-6627706628559652567.post-54571033017975416042007-08-23T07:49:00.000-07:002007-08-23T09:32:49.800-07:00Quotes from Animate From Part I"While motion implies movement and action, animation implies the evolution of a form and its shping forces; it suggests animalism, animism, growth, actuation, vitality and virtuality." (9)<br /><br />"Form can be shaped by the collaboration between an enveloppe and the active context in which it is situated. While physical form can be defined in terms of static coordinats, the virtual force of the environement in which it is designed contributes to its shape. (...) In this way, topology allows for not just the incorporation of a single moment but rather a multiplicity of vectors and therefore a multiplicity of times in a single continuous surface. (...) Actual movement often involves a mechanical paradigm of multiple discrete positions, whereas virtual movement allows form to occupy a multiplicity of possible positions contimuously with the same form." (10)<br /><br />"An object defined as a vector whose trajectory is relative to other objects, forces, fields and flows, defines form with an active space of force and motion. This shift from a passive space of static coordinates to an active space of intractions implies a move from autonomous purity to contextual specificity. (...) Animate design is defined by the co=presence of motion and force at the moment of formal conception. Force is an initial condition, th cause of both motion and the particular inflection of a form." (11)<br /><br />"The intervals between the moments that are superimposed generte irresolute conditions which are exploited for their destabilizing effect on the present. (...) Statics becomes the condition of matter without fore and dynamics becomes the condition of matter acted on by force. Both positions assume that force is something which can be added or subtracted from matter." (13)<br /><br />"Independent interacting variables can be linked to influence one another through logical expressions defining the size, position, rotation, direction or speed of an object by looking to other objects for their characteristics. This concept of an envelope of potential from which either a single or aseries of instances can be taken, is radically different from the idea of a fixed prototype that can be varied. " (14)<br /><br />"A reconceptualization of ground and verticality in light of complex vctors and movements might not change the expediency and need for level floors, but it would open up possibilities for structure and support that take into account orientations other than the simply vertical."(14)<br /><br />"Stasis is the ordering system through the unchanging constant force of a ground point. (...) Stability is the ordering of motion into rhythmic phases." (14)<br /><br />"Once design is posed within a Leibnizian monadological space, architecture may embrace a sensibility of micro and macro contextual specificity as a logic that can not be idealized in an abstract space of fixed coordinates. In such an abstract active space, the statics of fixed points in neutral space is replaced by the stability of vectors that balance one another in a phase space." (15)<br /><br />"The present limits of connectionism are staggeringly complex and the directness with which multiple entities can be related challenges human sensibility. (...) but the failures of A.I. suggest a need to developp a systematic human intuition about the connective medium, rather than atempting to build critically into the machine." (19)<br /><br />"The formal organizations that result from the sequential mathematical calculation of differential equations are irreducibly open in terms of their shape. They are often interpreted as organic because of the inability to reduce these shapes to an ideal form. In contrast, the reducible, fixed forms of simple mathematics -- such as spheres, cubes, pyramids, cones and cylinders -- have a simplicity and purity that allows them to transcend their formal particularities." (19)<br /><br />"There is a critical difference between the discrete geometry of baroque space -- a geometry with multiple points, and the continuity of topology -- a multiplicity without points. (...) Instead of being defined by points and centers, topolgy is characterized by flexible surfaces composed of splines." (20)<br /><br />"A change in any pont distributes an inflection acros regions of these entities. Because splines are vectorial flows through sequences of points they are by definition continuous multiplicities rather than discrete entities. A multiplicity is a collection of compoents tha is neither reducible to a single entity nor