inside space

He who fights with monsters should be careful lest he thereby
become a monster. And if thou gaze long into an abyss, the abyss will
also gaze into thee.

waggle danse (lets do the)

tous pour un, un pour tous

Isomorphisms are studied in mathematics in order to extend insights from one phenomenon to others: if two objects are isomorphic, then any property which is preserved by an isomorphism and which is true of one of the objects, is also true of the other. If an isomorphism can be found from a relatively unknown part of mathematics into some well studied division of mathematics, where many theorems are already proved, and many methods are already available to find answers, then the function can be used to map whole problems out of unfamiliar territory over to "solid ground" where the problem is easier to understand and work with.

 

Unexpected connection

Tapetum lucidum

η εξορία του εκτός εαυτού

σ'ακούω
να τινάζεις δόντια και γλώσσες
καθηλωμένος στην έδρα σου
βλέπω
το μέτωπό σου να γίνεται μέτωπα
απ'τα χέρια σου να ξεφεύγουν
άλλα χέρια κι απ'τ'ακροδάχτυλά σου
λέξεις και χειρονομίες που μπλέκονται
στις παρυφές του κυκλώνα με άλλες φωνές.

όμως κοίτα
εδώ που βρίσκομαι η ακίδα είναι βαθιά μπηγμένη
οι μεγάκυκλοι απλώνονται με τη σιγουριά της αταραξίας
και θέλω να σου πω καλέ μου
πως δεν χάνομαι
εξωματώνομαι.

η αιώρα του νοήματος

symbolizing animals II

 demetrio stratos

R

άρα, αρ, ρα, αραρίσκω, αρ-θμός, αριστερός, άρτι, ειρήνη, όμηρος

symbolizing animals

Ernest Cassirer was a German philosopher and historian of ideas, often typed as one of the leading exponents of neo-Kantian thought in the 20th century. His major works include The Philosophy of Symbolic Forms (1923-29). Cassirer saw that human beings were above all a symbolizing animals. The whole range of our achievements, are unique parts of our evolutionary process and help us to understand our experience and the world.
Cassirer considered all forms of intellectual activity creative. As a symbol-creating animal, human being is the product of a new mutation in life. Science, language, art, religion, mythology , they all are man-made worlds, expressing the creativity of spirit, or mind, itself. In this capacity they help us to articulate our experience and our knowledge. Symbolic forms have great creative powers but they can also be destructive. Aware of full horrors of Nazism, Cassirer saw that whole nations could fell victims of political myths. When intellectual, ethical and artistic forces lose their strength, mythical thought start to emerge and pervade the whole of man's cultural and social life.

ποιητής της συμφοράς

φαντάστηκε με σπαρακτική μανία τους λόφους της
τις κοιλιές της, τις απωλεσμένες πόλεις της
ακατάσχετα περιγράφοντας το μέσα του ως έξω της'
και είδε τα νωτισμένα του συκώτια διάσπαρτα στα χωράφια της
και τα μάτια του να κυλάνε στους δρόμους
τους νεφρούς του ν'ατιμάζουν τις παρειές , τις πλάτες της
το φλέγμα του να στάζει από τους στήλους στις πλατείες,
τις αρτηρίες του ανάκατες με τη χολή να λιώνουνε
στους τοίχους και τα κράσπεδα'
κι εκείνη δεν είχε άλλο να κάνει απ'το να τον αφήσει
ν' απλώσει ως και τα κόκκαλά του  πάνω στη γη της
(γιατί η ηχώ δεν έφτανε για να σκεπάσει την αγωνία του λόγου του
να του πει πως δεν χρειάζεται να κομματιάζεται άλλο στα κάτοπτρα)
Και δέχτηκε το μακάβριο δώρο του ήσυχα, άφηνοντας τον ήλιο
να λευκάνει τα λείψανα της ψυχής του.

Χα

Ήταν σχεδόν βέβαιο οτί το είχε παρακάνει με το σκάλισμα.
Όχι μόνο της μύτης της.

αντίστροφο αντισύμπαν

Υπάρχει μια μέρα πιο φωτεινή απ’ τη μέρα.
Όποιος βγαίνει σ’ αυτήν, συναντάει το χρόνο,
μιλάει κοινά, συνδέοντας το έξω με το μέσα,
ζει τη ζωή, με μια γαλήνη σαν θάλασσα
απλωμένη αέναα στο στήθος, εξυψωμένος
απ’ τη βία και βλέποντας αυτό που  βλέπει ο άλλος,
πλάι με τις γενναιόψυχες υπενθυμίσεις των άστρων.
Η νύχτα εδώ διαβάζεται ορθά,
και τούτος  ο κόσμος γίνεται η ανάσα τού κόσμου
όπου όλοι εκκινούμε ως άλλοι.

