Suitcase For The Future

A collective experiment in re-imagining the Human. A Question to interact:


What would you take with you to the future?

And what would you not?




"A mind once stretched by new thoughts can never regain its original shape."
Albert Einstein





In deepening the immersion unto the growing coalition of forces with which we set sail towards a futuristic human, I thought to propose a line of teasing through which a collective portrait may emerge. Considering it as a poietic act of individuals sharing momentous care and merging threads of hope, by gathering passion and creativity, old and young spirits of revolution, foresight and intelligibility into this Collective Space and one cloud. And so, i am proposing a question to play with, to turn around, to stretch, to interact.






A collective experiment in re-imagining the Human


What would you take with you to the future?
And what would you not?










Would you take Friendship? Would you take your body? Would you take reproduction? What about sleep? And wine? Genders? Would you take abundance and leave behind scarcity? Would we take our fellow humans? Which concepts, which emotions, which ideas, which chapters in the global memory, which narrative, which visions, which states of mind?






Note:
Words are not a necessary dogma. Please feel free to free-style.


Image 1 - Suitcase Wheel by the Art Guys
Image 3 - Beyond Human Nature - by Olaf Schlote

Sun, Jan 24, 2010  Permanent link
Categories: Future, Futuristic Human, Experiment

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Montevideo (part 10)
Project: Polytopia

An Endless becoming whistles at us, to investigate the skyline of our emotions, challenging our thought sensations in forming the passion to think different, defying the sensibility of our existential situation.


The contour of being a human lays on our upturned tables, the logic gate to our identity next to undergo siege. Is our conscious event bound to a given and stable contour?

The cycles of seasons are dissolving into a dawn without pause. Within our veins of knowledge the endless sequences of peripeteia are crawling like a storming swarm, challenging the mind into unnatural fitness.

To flame a departure is indeed the sound of minding.

(Peripeteia – from Greek, a turning point)

*
What is a human being?

It is for few days now that I am observing the question, the constellation of words I painted on a big canvas, and in front of it I have situated my self in lotus position with a bottle full of mud in my hands.

I do recall the moments in which the question makes sense, as if meeting a good old friend, but then, I do recall the moments in which it does not yield any intuitive trail.

It is clear for a soft duration that accepting the question may imply that it will carve in me a stronghold of identity and I will carve through it a stand.

I choose to postpone the bargain while embracing the growing texture of noise, the question itself remaining the only silent thing. Does a constellation of languaged words, carry an advantage upon the raw clay of silence?

The first hint buried in silence, I move on.

Again, I pick up and test the question, what is a human being? I am almost surprised to discover a line of space.


Indeed, I remember, two advantages I am when confronting a question. The conscious ability to implant a fresh dimension, first. A dimension empty of precedents, virtually opened to re-consider what is in question. So I step on a momentary balcony almost free from the sight of history, relieved from heavy connotations and pre-defined images ‘about’.

The surprise grows, folding me into re-imagining a ‘human being’, mirroring not that which is all too evident in time.

But something more is clearly different from previous senses and tastes attached to the question, some of the objects forming the human case seem to have disappeared.

The intersection of times in which I, we exist, a trace mark of the second advantage. The era of continuous turning point, peripeteia. The historical invariables of the human case are being infected by variability. Riding technological waves we raise metaphorical heads to tackle the fixed stars.

So there it is, a pulsing strange-space, accurately sweeping through all the closed-corners of imagination, from mortality to perception barriers, from scarcity to inevitability, introducing a fragile, undefined freedom into the language of thought-sensation, disrupting foundations of identity, delivering a thousand packages of future becoming.

The second hint is landing charmed into a strange space.


The irony, the archeology of irony is to be found in the history of belief. Each era provides us with a set of visions of becoming, yet each and all competing under one corked roof, that of being mutually exclusive to each other. Competing, if so, upon the dream-power of individuals instead of unleashing it.

This era, of the year few thousands of our own making, provokes again its own hubris. The possible convergence of all the means, of mind and technology, by which we interfere upon our own make up. The renaissance machine to coalesce once more dream power in our hands. Are we up to making it the first cent of a great something else? Peripeteia, is it the turning point of us?

It was irony that brought a graceful sanity and a simple instruction:

The motive is not to use vision for self-realization, but rather to loose the self in vision and gain an open becoming.

What is a human being?

