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Curator of becoming, Artist, Writer, Urban Tiger
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    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    Lately I found myself walking the streets of Rome; it has been a while since my last encounter with the muse of old, and it was clear from the first gaze that Rome’s beauty is unbeatable, effortlessly portraying my limits in appreciation of beauty… after all how many ‘moments’ can one have in duration?



    Walking in Rome is like no other landscape I know, while roaming I meet an urban palimpsest that invites the beholder to extract the narratives that are the ‘makers’ of human history. Moving between the ‘Roman Forum’ to Michelangelo’s Piazza del Campidoglio, across a renaissance courtyard and into a modern city junction, reveals architectural structures as reflective-organs that both protect and maintain across time the unique desire-modes, the beating hearts of the narratives of which Rome is made of.

    Yes, walking in Rome is like coursing within a library, the contents of which are a milieu of desire-modes, acting as engines of poiesis, generatively creative of the ‘human’ by the human. As if there was a silk thread to connect all these manuscripts of desire. The flow of an endless number of minds along the Tiber and through the river of time, looking forward, deep into the “not-yet” and calling for a difference in the aesthetics of everydayness.

    Encapsulated in the city ruins, a swarm of desire-modes, of many time-threads, join to interface the actual with the mounting intensity of times-past. The whole extruding towards the not-yet, towards the arousal of consciousness. There, at the folds of consciousness awaits poiesis – the event of reconstructing the horizon of intelligence.

    Yet, while walking I think that the current brings now a profoundly new factor in the timeless flow, in the big-transition that we are, the map of desire-forms is expanding beyond the human, we are not anymore (if ever) the exclusive source of dreaming. Today, the map unfolds multiple sources of desire-forms: Technology, Nature, Corporate Business, Finances, Nation-states and processes like cyborgization and urbanization, and more.

    The understanding infiltrates that the makers of history, are beyond human control. The more we progress, it is not Gods that we become, not at all… but children again, in this weird and new world, occupied by the need to learn how to navigate and orient ourselves with and in this emerging world.



    This reflective thread recalls not unsimilarly to the description of the human individual as a superorganism, composed by the diverse entities that for all practical purposes constitute us, while pursuing their own interests, such as microbes, viruses, foreign strains of DNA and human cells. In the light of such sights , the “I” is basically a complex that defines in a joint fashion who we are, (as in: Humans as Superorganisms: How Microbes, Viruses, Imprinted Genes, and Other Selfish Entities Shape Our Behavior” by Peter Kramer and Paola Bressan (Padua).

    The Technium proposed by Kevin Kelly is another version of Superorganism, very much pursuing and further developing Marshall McLuhan’s stance in ‘Understanding Media, 1964:

    “Physiologically, man in the normal use of technology (or his variously extended body) is perpetually modified by it and in turn finds new ways of modifying his technology. Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and evolve ever-new forms.“

    Kevin Kelly in ‘What Technology Want’, 2011, writes:
    “Humans are the reproductive organs of technology. We multiply manufactured artifacts and spread ideas and memes. Our society is as dependent on this technological system as nature itself. Yet, like all systems it has its own agenda. Like all organisms the technium also wants.”

    And Susan Blackmore in her recent article ‘The Third Replicator’ is enlarging the Milieu of ‘Things that want”, in adding a new term to the pool of Genes and Memes:

    “The third is that now, in the early 21st century, we are seeing the emergence of a third replicator. I call these temes (short for technological memes, though I have considered other names). They are digital information stored, copied, varied and selected by machines. We humans like to think we are the designers, creators and controllers of this newly emerging world but really we are stepping-stones from one replicator to the next.”

    In all of our related existential spheres: The biological, the cultural, the technological, the social and the network of eventful processes, we start to recognize underneath our becoming the same (un)convenient pattern and emerging truth. We are walking upon new grounds and under the influence of a new set of Meta-forces.

    We should learn and fast what every God eventually learns the hard way, that openness means separating origination from directionality. Or better put as a paraphrase upon the uncertainty principle – it is impossible to know at once origination and directionality of a system, open system that is.

    So yes, the project called man ignited and originated all that is emerging around us and in us, but those forces that are radically and irrevocably rearranging the world, self and mind, are not under our control.



    To recalculate orientation is our new task and wonder, because possibly this time the key(s) are not contained by the past, nor are they a fully developed promise engraved in the bowels of the future(s).

    Once more, not differently from 10,000 years ago, man is like a child again, facing forces greater than our scope of imagination, with no sufficient language to think, to act and to dream the rapidly transforming times.

    And so the times-past seem to whisper, we need to reconstruct our horizon… again… and maybe it is our first (serious) sign of success.


    *From the series Cogitating Ferocities
    *Art works by J.D Doria

    Image 1 - Sun Waves
    Image 2 - Reconstructing the Horizon.. Again
    Image 3 - The Green Fairy
    Sun, Aug 16, 2015  Permanent link
    Categories: conciousness, aesthetics
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    The case with friends, lovers and universes

    Somehow, somewhere, we carry this idea that behind everything there is a logic that we can comprehend, that our thought embedded in languages is capable of devising a description of the world, a description that contains the world? And yet the great poets remind us that the mystery of substance is uncontainable in words and language, though sometimes for a brief moment it does rumble in a state, a mode of mind realization. Armed with both clashing beacons (describing the indescribable and that mind is not arrested in mind) we occupy the action space of contemplation. Then from time to time a description emerges, a principle is articulated, man enters history-making procedure and the ‘flow’ of our collective thought and actions bends in accordance. The universe comes to know itself through its explorative agents, but then again we touch the indefinite depth, which reminds us that life, substance and intelligence does not necessarily follow our lead. The universe of mind gives itself to us for a moment, only to jump farther into itself. It is, after all, like a dance between real lovers and friends, every gesture of the one becomes the new ground upon which the ‘other’ outmatches itself and expands into far horizon. Isn’t the case with friends, lovers and universes? (From notes on expanding forms)


    *From the series Cogitating Ferocities
    *Image - from the Petri-Dish project by J.D Doria
    Wed, Jul 2, 2014  Permanent link

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    Beauty Is a Ca·tas·tro·Phe

    Aesthetics is an art of intervention. It is art because it embodies ‘intersubjectivity’ between a line of history and a future edge. It involves selection (or should we say the selection of consciousness?) and it is entangled with ‘magic’ – the inflation-into-presence of an unformed stuff. It is intervention, as without it, the life of us and of all the rest we generate, would be very, very, repetitious. Intervention rests in the poietic of new distinctions that disrupt the flow of congruent acculturation and enlightens reorientation. It begins with modification and it culminates in the genesis of a new universe, all the way from a first stick of wood to the open blueprint of ourselves. Aesthetics is the long-term project of curating becoming across the changing shores of understanding and technology; (Aesthetic is) the primitive verb that substantially teases events of becoming into fresh dis-continuities of the ca·tas·tro·phe named beauty. The event of becoming is charged with directionality, or otherwise put, Aesthetics is about how, who and what are we transforming into. So let us make it rumble loud and clear – Which origin are we? And what are we the beginning of?

