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    Montevideo (part 4)
    Project: Polytopia
    The crucial subject matter that crosses paths with the current evolution of technology is that of our mindset. Changing a mindset is an aesthetic collective action.

    ***

    Existing, as we are, in between a sand clock that is running out and the early bursting of wings readying us to mind our own evolution, calls in my mind for the daring edge embedded in our aesthetic sense. While lingering in a momentary balance upon the fence of incoming future I ask, is the aesthetic sense that we develop and attune to, while carving it across the chambers of our collective space, a parameter in computing how sound are the paths to tomorrow? In deciding which sanity shall we walk side by side?

    Aesthetics as an outpost of being

    Aesthetics I see as an outpost of being, that brings forth the notion of beauty, as an active restless substance, in the poietic meticulous work of being alive.

    When unleashed our Aesthetic sense is an experimental station, free from the useful and the necessary, established at a distance from the main stream and body of perception.

    A fragile and non-evident instance of knowing, a volatile raft into the yet unknown, steering the “undisclosed content” of the moment with a double-edged activity, that of folding-out our selves, and that of folding-in, among the odds of time, a shape of infinity; which in rare times of grace merge as a singular sense.

    When the moment is yielding, a singular sense crowns - a singular (as distinct from common) sense is realized - then, a pole of attraction has been created, serving the mindset with a key for reshaping itself in-tune.

    And if so, aesthetics, emerging in us as a daring subjective process, crosses over from the discreet and the randomly experimental into the continuous, wide and constructive.

    Aesthetics - Laboratory of singular Sense-Making

    Our aesthetic sense I see if so as a “laboratory of singular sense-making” – both of a conscious being and of a collective space. Out of which a singular sense emerges and appears as a “potent difference” in the milieu of intelligence.

    It serves as a cue for new patterns to emerge in the field of perception and recompose the actual. It is the way an occurrence is woven into the state of affairs and becomes a change. In this sense, aesthetics carries the open-ended aspect of perception.

    Aesthetics is the mode with which we plunge, and become engaged in contact; trading the surface of the known for the constant flowing of a multi-streamed mystery.

    Encountering the singular provokes a metamorphosis in our understanding, disrupting the sense of constancy; the entropic rhyme participating with the open-ended beings we are.
    Placing Art not fully in the object, nor fully realized through an object, but rather, placing Art as ground of Being.

    Shuddering the prison of familiarity, bringing into presence the non-existing moment of the now, to be an active conscious junction, a pulsating bifurcating aware space.

    We bring our aesthetic sense into play, maturing the event of being into an artful doing, declaring Art as a natural characteristic of our humanness.

    Aesthetics – Conscious sculpting and sculpting Consciousness.

    The question is where do we place a doing?

    Is it in the streets, on the table of thoughts, in the studio of art, or in the roaring wave of technology? Or is it maybe in the interconnected web of it all and of us all.

    Once we had the notions that separate the doer from the thinker, the individual from a collective. Those notions of separation are some of the building blocks of the way our conscious activity has been framed.

    It is in the aesthetic mélange of the thinker and the doer, thinking and doing, individual and collective, that new notions emerge and become cues for a new architecture of conscious activity.

    Placing the subject matter of changing a mindset within the frame and possibilities of consciousness, is an aesthetic act, that places doing in the networked streets of the city of consciousness.

    Consciousness is a mystery to us, yes, but nevertheless, we do sculpt our consciousness, individually and collectively, and with it and in it we are sculpted.

    Aesthetics as an outpost of being, that embeds a laboratory of singular sense making, is a doing, a conscious doing and a doing of consciousness.

    Time for upturning

    These days it seems we do not have the time for revolutions anymore, too many have we seen not to know their contingency. Time is running out on us. My take on it is that revolutions evolve (or should evolve) in correspondence with the times at play.

    I believe we are and behold a revolution that is fitting to our times. A revolution of aesthetic sense, taking cues from a shared outpost of being, pushing the frame of our universe by the unpredictability of multiple aesthetical narratives.

    Beauty is a live substance, emerging, if at all, in the gaps and crevices of our existence, unexpectedly hovering the abysmal currents between the tale of our genes and the stubborn ascents of our dreams.

    A daring subjective process and a fleeting truth, I believe we use beauty as a system of orientation, guiding ourselves in sculpting a future, and letting plausible futures forge our today.
    ***
    It is now that our notion of beauty is changing. Is it the jazz in our becoming or is it the sense of comprehension itself?

    It is when rigid syntax melts, that my body reflects not elements but a floating wave, knowing not a locality of body but a flow that breathes in aesthetic notes, I am writing it down; Aesthetic sense uses beauty as an intelligence that computes a being in becoming.

    It is now that our notion of beauty is changing, embracing the jazz, finding its roads of becoming into minding our own evolution.
    It is now
    20:00/23/01/09/PSE

    To be continued..

    Image 1 – By Banksy
    (http://en.wikipedia.org/wiki/Banksy)

    Image 2 – By Antony Gormley
    (http://en.wikipedia.org/wiki/Antony_Gormley)


    Tue, Jan 27, 2009  Permanent link
    Categories: Aesthetic
    Sent to project: Polytopia
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    Morningstar     Fri, Jan 30, 2009  Permanent link
    Shuddering the prison of familiarity, bringing into presence the non-existing moment of the now, to be an active conscious junction, a pulsating bifurcating aware space”.