Now, with two hints, one instruction, a brave bottle and the lure of intensity, I was ready for unguided unfoldment of a shape of consciousness.

Bypassing the paradoxical circumstances of existence of the question in my mind I search for a respectful answer.

What is a Human being?

The human being is a vision

A vision does not hold a specific form at the end of the tunnel, nor at the beginning of it, but an open, continuous and composite tunnel of becoming. Cinema is a vision, philosophy is a vision, ethics is a vision, aesthetics is a vision, love is a vision, the human is a vision.

Our basic definition, human being, is a symbol signifying vision as space of becoming, a space in constant rhizomatic expansion. A space of becoming that both exceeds the contemporary embodiments of it and is influenced by them.

No, I do not deny the contour, the context, and the say of the many archeological layers of which we are formed, I do however suggest to replace our existential coordinates in front of it;
To define our being human as a reflective and self-describing event, that operates upon a space of becoming. To situate ourselves by that at the infinitesimal necessary distance to observe that which defines us. To place ourselves in front of all the ‘what’ the ‘who’ and the ‘how’, and make it a matter for our reflective self-description, before it has us fully defined.

Unleashing by that the creative aesthetic verb to mind not only what the context indicates, but a ground seeded with all the skies, furthering passion to rule the day.

I am a human

The human, I read now as a symbol pointing at a space of becoming, an open and live intersection of potentiality and multiple processes of approximation, to which individuation (dynamic of self-description) is a current interpretation.

A human seen as a reflective and self-describing event replaces a stable contour (its defined humanity) with a space of becoming (human is a vision). By that she finds not only an infinite game within finite circumstances, but also all the ‘others’ as threads of embodiment.

It is the evolution into a shared space of vision that promotes access between minds as an available global workspace.



It is in my eyes an ultimately ethical act, one, which provides the process of individuation with a constant potent source of freedom and dream power to face the plexus of conditions and the conceptual environment from which it arises.

An act that allows by definition diversity and endorses respect as an integral disposition of the collective sphere.

Undefined Space of becoming

Vision remains always undefined, incomplete and ever in becoming. ‘The human being is a vision’ proclaims the human empty of pre-defined essentiality.

The space of becoming is necessarily influenced at each stage by the finite composition of possible paths, yet what matters is that pointing at ourselves we point at a dynamic space, partially always unknown, and not at a single a-priori particular image. Diversity becomes an essential aspect of our processing unit not the beast to be hunted down when fear grasps our throat.

Vision behaves as a ground open for self-description. It generates an infinite game whose aesthetic necessity is to keep the pattern alive and unclosed, in the process of spawning a transitory shape via multiple processes of individuation.


‘The human being is a vision’ is the description of a primary existential situation, one that brings into presence the creative force in its strength and fragility. We stand, facing the limits of ourselves, while loaded with the acute tension of conceptualizing non-essentiality into aesthetic freedom.

*


Just before being this or that, we step into the endeavor of changing the skyline of our emotions, provoking the eventful and experimental adventure of minding a meta-narrative. We breathe a-new into the rhizome of vision a life with no distance. Now, when we hide our revolution in thin air and deep space, it is empathy transforming into a telepathic wave, flaming the corrosive Nano-bots upon the prison of hope.

It Is Now
12:32/10/01/2010/PSE
To be continued…


Image 1 - Turquoise, 2003, By Michal Rovner
Image 2 - Arsene by Xavier Rey
Image 3 - Island Bridge by Xavier Rey
Image 4 - Concept sketch by Mondolithic Studios
Image 5 - Fling by Maria Kong Dance Company
Image 6 - Border #8 by Michal Rovner

Sun, Jan 10, 2010  Permanent link
Categories: Vision, Human, Diversity
Sent to project: Polytopia

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Montevideo (part 9)
Project: Polytopia

Now, when the tears find no ink but a keyboard to excite. Now, when the arch of life is eloquently stretched between Eros and Cantos. Now, when infinite hands are diffusing in the machine and log into inexcusable horizons. Now, when culture is extended across multiple revolutions and time zones. Now, while the odds are gathering a last resistance, the renaissance machines are replicating un-beheld. When the speed is clear and the sane-clock is ticking, memory holds just a vision. Now, the long tail of awakened-dawns kisses the plexus of conditions.

In the corner of tomorrow a story is traveling in deep space carrying a broken image of man, at long last.