    ___
    *Cogitating Ferocities is a brewing facility for long-term intensities.

    *Catastrophe – is traceable to the Greek ‘Kata’ (over) + ‘Strephein’ (turn) – to overturn. In Catastrophe theory, catastrophe is defined as: unexpected dis-continuity in an otherwise continuous system.

    *Image - from the Petri-Dish project by J.D Doria
    Mon, Mar 17, 2014  Permanent link

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    Written by Xaos; Starwalker;

    Walking The Fine Line

    I wish to begin this unfoldment by rephrasing the ending words of the previous paper, to emphasize the critical aspect of the creative process that accompanies this work, and to phrase it metaphorically as ‘walking the fine line where generation is fertile’.

    “In front of my eyes, painting opens a vertical gaze into the genesis of form. For brief instants, causality is exposed in whirls of interconnected subtleties, history not yet on its path to be interpreted, as a fine line that grows tangible, where the inevitable meets vision and where generation is fertile.” (From - Becoming on the line, part 1)

    This metaphor is, of course, the domain of the ‘artist’, yet by all means, that ‘artist’, that ‘poet’, that ‘thinker’, is no exception to the line I wish to bring forth here. This line of generation in its fertility does not yield to any appropriation, neither by that which is called ‘thought’, nor by that which is called ‘art’.

    With ‘fertile’ I point at the correlation between a genuine genesis of form and the edge of thought. An unmediated correlation of which Art provides numerous examples.

    The pioneering expressions of the Dada movement, to mention but one at the beginning of the last century, brought, among other transformations, the articulated necessity to include ‘chance’ within the creative process. In a society still partly devastated by the horrors of a world war, chance and unpredictability in the artworks (think of the works of Hans Arp) acquired a new status, they stood for the artist and for the philosopher as the possible antidote to human inescapable delusions and blindness. The perception, the description and the expression of the order, or lack thereof, which set the picture of the world, had irreversibly changed.




    The singular genesis of form and the emerging structure of thought that reflects it do not lead and follow one after the other, neither are they addressed with hierarchical significance, but rather, suggest two superimposed faces of the same process of becoming.

    In this sense I treat the written word no differently than the work of art, as I do not believe that breaking the determinism of matter is a privilege of ideas, or of objects. Ideas emerge within the same creative process as matter, striving towards individuation through the shifting grounds of ambiguity, through exploration and form-finding, avoiding the repetition of deterministic paths mostly by interaction.

    The pursuit of open-endedness aims to entice the generative engines that operate in the creative process. ‘Fertile’ from this standpoint demands an open-ended world that allows the future not to be completely defined by the past, nor to be confined totally within the subject, as it pursues the depth and complexity that provide the rare instances, in which the subjective meets the surface of the objective and vice versa.

    Our measuring devices, though, cannot but distinguish and separate between form and process, between objective and subjective, and it is upon such chasms, between our intuition and our measuring devices that our culture strives for much needed bridges. For the peaks of our subjectivity (insights) and the heights of our objectivity (measurements) do not rest in the same poetry.



    The way into a work of art is a Ritual

    The way into a work of art is a ritual. The reverse engineering of it may, if at all, uncover a path made of critical phases, one of these being when all lines of distinction fade away and everything bleeds into everything else. The making is charged with a sense of infiltration into a state of perceptiveness less riddled with “rulers of perception”. This is where ideas meet colors, passion meets atoms and nature meets imagination.

    This is when ‘matter’ becomes active and soft, and creativity loses its illusive locality. Deleuze, I believe, calls this realm of reality “Body Without organs”*. It originates with Antonin Artaud’s radio play - To Have Done with the Judgment of God (1947):

    “When you will have made him a body without organs,
    then you will have delivered him from all his automatic reactions
    and restored him to his true freedom.”


    Substantive conjunctions seduce the creative process to explore outside the boundaries of the familiar, seeking co-emergent intensities rather than well-defined forms, intensities that drive unexpected processes.

    It is never about the ‘new’, or change, those distinctions are made in retrospective when updating the map of representations, it is however about intensities that drive unexpected processes, the very ‘code’ of intelligence-expansion where generation is fertile.

    The artist deals with transformations, with nodal points of no return, where the horizon ahead exposes for a brief moment “all floating forms of what may be…” (Goethe**). The yet invisible path hung among these floating forms and the growing tension accompanying the view is a good grasp of the sense of aesthetically alive.

    In there hang as well the scientifically earned predictable answers, our superior ability to control our environment. Yet these cannot or should not hang in there alone, the price for it being the returning illusion of control and the gradual reduction of our world to the aspects we can understand, measure and command.



    The question of open-endedness and dis-continuity

    The question I am keen on exploring asks where is the genesis of form placed in our culture and minds today? In whose hands does it lie? And what picture of the world does it mirror? As, wherever the genesis of form is placed, it determines the “generative capacity” of the resulting world. This is both a philosophical and a political question, one which touches our self-description as humans as well as most of our current collective endeavors.

    In our cultural evolution, successive waves of thought and expression liberated the genesis of form from the hands of the gods, as we departed from mythology and set our gaze upon an eventful quest, which brought science, philosophy and art into being.

    Though it is beyond the scope of this writing, a careful sampling of the repertoire of theories and dynamics of development in our background, might suggest that the lines of development of the picture(s) of the world do not necessarily converge into one unifying truth, but rather towards a dynamic increase in the generative capacity of the world and of us.

    The Moment we disconnect Form from a scarce resource, be it an idea, an essence, or god ; the moment we disconnect the Word from a-priori representations of definite elements in the world and recognize its generative abilities***; the moment we think of matter itself as pregnant with morphogenetic aptitudes (a-la Deleuze****), that is when a generative capacity is introduced into the picture of the world. A generative capacity which does not require any ‘external’ assumption to entice, maintain or conspire form into world.