Punch & Judy

the Left imagined punching the Right
the Right imagined punching the Left
the West imagined punching the East
the East imagined punching the West

Mester Jakel/transitivism

Δεξίωσις

Υπάρχει μια νύχτα πιο σκοτεινή απ’ τη νύχτα.
Όποιος μπαίνει σ’ αυτήν, χάνει το χρόνο,
μιλάει αλλιώς, συγχέοντας το μέσα με το έξω,
ζει το θάνατο, μ’ έναν τρόμο σαν άβυσσο
καρφωμένο για πάντα στο στήθος, ρημαγμένος
απ’ τη βία και βλέποντας αυτό που δε βλέπει κανείς,
κάτω απ’ τις αυστηρές υπενθυμίσεις των άστρων.
Η μέρα εκεί διαβάζεται ανάποδα,
κι ο άλλος κόσμος γίνεται ο βραχνάς τού κόσμου
όπου κανείς δεν επιστρέφει ίδιος.

a muse in the dark ages/Reykjavik synecdoche

I remember watching Dancer in the dark at a movie theater in Union Sq. NYC.Never before have I seen a movie punching american capitalism at its core, so directly. Bjork's performance proved to be prophetic, for what followed in her country's socio-economical condition.At the same time, her pop music career went down along with the rope.Her broken voice saying "nobody told me it would be like this" at the final scene, would overshadow any joyful tune ever since. She stood up though with  the unprecedented strength that only a fully naked human being can carry through. 

"capitalism" begins at home

two pieces for four ears (to be played simultaneously)

Puzzle_ini Mamma Atene

7

Το να αμφιβάλλεις είναι στοχαστικό
το να αντιβάλλεις, άσκοπο

Union Sq.

 Περπατούσε βιαστική διασχίζοντας την πλατεία, όταν με την άκρη του ματιού της, τον είδε καθισμένο στο παγκάκι ν' απολαμβάνει το τσιγάρο του στη δύση.Έτσι όπως καθόταν γυρτός στη μια πλευρά, σαν να κάνει χώρο για κάποιον ακόμα δίπλα του, της φάνηκε τόσο οικείος, που μπόρεσε να φανταστεί τον εαυτό της στο κενό και τον χρόνο ακίνητο.
Η κόρνα του τεράστιου πυροσβεστικού οχήματος την επανέφερε στην κίνηση του δρόμου.Στην κόκκινη λαμαρίνα του έγραφε "Danger!fireworks kill!".Πόσο αφελής φαινόταν τώρα πια αυτή η προειδοποίηση...
Κατευθύνθηκε προς τον υπόγειο , κατέβηκε τα σκαλιά και στάθηκε στην πλατφόρμα.Με προορισμό το σπίτι.

ToniC

boo

Στο Λόφο των Μουσών

The biocommunicative approach investigates rule-governed, sign-mediated interactions of plants,
animals, fungi and bacteria. Recent investigations demonstrate that pragmatic context determines meaning of combinations of signs used in all organismic kingdoms by organisms (interorganismic) to coordinate common behaviour as well as in communication processes between cells, issues and organs of organisms (intraorganismic). The primacy of pragmatics is valid also in natural genome editing, if viruses or virus-like agents edit genetic codes of cellular host genomes.

Roman Jakobson's 6ix Functions

Communication Functions
1 referential (= contextual information)
2 aesthetic (= auto-reflection)
3 emotive (= self-expression)
4 conative (= vocative or imperative addressing of receiver)
5 phatic (= checking channel working)
6 metalingual (= checking code working)

creative axis

//per/petual ///earthrisings //and earthfalls/////

ceci n'est pas un video

Nothing lusts for Ever

in_dependence

If Love is structured like a metaphor
Freedom is structured like a metonymy

Wide-eyed presentation of actualities

Benjamin probably was the most peculiar Marxist ever pro-
duced by this movement, which God knows has had its full share
of oddities. The theoretical aspect that was bound to fascinate
him was the doctrine of the superstructure, which was only
briefly sketched by Marx but then assumed a disproportionate
role in the movement as it was joined by a disproportionately
large number of intellectuals, hence by people who were inter-
ested only in the superstructure. Benjamin used this doctrine
only as a heuristic-methodological stimulus and was hardly in-
terested in its historical or philosophical background. What fas-
cinated him about the matter was that the spirit and its material
manifestation were so intimately connected that it seemed per-
missible to discover everywhere Baudelaire's correspondances,
which clarified and illuminated one another if they were prop-
erly correlated, so that finally they would no longer require any
interpretative or explanatory commentary. He was concerned
with the correlation between a street scene, a speculation on the
stock exchange, a poem, a thought, with the hidden line which
holds them together and enables the historian or philologist to
recognize that they must a11 be placed in the same period.