    I find this so condensed and beautiful that each time I read it, it reveals a different perspective. In my mind it is intimately connected to an endeavour, of being in a constant flow, where one is continually challenged to capture and to forge each moment as a unique, singular moment of beauty, where one sheds the garments of known matrixes, allowing nakedness to penetrate the most hidden recesses, in an on going flow of emergence of ripples upon ripples...
    Fast T     Sun, Feb 1, 2009  Permanent link
    As noted in previous comments on this Montevideo string, the beauty of the text is overwhelming. I had experienced great pleasure reading it.

    It is also quite challenging. Mainly as to me the reading requires a certain navigational feat between modes of minding; between the poetic and the poietic, between yielding to the wave to trying to ride its crest... I thus took to several readings.

    On second and third reading there are passages of certain aesthetic appeal, that while engulfing my comprehension with beauty nevertheless leave me to find myself in need of a different order of description.

    One such example is in relation to the following:

    Aesthetics I see as an outpost of being, that brings forth the notion of beauty, as an active restless substance, in the poietic meticulous work of being alive.

    When unleashed our Aesthetic sense is an experimental station, free from the useful and the necessary, established at a distance from the main stream and body of perception.

    A fragile and non-evident instance of knowing, a volatile raft into the yet unknown, steering the “undisclosed content” of the moment with a double-edged activity, that of folding-out our selves, and that of folding-in, among the odds of time, a shape of infinity; which in rare times of grace merge as a singular sense.

    When the moment is yielding, a singular sense crowns - a singular (as distinct from common) sense is realized - then, a pole of attraction has been created, serving the mindset with a key for reshaping itself in-tune.

    And if so, aesthetics, emerging in us as a daring subjective process, crosses over from the discreet and the randomly experimental into the continuous, wide and constructive.


    I would like to get your meaning on the crossing over. e.g: how is aesthetics crossing over from the discrete etc. to the wide and constructive?

    for if we are at Revolution, isn't it the case that we need recognize the shared outposts of being, if such a thing is at all possible?
    kneaded     Sat, Feb 28, 2009  Permanent link
    This whole piece is so overwhelmingly beautiful that I hesitate to write. Nonetheless, there are images that cut me to the quick (not in the sense of injury, but rather in the sense of slicing to the bone) which in turn open, free, me for release.

    Existing, as we are, in between a sand clock that is running out and the early bursting of wings readying us to mind our own evolution

    A sand clock running out is such a potent image for me, evocative of the dread of not becoming before I cease to exist. It is a reminder that “someday” might not arrive. And yet, there is a call to arms – bursting of wings - revolutionary indeed. Shall we stay suspended, embedded, in this in between state or choose life and leave the ticking of the clock to mind itself?

    A fragile and non-evident instance of knowing, a volatile raft into the yet unknown, steering the “undisclosed content” of the moment with a double-edged activity, that of folding-out our selves, and that of folding-in, among the odds of time, a shape of infinity; which in rare times of grace merge as a singular sense.

    We are, we become, in moments, not in time. The more we fold out, or open, ourselves perhaps the more space we create for infinity to take its place.

    When the moment is yielding, a singular sense crowns - a singular (as distinct from common) sense is realized - then, a pole of attraction has been created, serving the mindset with a key for reshaping itself in-tune.

    Those rare times of grace, of merging, create in us a yearning – a pole of attraction – and for a self-reflective individual poses the question: “How does one maintain this sense of grace, this moment?” Yet, it is not a matter of holding on to that moment (which ultimately can be but a fond and fine memory), but the realization that this is the type of moment one wants to experience, even create. New eyes are needed.

    Encountering the singular provokes a metamorphosis in our understanding, disrupting the sense of constancy; the entropic rhyme participating with the open-ended beings we are.
    Placing Art not fully in the object, nor fully realized through an object, but rather, placing Art as ground of Being.


    This begs the question, “Are we open-ended beings?” And even if so, are we conscious of it? I interpret this passage as unfettering oneself from the constancy of the sense of who I am to pursue the question of how will I be? How will I create grace and beauty?

    Once we had the notions that separate the doer from the thinker, the individual from a collective. Those notions of separation are some of the building blocks of the way our conscious activity has been framed.

    How sound are the paths to our future, and with which sanity shall we walk side by side? Separateness, like dissection, is a tool of post mortems, to explain what happened, how we are different. We can sort and distinguish toward the end of finding components, perhaps even attributing variations of value to each, thereby creating a tension between the value of thinking and doing, the value of the individual and a collective. Or we can incorporate and create a cohesive whole, a new vision, a more panoramic existence.

    It is in the aesthetic mélange of the thinker and the doer, thinking and doing, individual and collective, that new notions emerge and become cues for a new architecture of conscious activity.

    Ingathering as a foundation – that is a radical idea at a point in time when specialization is the hallmark of day-to-day existence, even as we become globally attuned. People decry the futility of being a “renaissance man” in this day and age. Yet, perhaps this is merely an excuse to narrow one’s vision, rather than choosing to open oneself to interconnectivity.

    This brings to mind an artist I once knew who, over the course of several years, hand-painted and signed 2,000 paint stirrers. Each was given to an artist, a friend, a member of his various communities. The idea behind the project was to bring together different members of the communities into an art event of shared difference, as each stirrer was unique, but was numbered and part of a whole collection. The artist’s comment on the stirrers, “Although I think they’re nice, they don’t, from my point of view, become art until I pass them on.”
     
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