    All is Matter

    Observations of Form, generally speaking, tend to lean upon three notions: the notion of cause and effect, hence, forms enfold a definite origin. The notion of stable identity or continuity, hence, forms unfold a set of prime features (essence, ideas, soul), which maintain their identity through processes and are immune to them. The notion of a quantified shape, hence, forms are intrinsically measurable.

    The act of disconnecting form from a linear origin and from a definite identity allows form and reality to co-relate in an unmediated and non-reductionist fashion. This brings to mind the axial phrase of Buddhist philosophy - "form is emptiness; emptiness is form" (The Heart Sutra). Where Emptiness points to a set of fundamental views about reality: the notion of non-inherent existence, the notion of inter-dependence and the notion of being in a flux).



    That which is exposed is a view of ‘Matter’, which is Generative. Such view is radically different from the scarce materiality funded by a duality of mind and body, or else, by the opposition of materialism and spirituality. It rather stands as a vision of reality in terms of embodied corporality, soft and active matter that is rumbling in all directions. Fertility is not about ‘spirit’, nor about matter, fertility belongs to intensities in process (relieved from the burden of crystallized measurability).

    All is Matter; not in the sense of homogeneity or oneness, but in the sense of the corporality of space and time; of embodied gradients in interaction that partake in engendering the fabric of reality.

    It is distinct materiality and gradients that we encounter in the multi-dimensional phase-space that we name universe; substances as bodies, minds and meanings; me and the word ‘me’, nothing is disconnected from matter, nothing can be deemed immaterial. Nothing need be. Immateriality is not, in this sense, our privileged way out of a blind physical world; it is the realization of the limitations of reductionist descriptions, which we need in order to build a valid alternative.



    Impossible Creatures

    We seek the next bend in the tale of this continuous poiesis, bearing in mind that forms are interrupted instances in the flow of morphogenesis.

    My last works emerge with such flow of contemplation. Rather than composing, I ‘grow’ my images from the materials, surfaces and mediums I am using. Technology is my organ of apprehension through which I curate the generative capacity of the work. In this plasticity of production I find myself to be a multitude and art to be singular, yet, in a never-ending becoming.

    These impossible creatures are as alien as they are familiar, always in the soft middle, always in flight on the fractal borderline between process and form. They and we, whatever this we may embrace, exist in an endless dance of becoming, exciting and being excited, walking the fine line where generation is fertile.

    What are we after, if not to challenge the shape of beauty and self? If not the carving, in real time, of a previously unrecognized layer of intimacy? Aesthetics, in this sense, is a live matter.



    ——————————————————
    * “Deleuze and Guattari use the term BwO in an extended sense, to refer to the virtual dimension of reality in general (which they more often call "plane of consistency" or "plane of immanence"). In this sense, they speak of a BwO of "the earth." "The Earth," they write, "is a body without organs. This body without organs is permeated by unformed, unstable matters, by flows in all directions, by free intensities or nomadic singularities, by mad or transitory particles" (A Thousand Plateaus, p. 40). That is, we usually think of the world as composed of relatively stable entities ("bodies," beings). But these bodies are really composed of sets of flows moving at various speeds (rocks and mountains as very slow-moving flows; living things as flows of biological material through developmental systems; language as flows of information, words, etc.). This fluid substratum is what Deleuze calls the BwO in a general sense”. Body without organs – Wikipedia article, downloaded on 20/10/13.
    ** “…formation, transformation / eternal mind’s eternal conversations,/ wreathed with all forms of what may be…” J.W. Goethe, quoted from The New Landscape in Art and Science, G. Kepes (1956)
    *** “For a large class of cases—though not for all—in which we employ the word ‘meaning’ it can be defined thus: the meaning of a word is its use in the language” quoted from L. Wittgenstein, Philosophical Investigations, (1953).
    **** “Deleuze’s philosophy of matter and form attempts to replace essentialist views of the genesis of form (which imply a conception of matter as an inert receptacle for forms that come from the outside) with one in which matter is already pregnant with morphogenetic capabilities, therefore capable of generating form on its own.” Manuel DeLanda, ”Delanda – Deleuze, Diagrams and the Genesis of Form,” ANY: Architecture New York 23: Diagram Work: Data Mechanics for a Topological Age (June 1998)
    _____
    Image 1 – the Petri Dish Project by J.D Doria
    Image 2 – Collage with Squares Arranged According to the Laws of Chance, ca. 1916-17 by Hans Harp
    Image 3 - the Petri Dish Project by J.D Doria
    Image 4 – TV Buddha by NAM JUNE PAIK
    Image 5 - the Petri Dish Project by J.D Doria
    Image 6 - the Petri Dish Project by J.D Doria
    Image 7 - the Petri Dish Project by J.D Doria
    Fri, Nov 1, 2013  Permanent link

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    Article about J.D Doria (Xaos) that was published today at the Manifesto magazine in Hong Kong.

    by Gili Karev

    Doria Joseph Drori, also known as J.D. Doria, is an Israeli interdisciplinary artist. His abstract art works are an amalgamation of liquid materials, technology, photography and philosophy.

    Sublime, organic, molecular, transcendent. These are only some of the words that come to mind when looking at J.D. Doria’s captivating images; images that simultaneously appease our undying quest for beauty and perplex our symmetrical inclinations. Hailing from Israel, a nation suspended between order and chaos, Doria’s art represents that which essentially eludes representation: the flux of life, in all its consistent and ever-changing glory.

    Fittingly, Doria’s art is a product of multiplicity. Using a medley of acrylic, ink, glass colours and water on paper, fragments of Doria’s creative process are then captured by a camera suspended above the page. Like drops of water on flat glass, the colours and consistencies move freely, interacting with each other incidentally as they remain in constant movement and modification. The photographic images are then fed into a 3-D scanner, where particles of each larger image are extrapolated and turned into a single frame. In many cases, the extrapolated fragment is hardly perceptible in the context of the original painting. Once disengaged, each portion becomes a world unto itself, an atom in a galaxy. read more
    Thu, Apr 25, 2013  Permanent link

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    The Case:
    Investigating traces of the real; applying artistic insights while mapping extended states of mind.