http://netzspannung.org

the eye of the beholder/automatic image annotation

 

 

 

 

 

 

 

 

 

 ceci n'est pas Taj Mahal

Black Pandora singing happy birthday Mr.President

 

creating memorability through intelligibility (and vice versa)

1. to provide concept mappings of the varied items under inspection, and to transform them from a collection into an interrelated system,
2. to give that system a unity or identity so that it can be discussed both by analysis, and with reference to other systems or objects,
3. to provide for the significance of that system in a larger scheme of things,
4. finally, by presenting images, ideas are given unity in a clear and concrete tangible existence.

comedia dell' arte/ globe theater

διάστημα και μνημονοτεχνική/τοπολογία και τέχνη

 In The Art of Memory, Frances Yates elucidates a classical example of the perceptual affects of time and space through media.  The medium of memory utilizes both time and space.  "Artificial memory," a mnemonic technology, was used to remember a speech as it unfolded in time through the media of architecture. [see memory, (2)] The speech was mapped onto specific familiar places or "loci" through which the orator navigated in his or her mind.  In "artificial memory," the temporal and the spatial were inextricable. 
According to Einstein, space and time are relative to the observer.  They are continuous only within the coordinate system in which they are operating.  Therefore, multiple types of "space-time" are conceptually possible outside of the "space-time" experience of human beings (Nerlich 1-11).  In 1907, German mathematician Minkowski published Space and Time , a text that posited a four-dimensional space, with time as the fourth dimension.  Minkowski was a crucial influence on Einstein's revision of the theory of relativity and the further definition of his own concept of "space-time" as a single entity rather than two separate entities (Nerlich 1-11).  Einstein's and Minkowski's conceptions of space radically transformed the media of visual arts and literature.  As Linda Dalrymple Henderson notes in The Fourth Dimension and Non-Euclidean Geometry in Modern Art, modernist movements in the visual arts became concerned with the representation of four-dimensional spatial realities as determined by time.  From Cubism, which still maintained a figurative approach, to the abstractions of Russian suprematism and De Stijl, modern art attempted to depict and form changing spatial and temporal realities.  Likewise, as Joseph Frank proposes in The Idea of Spatial Form , modernist writers intend their work to be read as a distinct moment in time as opposed to a chain of events.  Lessing's categories had switched sides to the pictorial representation of time and the literary representation of space.

timespace

abyss

De inventione

Invention is the excogitation of true things (res), or things similar to truth to render one's cause plausible; disposition is the arrangement in order of the things thus discovered; elocution is the accomodation of suitable words to the invented (things); memory is the firm perception in the soul of things and words; pronunciation is the moderating of the voice and body to suit the dignity of the things and words. [De inventione, I, vii, 9]Cicero

The Flaneur

Who is that man moving slowly in the lonely building, stopping at intervals with an intent face ? He is a rhetoric student forming a set of memory loci.

The Art of Memory/ Ad Herennium

The artificial memory is established from places and images (Constat igitur artificiosa memoria ex locis et imaginibus), the definition to be forever repeated down the ages. A locus is a place easily grasped by the memory, such as a house, an intercolumnar space, a corner, an arch, or the like. Images are forms, marks or simulacra (formae, notae, simulacra) of what we wish to remember. For instance if we wish to recall the genus of a horse, of a lion, of an eagle, we must place their images on definite loci.

The art of memory is like an inner writing. Those who know the letters of the alphabet can write down what is dictated to them and read out what they have written. Likewise those who have learned mnemonics can set in places what they have heard and deliver it from memory. 'For the places are very much like wax tablets or papyrus, the images like the letters, the arrangement and disposition of the images like the script, and the delivery is like the reading.'







http://www.idehist.uu.se/distans/ilmh/Ren/yates-adherenn.htm

Notae

"It is one thing to worship a picture, it is another by means of pictures to learn thoroughly the story that should be venerated. For what writing makes present to those reading, the same picturing makes present to the uneducated, to those perceiving visually, because in it the ignorant see what they ought to follow, in it they read who do not know letters. Wherefore, and especially for the common people, picturing is the equivalent of reading."

phantasmagoria

"Since each phantasm is a combination not only of the neutral form of the perception, but of our response to it (intentio) concerning whether it is helpful or hurtful, the phantasm by its very nature evokes emotion. This is how the phantasm and the memory which stores it helps to cause or bring into being moral excellence and ethical judgement."

Pd

U and I make a wh_eye

One I