Now, when the image of man belongs to no-one and no-thing, some call it freedom and some call it the death of man, but I am conditioned to see else and read just that; Auto-poiesis is metamorphosing into poetry of individuation, the specie of humans plotting not continuity and reproduction of sameness but a bare exposure of the sexuality of life.

Now, a line of “otherness” is being crossed, and beside the complex sense of both vision and grieving that accompanies any serious crossing, that which is emerging and flaming is the necessity of being a human, at long last.

Through the indefinite number of cracks that cross that complex image, life is flowing closer, but not only life, everything is flowing closer. Suddenly the layman is not a layman anymore, and the artist is not just an artist, suddenly one cannot lean anymore, but rather has to compose oneself within a multiplicity. Now, after the past century revolution of self, comes the evolution of Auto-Poiesis.

Now, it is not just mortality that shapes the vision, as well indefinite time partakes in the shaping of consciousness. It is not only natural selection, man-made evolutive unrest partakes as well in the shaping of consciousness.

Now, the human outline is becoming the Petri dish within which spawning is exploding. It will be an evolution of kinds; it is man that dies not humanity, it is humanness that opens its envelope and finds a synonym to life, and we are so young in mind.

They say that all life emerges from one cell, and it will be said that all kinds emerge from one human form. And it is frightening; the idea that from my womb that which comes forth is not a reflection of me, but the potentiality to shape a kind. And our brains are recoiling; control, we must control the beast of kinds, but no, it is a moment shaped by uncontrolled powers, it is not just the energy locked in the atom that we unleashed, it is the energy of life, it is Eros with infinite hands playing in deep empty spaces of form that is unleashed. And we may need to let go for a duration.

That which is changing the world and us is that everything becomes closer, so close that one needs to be a philosopher, a poet, a lover of life, no human can leave anymore what one is to casual storytellers. That which is changing is the closeness of it all, provoking a moment out of controls for each one to shape an image of human.

Now, when everything becomes closer, it is the necessity of being a human that is shaping the future of consciousness.

It is Now
11:24/09/12/09/PSE
To be continued..

Image 1 - "Painting Pigeons" by Walton Ford's
Image 2 - "Feeling Material" by Anthony Gromely
Image 3 - "Angel of the North" by Anthony Gromely

Wed, Dec 9, 2009  Permanent link
Categories: Image of man, Auto-Poiesis
Sent to project: Polytopia

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Montevideo (part 8)
Project: Polytopia

It is an open and never ending question, the yeast that animates the brush into a stroke and ‘me’ into a substantial adventure.

It is the taste of a question, a shape without a form, a drive without a content, that makes my now, stirring the culture of my emotions, provoking a current existential need, that of articulating that sense of becoming perceived as ‘me’, while capturing a new event-horizon in the act.


To the credo of today, ‘I am an individual’, and so are you, though together we are something much less clear (unless we define a-priori where to fit in). To that, I pause. It is the poetry of individuation that I am after, not the consequences of an epithet. But what is it that correlates, if at all, that sense of becoming, so undeniably intimate in us, to that flattering pointer - Individual?

And so I ask, how are we to use the verb Individual?

Preface

Within the creative event I read a radical difference in the ‘physics’ of the Individual. It is within the continuous creative process that one finds that he or she is not an indivisible unit, but rather is being bound to think in these terms. Within the creative event one finds identity - as one of many - to behave as a body of knowledge in the action of exceeding itself.

It seems that in direct correlation to the mounting of intensity and the expansion of passion, the term ‘individual’ transforms its ontology and points to an ‘other’ conceptualized space, within which the architecture, disposition and function of the term alter the mundane reference to one-self. It is within the creative ritual, that of erasing the locality of self, that one logs-into aesthetic playing.

While enveloped by the creative event, the indivisible central and ever present sense (of my self) is seamlessly replaced, emerging as a phase space of possibilities of self-description in exploration of itself, a motion of aesthetic sensibilities navigating between streams of thought and of emotions.

The individual I am is a procedure. It is the operator of an entanglement of iterative relations, finding its multiplying folds of emergent meaning in casual and yet persistent interaction.

And so, the creative process exposes the map of unstable layers of meaning, exploring volatile lines of correlation and longing, in which the artist finds open fields, faces and passion.