    The Nature:
    A Mytho-Poetic map.
    A lexicography of discoveries, whilst meeting impossible creatures.

    The Way:
    An intimate cross-fertilization between friends
    J.D Doria (Xaos) the Artist - Tyger A.C (Wildcat) the Writer





    Preface:
    In 1957 Borges published the book – “Handbook of Fantastic Zoology” which later came to be known as: The Book of Imaginary Beings. It contains descriptions of 120 mythical beasts from literature and mythologies of many origins; creatures, conceived through time by the human imagination.

    While going over this work, a question hunted me: how to read this book? Should one read it as a window into human imagination? Is it a rare porthole into the stuff of creation, past and future? Or else, is the book just demonstrating the limitats of human imagination when confronted with the richness of nature?

    It was this line of hard distinction between imagination, nature and time that caught my attention. What would happen by looking at nature and imagination as expressions of the same ‘stuff’, a continuum where the one endlessly spills into the other?

    Nature may be impersonating a richness, generated by the over-abundance of time, while imagination reverberates richness by the generative power of minds, punctuating time with condensed, embodied singularities, transiting a trace of reality. Yet both thread the same canopy of vital matter.

    The dissolution of difference between reality and representation, imagination and nature, is not dissolution into flatness, but rather, it brings into presence soft and active matter. It is the doing of the conscious space where the continuum of nature and imagination emerge, always in a process of interpenetrations, always demanding iteration. To trace the real means uncovering realities previously unseen and unimagined, carving bridges between the realms and reformulating that which already exists.


    Conversation with Impossible Creatures is born out of the exploration that interprets such a continuum of imagination and nature, and attempts to achieve it by the attentive usage of ‘bridges’, those bridges I refer to as technologies.

    The first bridge is between the ‘product’ of imagination, (i.e. a painting) traditionally perceived as single and stationary across time, and the generative richness of the creative process, a dynamic, and continuously opening progress. In this case it is digital, photographic and generative technologies that allow the opening of the image into a multitude, and disclose its otherwise invisible image-cells, now free to continue mutating in interaction.

    The second bridge is between image and language; those two separate categories which when tuned a-synchronously and are re-integrated into a dynamic process, provoke the penetration of reflectivity into the fascinating ‘absurd’ of every ‘terra incognita’.

    The third and most important bridge is between minds, in birthing an extended reality, a reality that comes to life only by virtue of such a unique bridge. The process of iterative approximations between mind sights becoming an event, a new world being disclosed and discovered.

    Technology (of bridging) exposes the ‘middle’, the constant leaking of medium into medium, and mind into mind, unfolding its ‘everywhereness’, opening by that a corridor into a new transitory ‘home’ for perception.

    A world full of amazing creatures, that came into existence only through collaboration, between processes, between moments and sights, bridged by the technologies we created, I found this line as significant in light of our future.
    Sat, Apr 20, 2013  Permanent link

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    A becoming on the line: painting and the genesis of form.




    Written by Xaos; Starwalker;

    *
    Art puts a question upon the world of ideas and perceptions. A question that artists pause upon in their every day practices with matter, mediums and minds. It is composed of the vivid sense of openness, unpredictability and chance that emerges with creativity: how open is the world around us – and in us? It comes to challenge the vision we have concerning the world and primarily the notion of strong determinism. Art is occupied in the generation of forms, from the times of its beginning in the caves of the Paleolithic. Ever since Art is declaring, and today more than ever, that aesthetic is not arrested in frozen objects but rooted in the open dynamics of life, in the complex activity through which forms emerge, sustaining and modifying themselves. The journey of an artist into morphogenesis and aesthetics happens between experimental exploration and selected constrains. Through the subtle interplay between the chaotic and the coherent, the artist understands aesthetic from within. The outcome is a work that confronts the constraints of what is the expected dénouement of painting, and explodes in a multiplicity of images and worlds.





    Morphogenesis

    Morpho-genesis, or the emergence of form, is one of the most fascinating and least understood territories of life and of human cognition. How does nature acquire its forms and shapes? How does our mind recognize form? How does it deem particular shapes, and not others, attractive, elating, inspiring? The human directly experiences the emergence of form continuously, whether it be visual, structural or belonging to the level of significance and meaning. The artist, in his hunt, aspires to be intimate with it. From the eyes of an artist, morphogenesis provides the viscerally relevant territory to explore the bifurcating roots of aesthetics.

    Though Art speaks mostly through a language of images, its meta-language – the complex creative process – is a constant gaze into the back-stage of morphogenesis. A backstage where softness and multiplicity are signatures of depth, marking art simultaneously as mature and experimental, and a refined commentary upon the generation of form.





    Causality

    Experimenting with emergence means, inevitably, to touch upon the ancient questions of causality. How does form come into being? Stretching as far back as the dialogue on aesthetics, the dialogue on causality brings forth the inquiry into two grand paradigms: Telos (from the Greek τέλος for ‘end’, ‘purpose’, or ‘goal’) expressed in the concept of final causes; and material necessity embedded in the concept of efficient causes. In the evolution of the latter one, necessity projects along history into the critical quest of the modern scientific method and up to the mechanistic view of the universe, aiming to explain all existing forms as the result of a concatenation of efficient and predictable causes. Causation clearly resides in the non-negotiable past of observed phenomena and can be deduced, as in the case of billiard balls rolling on a green table, or of an impassive mechanical clock.

    The final cause on the other hand, driven by telos, lends us the idea of form emerging ‘for the sake of’ a becoming, within organic and recursive processes that need to self-sustain themselves. The final causality of form extends into the anticipated evolution of something, residing with the future stages of a process and its components as much as with the past ones; as in the case of the evolution of an organism, whose embryo shape-shifts through inexplicable forms to serve the future aptitude of the mature life-form; or in the case of human action and organization, whose logic is assumed to hold an aim extending above and beyond the fulfillment of material immediacy.





    Open-endedness

    For the artist that enters such a dialogue, the riddle in exploring the creative generation of form boils down to a critical core issue: how open is this world around us - in us? As humans, we ultimately find our significance in intersecting both time (history) and pure potentiality, electing ourselves to be heroes of a privileged open-ended edge, so that a genuinely new element may have the option to emerge and affect our history. We assume, by now, that the final cause in terms of purpose, vision, direction, commitment, intention and design, expresses entities that are playing a role in our human mode of interaction with the world, and to which we are entitled.