to acollection of multiple entities. A multiplicity is neither one nor many, but a continuous assemblage of heterogenous singularities that exhibits both collective qualities of continuity and local qualities of heterogeneity. (...) Because topological entities are based on vectors, they are capable of sysematically incorporating time and motion into their shape as inflection. Inflection, or continuous curvature is the graphical and mathematical model for the imbrication of multiple forces in time. (...) Curvilinearity is a more sophisticated and complex form of organization than linearity in two regards: (1) it integrates multiple rather than single entities, and (2) it is capable of expressing vectorial attributes, and therefore time and motion. Curvature in a tempral environment is the method by which the interaction of multiple forces can be structured, analyzed and expressed." (23)<br /><br />"Multiplicities are constructed of interacting entities exerting a differential influence on one another. Curvature is a mode of integrating complex interacting entities into a continuous form." (24)<br /><br />"The linkages between these characteristics of time, topology, and parameters combine to establish the virtual possibilities for designing in an animate rather than static space." (25)<br /><br />"deformation, inflection and curvature (...) all involve the registration of force on form. Rather than thinking of deformation as a subset of the pure, the term deformation can be understood as a system of regulation and order that proceeds through the intergration and resolution of multiple interacting forces and fields." (26)DJSnafu--Paulhttp://www.blogger.com/profile/01780855887157240102noreply@blogger.com2tag:blogger.com,1999:blog-6627706628559652567.post-35286466529394365732007-08-22T15:36:00.000-07:002007-08-22T16:15:40.386-07:00Terminus 2 (n-1)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBHaK59Ltx1VodUUk6lbwrfSsd5bHkVVztnb5Q2lndXExrL9b8Qs6aI_n8HGtwpUbKN-n3I98tOIk0o87cHzH51dLDHUfiLoUOE92UhpuHfvSOOM8cqF626tnspDr4tqeqvgkOn-RjH0g/s1600-h/Picture+1.png"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBHaK59Ltx1VodUUk6lbwrfSsd5bHkVVztnb5Q2lndXExrL9b8Qs6aI_n8HGtwpUbKN-n3I98tOIk0o87cHzH51dLDHUfiLoUOE92UhpuHfvSOOM8cqF626tnspDr4tqeqvgkOn-RjH0g/s320/Picture+1.png" alt="" id="BLOGGER_PHOTO_ID_5101659606976314098" border="0" /></a><br />In <span style="font-style: italic;">Dancing the Virtual</span> we thought a lot about the terminus. It seems to have returned for <span style="font-style: italic;">Housing the Body</span>, in Whitehead's concept of satisfaction, For Whitehead, "'Satisfaction' is the contentment of the creative urge by the satisfaction of its categoreal demands" (<span style="font-style: italic;">Process</span>:219 - by the way, that's what I love about Whitehead, and that 's where I think he's a little different to Deleuze ... in the end he's so precise about the process .. I mean it's not <span style="font-style: italic;">any</span> satisfaction but of its categoreal demands).<br /><br />Outside of these demands, satisfaction of course leaves a remainder to be prehended in another occasion.<br /><br />Another version of the terminus .... us as feeler/subject/superject arising out of the processes of feeling (occasions of feeling? - but are there any other types of occasion? someone else can answer). 'The feelings aim at the feeler, as their final cause. The feelings are what they are in order that their subject may be what it is" (222).<br /><br />Final causes everywhere, both exhausting the event, and opening to new events.<br /><br />I can't say I understand termini very well, but I've been thinking about William James' trips across campus (towards a termini) a lot since last year.<br /><br />One of the things that has helped me a little is this picture. It's a still from a very mundane video, taken with a digital still camera from a Danish train (on Lolland for those who want to know - <a href="http://www.youtube.com/watch?v=5l0Z2s040fo">here's the video</a>). The train trip was itself an occasion. It was followed very closely by another train trip occasion/event - the most beautiful train trip I've ever had (a beautiful train, an endless dusk outside, the Danish countryside in summer). This video of the earlier trip has now been "prehended" as part of the later occasion. As prehended it seems fairly portable - and no longer attached to the earlier occasion. It assembles that later occasion/train trip now as memory, each time differently of course (remembering that a repetition, like satisfaction, is both an end and open to connection, an end in that it marks a moment in expression, open to connection in that it is always a very specific link with its double repetition, the two forming not a separate event, but a duration with something like a fractal eventness between 1 and 2).