    We also generically deny, though, all and any generative property of interest related to substrata and physicality, at most when coming to describe them. We do not consider nature or matter as counterparts populated by final causes. On the contrary we expect them to respond passively to material necessity and be imbued by our own telos.

    Yet how profoundly different the view when we come to interact with them, when what is demanded of us is to radically blend into a reactive substrata, whether it be matter, nature or technology. How surprisingly non inert is the world of substrata, when we find ourselves connected, wired, embodied, in love or simply absorbed in the depth of a creative process.






    Can any sharp cut be made then, while form is emerging somehow, between active and passive, organic and inorganic, subject and substrata, final and necessary? Opposite and complementary emotions bring about those ephemeral and fertile edges, where one is engrossed to search for the sudden emergence of mind-evoking shapes along the iteration of shifting borderlines.


    Aesthetics

    At such moments, the emergent property being exposed and disclosed is aesthetics - the chaotically coherent organization of form, surprisingly composed in a fashion that stirs our being into presence. It emerged, not from an external vision imposed upon inert matter, nor solely from the efficiency of material randomness, but by stemming powerfully from the deep structure of the process that renders the complex sensible.







    Artist and substrata

    While far from equilibrium, matter is active and pregnant with potentialities. The artist is immersed in a dynamic universe where he lends himself to the chaotic process of sense-making, leaving behind the old habit of ignoring nature or substrata, using it rather as a vector, participating in the genesis of the image. Absorbed, he navigates through an ad-hoc vision and real time intuition.

    For the artist Aesthetics is a direction to the creative pulse, a direction that unfolds in a non-linear fashion via concepts such as simultaneity, spontaneous co-emergence, accuracy, or the simultaneity of knowing and action.

    He becomes a function of Aesthetics as a complex verb, combining the ‘sudden’ (intuition), the ‘gradual’(aggregation) and the ‘edge of chaos’ into a fertile event.

    “I wish my art as a passageway, a corridor into the dynamic ambivalent line between self and other, between intimate and alien, between certainty and the unknown; to mark through aesthetics the possibility of transition towards a new perspective.”






    The works: Painting as Multitude

    Painting as a Multitude is the technique I am using to explore the moods and tides of emergence. The creative process, through which the image emerges, does not have one point of end (convergence) but multiple entrances and endings. The rigid hierarchy of representation between process and form, in which the final product takes the front stage, is broken in favor of nesting dynamics where both process and form become part of a dynamic feedback loop.

    I usually begin with a small work on paper, using liquid materials (colors) such as ink, glass paints and acrylic. When working out a composition and laying out these materials, I take account of the chaotic process. In the process, the paints do not merge entirely but maintain their disparate identities, while the chemical interaction between the colors creates forms and processes, which generate images that retain fractal qualities.

    Technology is incorporated into the works through two main techniques. The first involves the use of a 3D scanner on the painting, to extract a high-resolution digital image. The out coming image provides the basis for a process of selection, to capture (through a manipulation of scales) a series of other images, that lie locked in the base painting. The images extracted are then finally blown up and printed on various mediums.

    The second technique involves the usage of a digital camera during the painting process, the camera exposes and briefly captures the images in the making that subsequently unfold into a resting point in time. These images (that are usually lost without trace) take form while the painting process is taking place, in various areas of the work, as a result of the interaction between the different materials. Both techniques are rendered through a close artistic collaboration with a photographer and image designer.

    At the end of the process, the work comes out as a multitude, a series of images that are both a plural form of the base state of the painting and also independent images of their own accord.

    I discovered that the work gains edge by opening itself to a network of extensions. Through technology, media and collaborative interaction, the act of painting grows into an increasingly more exposed creative process, which aims to release the fixed constraints of the one single perspective, into a multiplicity of moments, images and scales, captured in dynamic evolution.

    It is as if a new cosmology becomes visible and a multitude of images bounces to presence. From micro to macro and vice versa, with each iteration it gets clearer that the particular image on paper is but the skin of a bubble of life, lusciously liquefying into richness.







    In front of my eyes, painting opens a vertical gaze into the genesis of form. For brief instants, causality is exposed in whirls of interconnected subtleties, history not yet on its path to be interpreted, as a fine line that grows tangible, where the inevitable meets vision and where generation is fertile.

    *


    Collaboration

    The unfoldment began with a series of small paintings on paper, it continued with the exquisite intervention of technology and an artistic collaboration with Shaw Gadi Raz as photographer and Image designer. The multitude image-generating process called painting when extended through technology and augmented through collectivity can generate infinity, an endless and manifold articulation based on one (graceful) painting procedure.

    Appreciation

    Impossible Creatures is the name suggested by Wildcat for the new series of works that are now in process.


    Images by J.D Doria

    Image 1 - Impossible Creature - manifest 1

    Image 2 - Impossible Creature - manifest 2

    Image 3 - Impossible Creature - manifest 3

    Image 4 - Impossible Creature - manifest 4

    Image 5 - Impossible Creature - manifest 5

    Image 6 - Impossible Creature - manifest 6

    Image 7 - Impossible Creature - manifest 7

    Image 8 - Impossible Creature - manifest 8

    Thu, Jan 24, 2013  Permanent link

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    A Palimpsest Project



    In a late summer afternoon, contemplating the geography of mind, I follow the trails left by questions, point-like collapses scattering semi-stable pieces into thin vapor, only to re-coalesce later on in the growing maze of thought. Never knowing when the architecture will hold to the aggregating wave.

    Questions for a moment materialize as creatures that chaotically weave through our minds, crawling our reflections, intercepting thoughts, opening and closing windows, bursting activity; but, if to extrapolate, what do Questions ‘want’?

    In an eerie shimmer it seems as clear as it is paradoxical, Questions ‘want’ a self. Questions, before anything else, request the installation of thought and make necessary the production of ‘a mind’ - a momentary instance carrying the option for long duration. Live questions are doors to existence, pumping quiescent matter into visibility.

    Questions are agents of future selves. To utter a question is to engage with the poietic of self, to utter a question is to subscribe to a society of singularities.


    The Century of the Self

    In his 2002, 4 part documentary series ‘The Century of the Self’ Adam Curtis explores the junction between philosophical themes such as the primacy of human will, the consequences of Freud theory of the self and the rise of modern economics.

    Curtis, unfolds an interesting tale about how the Individual space at its modern beginning, was high-jacked by the political and economical system of the first half of the 20th century into being the all-consuming self, whose presence too well characterizes the crisis punctuating our days.


    He questions the theme upon which the individual is constituted; pointing out that the malleability of man is being played into the hands of the ‘Corporate’ and of a linearly measured interest. Our adaptable self and our hailed individuality have become, in less than fifty years, tools for social control.



    Curtis along the footage asks again and again, what is the reality of self, if it gives itself so easily to be high-jacked and manipulated into a simulacrum? How do we account for the invasion of the ‘Corporate’ into the space so confidently suggested by the individual sign?

    To my understanding, these questions support a direct gaze into a core problem of the contemporary human – that of being an entity that lacks a “suiting” Self.

    A human in our society is described as a clear entity, a recognized individual (at least legally and commercially), who finds itself facilitated with an ever-increasing accessibility to new dimensions of producing objects of identity. Yet this same individual is lacking the arch of singularities that emerge with depth.

    The self of the contemporary human, more often than not, does not manage to bridge the gaps in ‘realness’ that the current shifts in technologies and realities are bringing about, and under multiple overload threats it retreats to ‘surfing’ upon an unquestioned, thinner and thinner level of interaction.

    Only 10 years after Curtis’ century of the self and a new Mini-Series – Black Mirror, choose trauma (instead of nostalgia) as a strategy to respond to the collapse of the self.



    This three part Mini-Series created by Charlie Brooker is addressing as if a simple equation: the more technology (and mediation) is in use, the less substantial is the self.

    One cannot look away from the possible implications of such an equation, would it turn out to be the case. We have to ask the questions, and at least propose few answers as we accompany technology in its migration closer and deeper into our flesh, and a techno-culture is reshaping us beyond what we care to admit.

    The nest of the future is in our daily present, in how we handle our moments of passage.

    Could we reclaim the space suggested by the ‘individual’ sign, away from the existing patterns of partial affirmation (and corporate policy) and into a space of open iteration, a space of significant questions?

    How to re-start the poietic of the self?






    Readdressing The Story of the I

    The story of the ‘I”, this non communicable experience of being, is stretched across our history, punctuated through stations of development, co-evolving with technology and culture, reshaping its contour upon the gap between community and individuals and always, but always, rebelling against history.

    In her video work Paralyzed from 2003, Klara Lidén performs a dance in an underground train; it is a short video (3:50 min) and there is absolutely nothing extraordinary in it, not the frames, not the gestures nor the dynamics in the train and yet from the first moment it is clear that it is the real thing. (The relevant frames are 5:27 to 6:55 )

    Portrait d'artiste - KLARA LIDÉN from KLIKON on Vimeo.

    The ‘thing’ about this work is that she fully speaks with her body. Her political and artistic act is fully articulated through simple and spontaneous body movements. She is not judging, not speaking morality, not embodying anarchic dance, it is not a smart-ass cubical intelligence at the edge of contemporary something.




    It is however a performance of a Body, surrounded by history and culture, by time and space, by noise and everydayness, a Body that finds itself in the act of recreating itself, carving through such an act an existential space and a fleeting freedom.


    Klara linden provides a straight line of insight into the story of the ‘I’; the ‘I’ is always surrounded by history, be it the urban system, the social rules or the present techno-culture. In this perspective the ‘I’ has no other choice but to play according to a black-and-white game; it is either being stirred around by the history that surrounds it, or to move history.

    A simple, almost modest clarity, is emerging viewing her work, which is antecedent to labels and categories; The story of the ‘I” in all of its compositions and styles, at core, is a story of an intense rumbling substance.

    Matching the reality of the Self, endows with the ability (almost like magic) to uncoil wings as organic sleeves, allowing this rumbling substance to emerge and temporarily undo the inevitable thickness of history.



    That Which Minds do Beside All The Rest

    Georges Bataille’s Story of the Eye unfolds the attempt to escape the world of the possible and sensible, and to engage with the effort of articulating the impossible.


    It is a brave poetry that uses synaesthetic language to disrupt the stable sense of subjectivity. A poetry, trying to avoid the battle between Art and text, sensation and language, between relations and categories, a direct poetry of engagement with that which is beyond the politics of freedoms and constraints.

    It is an honest effort of being engaged with ‘path finding’, not of a particular path, not of a particular finding, but rather, of freeing path finding from everything that surrounds and systematizes it.

    I understand Bataille’s literature and Klara Liden art as a “Labor”, the labor of the mind, or that which minds do beside all the rest.




    A mind in labor ‘appropriates’ the “I” as a seed ‘space’ – in terms of available resources for morphing a grain universe. Neither a given reality nor an affirmed identity may take precedence upon this, for whenever identity is the center of the “I”, the space suggested by the individual sign is occupied and useless from the standpoint of labor.

    That which a mind in labor does beside all the rest, is sculpting a space of narration (the I) into an evolving narrative, by that providing unoccupied (or re-occupied) grounds for becoming.

    Narratives are the suspended bridges of the self, crossing over while reformulating in mid air, projecting anchors in times yet to be formed, growing with labor into a poietic machine of becoming.

    Each narrative thus emerging is an edge between nodes, which were previously disconnected, possibly invisible, changing both the local experience and the global sense.

    Such narratives are both intimate and openly exposed, and most importantly they alter the space between the individual and the many and the existing options to carve an “I”, a new story of the ‘I’ within such gap.



    I AM STILL ALIVE # art

    The artist On Kawara sent already 2521 tweets to his friends with the same ‘repetitive’ line - I AM STILL ALIVE #art, and yet, there is nothing repetitive in its ‘artistic’ act.









    Since January 4, 1966 he has made a long series of "Date paintings" (the Today series), which consist entirely of the date of the day on which the painting was executed in simple white lettering set against a solid background.






    The work of On Kawara is a consistent addressing of the story of the ‘I’, we see a self that is simultaneously almost absent in the particularities of expression, and yet stands with the little it has in front of vastness.







    A self that exists confronting the reflection of a time endlessly flowing, from before its existence and long after, a space which is virtually infinite and more than it can basically imagine or grasp. A self that lives in a world with billions newspaper, trillions bits of information and indefinite versions of knowledge we shall never know.

    The ‘labor’ of intensification of a mind produces a self that puts for a second, and maybe more, that vastness to silence - That is for a fleeting moment the content of the world.