<br /><br />In any case, this video has been prehended in many different forms of satisfaction - with me as superject-subject feeling the way it has been the channel for: new forms of collaboration with artists, a trip to San Jose, exchanges with others on Youtube, in combination with other videos inVJing, stripping the train sound out of it for a hour loop of train travel, etc. It has become a very meaningful image for me, I guess very open to prehension, always satisfying in one sense but never quite satisfied in another.<br /><br />Satisfaction, termini, feelings, are always exhausting themselves in one 'categoreal' sense. They "limit boundless, abstract possibility into the particular real potentiality from which each novel concrescence originates" (220). However, satisfaction also seems to leave a lot to continue, despite this, as things return to their own infinities. Maybe in this video's case it's the moving green (an eternal object?) that makes it so satisfying and prehensible at the same time.<br /><br />Easy to think when you're sitting across the road from the Parc de la Fontaine. Endlessly satisfying.Ibhttp://www.blogger.com/profile/07762353311293014088noreply@blogger.com3tag:blogger.com,1999:blog-6627706628559652567.post-68412836124085013032007-08-21T09:42:00.000-07:002007-08-21T09:49:15.315-07:00Full of surprises<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-CkkvlPIin1RhkOaeKB8EUbopcEdntRpS3xUprlaW9SOb6RK-HnCIPUpnPUySbIc8n-0lkFDEKvocqoBoNCt7RnHRDhJkEHsFq-RE184LBzmMC6ly1IGOFexXRchYB6WOlmzTeKVknqz9/s1600-h/IMG_0772.JPG"><img id="BLOGGER_PHOTO_ID_5101196260280133346" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-CkkvlPIin1RhkOaeKB8EUbopcEdntRpS3xUprlaW9SOb6RK-HnCIPUpnPUySbIc8n-0lkFDEKvocqoBoNCt7RnHRDhJkEHsFq-RE184LBzmMC6ly1IGOFexXRchYB6WOlmzTeKVknqz9/s200/IMG_0772.JPG" border="0" /></a>What is this? Points of inflection? Joints without aim?Troy Rhoadeshttp://www.blogger.com/profile/07437032362077918351noreply@blogger.com1tag:blogger.com,1999:blog-6627706628559652567.post-60382387134121996212007-08-15T16:21:00.001-07:002007-08-16T04:28:28.703-07:00Inflections and ripples<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqE6VNOyH00l-wt15l-Qy_3EBQM8pmELXDM62bPuhsOlFka3Fi7AuFuxoto8WPyWOtAJritpMyq-FyVd4PnXvv_qBN_2nvPY0anIeh71rhAyBi7QPctiNk7EHJ_Gdc8QZIld7V19bKRAf/s1600-h/IMG_0281.JPG"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 228px; height: 171px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqE6VNOyH00l-wt15l-Qy_3EBQM8pmELXDM62bPuhsOlFka3Fi7AuFuxoto8WPyWOtAJritpMyq-FyVd4PnXvv_qBN_2nvPY0anIeh71rhAyBi7QPctiNk7EHJ_Gdc8QZIld7V19bKRAf/s320/IMG_0281.JPG" alt="" id="BLOGGER_PHOTO_ID_5099072677785298386" border="0" /></a><br />"A thought is a tremendous mode of excitement. Like a stone being thrown into a pond it disturbs the whole surface of our being. But this image is inadequate. For we should conceive the ripples as effective in the creation of the plunge of the stone into the water. The ripples release the thought, and the thought augments and distorts the ripples. In order to understand the essence of thought we must study its relation to the ripples amid which it emerges." Whitehead, <span style="font-style: italic;">Modes of Thought</span>. p. 36.<br /><br />Thought is an inflection, just like to point at which the stone displaces the water and the water moves for the stone, a thought is a change of tendency. As the the thought is released it creates more inflections, much like the ripples in the water. As the duration of this thought is continued it, like the ripples, will augment and distort and create new inflections and new thoughts.Troy Rhoadeshttp://www.blogger.com/profile/07437032362077918351noreply@blogger.com1tag:blogger.com,1999:blog-6627706628559652567.post-55862455967490109992007-08-15T16:02:00.000-07:002007-08-15T16:03:22.382-07:00Welcome to Housing the BodyWelcome to the blog for Housing the Body.<br /><br />This is yet another platform of relation to interact with. Like last event’s blog found at <a href="http://dancingthevirual.blogspot.com">http://dancingthevirtual.blogspot.com</a>, this is a place for all participants of the event to place their thoughts in text, image, and possibly video (more information on that in the coming days). To start with you can discuss your platform, the readings, or anything you find relevant to the event.<br /><br />Happy blogging and see you all next week.Troy Rhoadeshttp://www.blogger.com/profile/07437032362077918351noreply@blogger.com0