    The infinitesimally gentle act of On Kawara upon the background noise weaves unseen lines of departures, from a seemingly unshakable present, into not yet visible narratives. At each bifurcation made visible, questions emerge, marking the possible difference right there and bringing agency to future. No present is unshakable, nor need it be.


    Re-opening the poietic of the self

    In our historical impressions the ‘I’ emerges as the prime and distinct actor upon reality. Yet today while beholding its apotheosis of potency, it is crisis and collapse that surrounds us, and possibly a Meta-leap, in the ability and substance of the self to confront an increasingly complex and accelerating reality.

    Streaming through these pages is the necessity to expose the quest for essential change in the dynamics defining the ‘I’, as a pivotal factor in building the possibility to match the gap of realities defining our world.

    From the standpoint of aesthetics, before being an actor the “I” is a space, a seed-space of action-ability. More than ever, a space, to be carved empty. Empty of itself. That we may escape once and for all the neurosis of being constantly occupied with repetitive forms of ourselves. Empty of crystallized history that we may reclaim the substance of narration.

    Once freed, the “I” provides the space of action-ability where to initiate systematic hacking into the nonchalant indifference of existence. A space infiltrating reality by threads of intensities, fractally distributing influence upon multiplying surfaces of interaction, exchanging openly yet without dismissing intricacy.

    In the realization of the present the ‘I’ emerges as a placeholder, bridging agency across the eruption of multiple aesthetic avatars, a seam of continuous bifurcations where curation of becoming takes place.



    Time to free the individual sign from its monolithic history of identity, departing into soft space of action-ability where the correspondence between self and aesthetic is indeed transient, restless and critical. A singular and continuously temporary installation of thought in interaction. Works of art are sometimes a direct and intimate blow-up of the tension between open-endedness to a dense core. The “I” is a weaving space of that story.



    *

    Palimpsest usually refers to a manuscript or a document upon which more than one writing have been superimposed on effaced earlier writing, sometimes more than once. Historically it indicates something bearing the traces of a succession of forms in time. Frequently it's difficult to say which layer was first inscribed. The name Palimpsest is used here as a metaphor for an exploration of the possibility of superimposed minding.

    The palimpsest project is written by Xaos, Starwalker

    *

    Image 1 - Complexity Graphics By Tatiana Plakhova
    Image 2 – Suzanne Anker MRI Butterfly (5)
    Image 3 – Still Photo from Paralyzed from 2003, Klara Lidén
    Image 4 - Today Series – On Kawara
    Image 5 – Complexity Graphics By Tatiana Plakhova

    Mon, Sep 10, 2012  Permanent link

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    Painting, like us, begins in the caves

    Painting, like us, begins in the caves, along our history it unfolds with the human capacity to change the world - the visible is no longer the same after painting; while the invisible takes form as hesitant lines grow confident, filling the eye with a difference, bringing to mind a new sense.

    It is reality that painting continuously revisits, never witnessing, but rather, engendering a cognitive intimacy and an overarching plot. Painting correlates mind, hand and eye into a poiesis-machine whose subject matter is the human itself.

    Painting was back then, as it is now (in my eyes), a live manifesto of the creation of humanness, distributing itself into the cosmos, into the world, into the body, into timeless mythology and into immediacy and everydayness; open to all directions;
    It was the launching of the project of Man.






    From the edge of the spear to the edge of mind

    With the first images that appeared on the walls of Cueva de El Castillo, the crystalline image of the world was torn a part from the immanent present, and made separately visible, separately malleable and with it, most likely, the image of man itself.

    Extending itself through painting, the human breaks the ring of immediacy far into tomorrow. The paintings on the walls of the caves are as pockets of eternal memory, telling of the rise of Man from the silent cruelty of nature.

    Painting was our first Voyager, sent both around the world and through time to posterity, in order to make the world a ‘home’.

    It was the medium through which the human and the world intersected, so that the meeting point between them was not located anymore at the edge of the spear, but at the edge of mind. Through the veins and capillarity of matter a sentient landscape began to emerge.



    In these vicinities, our exodus from the dictats of nature towards a universe that can be morphed took origination. It was the softening of reality, the very beginning of it, which made us the artists of intelligence that we are today.

    Along the millennia, Art forged for us the keys of infiltration into the world, into humaness and into multitudes.

    Intelligence as the design of constraints

    As an engine of softness, the painted image hints that there is no single image to the world, there is no painting of everything; there is however the act of softening that increases the openings, the potent matter from which images are made of.

    Yet, while launching our expansion, painting inevitably also framed our becoming. In advancing refinements of mastery and ‘techne’ the underlying pattern of painting, though being a multidimensional process, always converged into one specified image, an apex around which value and meaning operate. Painting had and has a ‘center’.

    The Center in painting is the underlying pattern of convergence and emergence of a privileged image.



    That convergence is indeed an intelligent act of designing constraints, within which the correlation of mind, hand and eye operates by extracting privileged images. And through those fundamental constraints painting evolves.

    When we create, it is natural to think that the creative process must converge into the one privileged representation of it, how else? As our story goes, there is one David in the marble.
    Painting, in being after a privileged image, both reflects and dictates the frame of our humanness.

    One can see the gravity of privileged images engraved in our dialogue with Monoculture, orientating our climb along mount impossible; the tendency at each given moment in time to cut the infinite potency of an aesthetic middle through a privileged method and metaphor for intelligence, and none other.

    In so far as we count a privileged moment in relation to time, a privileged meaning in relation to faith and a privileged space in relation to identity, it is upon the design of constraints that the project of man unfolds.

    Painting as Multitude

    In front of my eyes painting opens the way to the long poiesis of man, the process of softening matter through designed constraints. Such a process shaped our consciousness and intelligence and brought us to the current threshold between a world, which is dying and decaying, and a world, which is not yet breathing.

    In attending this threshold in mind I entered the studio, and as always it is the ‘mistakes’ that lead me to see. I was observing the painting drying when perception broke and I realized the painting as being a multitude; now the question was how to unlock the multiverse hidden in the one privileged image.



    Interaction and inclusion of technology deeper into the creative process provided me with the ability to capture the dimensionality hidden at different scales, by initially producing a very high quality digital image of the works (with a 3D scanner) and then launching a contemplative and cautious image generating process.

    It was as if a new cosmology emerged and a multitude of images bounced to presence. With each iteration of the image-generating process it became clearer that the privileged image crowning is but the skin of a bubble of life, while the center of painting lusciously liquefies into richness.

    Then came the next interesting mistake. It was there, taking place along the lines of interaction between the colors that I use on the canvas. Instead of a merging amalgam I was observing the slow motion of an image-generating procedure swirling live on the canvas.

    But then, as time passed it converged as always into one dry image. Now the next question was how to capture the dimensionality hidden in the folds of time, so I decided to curate as well the slow production of images embedded in duration (of the process).

    Image capturing (camera) entered as well in the creative process, and we (me and a most talented photographer) together as an extended collective of minds, hands and eyes, curated a multitude of images through the process.



    I found myself attending a threshold in mind, between a creativity that unfolds through the designed constraint of a privileged image, and a process that carves its way within soft matter, when dynamic tensions and multitudes of opportunities fill the eyes.

    Painting indeed transforms into a multitude, in opening itself to a network of extensions ranging over computers, software, camera, 3D scanner and in augmenting the author into a web of interactions. I am painting, still, and yet a multitude emerges and is made visible.

    Artist in a Soft Multiverse

    We are at a cross-section, it is delicate and dangerous, we are crossing over from the development of intelligence, which is based upon designed constraints, to a motion in soft reality that is constantly exposing the potency of the ‘middle’, thus, a development of intelligence, based upon a complex and rich fabric of opportunities.

    From a previous article (the Aesthetic Ground part3):

    “When we speak of the middle in a hard medium, what we see is the center in a structure, an a-priori privileged location, a unique point of view, like the control tower in a panopticon, or like reason in rationality, like good in morality or the truth in validation. It is the center from which to behold the symmetry of architectural virtuosity.


    When matter becomes soft, the ‘middle’ loses its structural image while sustaining the potency of relation. The middle, in a soft medium, depicts a state; it is a within, a between, an un-pictured touch-like equidistance from everything reaching from the inside out. Letting oneself into the “middle”, the solid concreteness of restrictions is re-examined anew and projected into possible tensions that generate change.”


    In a soft multiverse there is no privileged identity, neither a-priori privileged moment, nor there is one-privileged image. There is however an ambiguous zone, fuzzy landscapes, non-linear intuitions and bifurcating events, so we need to develop an intelligence that curates becoming as a multitude.



    We are contemplating a change, an extension, in what we consider as the apex of being human. Tackling and loosening the prime constraints, we are pointing at new openings into the landscape of becoming, seeking new formplex of intelligences.

    Painting hints to us that reality is situated accurately in the ‘middle’, that in fact reality is an ‘Aesthetic Middle’, semi-stable though potently open to all directions.

    Today, in my veins, the act of painting is an open-ended technology, which constantly re-exposes this potency, a technology of articulation, signifying and negotiating at the border of visibility, with a multitude of images of intelligence.




    *****

    notes:

    Collaboration and Credits
    The unfoldment began with a series of small paintings on paper, it continued with the exquisite intervention of technology and an artistic collaboration with Shaw Gadi Raz as Image designer.

    The Long Shot
    The multitude image-generating process called painting when extended through technology and augmented through collectivity can generate infinity, an endless and manifold articulation based on one (graceful) painting procedure.

    Images by J.D Doria:

    Umwelt – manifest 1
    Umwelt – manifest 2
    Umwelt – manifest 3
    Umwelt – manifest 4
    Umwelt – manifest 5
    Umwelt – manifest 6
    Umwelt – manifest 7

    Umwelt is the idea that we blindly accept the reality of the world around us. "It would be useful if the concept of the umwelt were embedded in the public lexicon. It neatly captures that idea of limited knowledge, of unobtainable information, of unimagined possibilities."
    David Eagleman, neuroscientist, Baylor College of Medicine, from This Will Make You Smarter: New Scientific Concepts to Improve Your Thinking




    Thu, Jul 26, 2012  Permanent link
    Categories: art, Intelligence, painting, Soft, Multitude
    Sent to project: Polytopia
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    Organic Memory of the Posthuman



    The undercurrent that runs behind our exquisite organ of composing words into mental shape is images.

    In actuality ‘images’ are the metaphors of any language usage, so that, in order to infiltrate a process of change we need to have new images. With this in mind I enter the studio, to develop, maybe, threads of works, lines of images that I need in order to pass, to transmigrate unto difference.

    Through these lines of works I set out to search a new creative view; to find new frequencies and forms that can transform the abstract and far un-known of the future – that which evokes anxiety – into an organ of humanness.





    At the onset of the 21st century the thought of migrating beyond our current humanity becomes more relevant than ever. The concept ‘Post-human’ stands for a metamorphic process that absorbs and entwines both our biology and our technology into a new platform of becoming. The eventuality of which is no longer part of the current scope of sense making.





    I am using the concept, ‘posthuman’, as an opportunity to depart form the present into unknowns; a substantive opportunity to embody, here and now, the aesthetic action of re-installing man. In such an act, the post-human might lifts itself away from the hardware of violence and the ingrained attitude and code of control, by correlating uplifting and augmentation with a ‘Tsunami of Compassion’.








    I began the creative process with a series of small works on paper, exploring the formative space within which the metamorphosis does land neither into a utopian vision nor into a dystopian fate, but rather entices vulnerable and deep communication.

    This initial series of works opened my quest for a procedural corridor weaving technology to actualize the fractal quality of the image. The process continued with a combination of high resolution techniques of scanning, framing, blow-up and printing.

    The range of images which emerge, explores the aesthetics embodied in the sensitive tension between the alien and the very intimate, longing, and again longing, for intersection. This is the space that to my understanding characterizes the new installation of humanity.








    This body of works stands for a transition into a new creative state, in which I progressively migrate between languages, mediums and technologies. Like a nomad, I am traveling between processes and images, substances and information, mental-emotional states and action. The creative I in this sense becomes a dynamic archipelago of singularities.








    In this state technology is absorbed into the creative flesh that loses no grain of spirit. It is a state in which the motion from analogous to digital language empowers matter; where the development of creativity is actualized by the passage between mediums; where the creative event can become an organic memory of the posthuman future.





    I wish my art as a passageway, a corridor into the dynamic ambivalent line between self and ‘other’, between intimate and ‘alien’, between certainty and the unknown; to mark through aesthetics the possibility of transition toward a new perspective.





    Sat, Mar 24, 2012  Permanent link
    Categories: future, posthuman, compassion
    Sent to project: Polytopia
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