Aesthetic Playing

It is never about what there is (or isn’t), it is about what may arise, now. The now is a nomad land that calls for active arriving, a precarious substance between patterns of choice, an open gap for irregularity to mark a difference between yesterday and tomorrow.

Wandering a nomad land we seek difference, yet a difference which is worthwhile condensing life for – I call it an aesthetic difference; Then we can embrace our selves as a continuous work in progress.

By a motion and play of aesthetic sensibilities we tune in and carve our eventful experimental process of arriving. It is a lively, free, unimpeded motion that one taps into, capricious yet meticulous, yielding a nest for irregularities which is blind to directionality till arrival.

It is only then, among stations of arrival, that aesthetic difference becomes available for conscious selection. An aesthetic play is an eventful process of producing irregularity, a precipitating core of spontaneous occurrence in the hands of conscious selection. Aesthetic play is the evolving drive altering the existing reflective circumstances of the Individual.

And the growing roar of the cross-talk echoing through virtual halls is at moments not that unintelligible.


Individual?

Along corridors of words the realization keeps nagging, suggesting that ‘individual’ is a substance under questioning. It surfaces a view requesting a layer of meaning that is independent from the existing ones of specific ‘body’ or particular ‘identity’.

Individual is neither divided nor undivided, it renders itself accessible as the ecology for an aesthetic creative procedure of producing identities, a flow-space never fully identified with any of the particular instances but rather with an over-arching image that reflects the act of becoming as exceeding the currency of identity.

Individual is the locus and procedure of bringing into presence a continuous cross-talk between states; where a state represents a distinct volume of sense and cross-talk evokes the interference, coupling and eventful conversation taking place among distinct volumes of sense.

Individual is the virtual enclosure integrating a cross-talk between distinct volumes of sense into a singular coherent act of becoming.

The individual is a core reflective composition (eventful conversation) and a contour of a multitude of identities in motion; a flow-space that embodies the aesthetic play of correlating core and contour in an expanding dictionary of being.

On the outer-rims the artist constantly meets the growing culture of identities as traces of an adventure, the adventure of drifting through the event horizon of the cross-talk between states, saying yes to all possible variations and yet animating through aesthetic sensibilities a singular shape of the flow as the individual ‘mind’.


Being

We are in actuality and presence a multitude of beings, yet one at a time. Being is a temporal shape of the cross-talk between clusters of states. Being rises to the state of entity, for the span of a moment, when the cross-talk is resonating into a shape. Individual is that which trails along the temporal shape.

The inbound tension between being, as a resonating shape, and aesthetic creative motion, as an evolutionary drive, yields an open cross-event; open to constantly include new states.

An individual is an event in progress that recursively recomposes itself with a difference. An open-ended ecology, embodying an open architecture of sense, a becoming, reflected as a long tail of identities.

For, what is it that we are after? A future or an origin? My bets are that it is that sense of becoming, an open ended becoming exposed to all directions, selecting through the current narrative a tunnel of actuation.

Diversity

All of which entails diversity as an explorative adventure of the phase-space of being ‘an Individual’. It is this diversity that should not be reduced to statistics but rather be embraced and facilitated allowing a real jazz of becoming.

The individual is not an icon for separation of distinct emotions and interests; it is a fresh plane and possible solution for containing diversity.

A culture of individuals that at times behaves like a flock, at times behave as competing trends, at times surfaces differences that animate the palette of existing nuances, and at times reveals an entanglement of resonating echoes exciting the relation between descriptive circumstances and the play of aesthetic sensibilities into an outstanding work of art, of science, of technology, of being.

Future?

In our time, the individual is what overlooks upon the cross-talk between times, and more than ever, signals from the future are partaking in the conversation, and we? We, as an individual and as individuals, are committing ourselves to mind our own evolution. We do not ask our gods and myths, nor our history of power, neither the circus of ignorance; we ask each other, we ask recursively, from within our iterative relations, our casual yet consistent interactions, our intelligent emotions. And suddenly, for a brief breath, ways are open and the individual is an open source community, and it is between you and me, the future of man.

*

It is Now
17:35/12/11/09/PSE

To be continued..

Image 1 - “Entering the Work” by Giovanni Anselmo
Image 2 - The 'other' Me by J.D. Doria
Image 3 - Fractal Effervescence (2006), David April
Image 4 - The contact by Philippe Ramette
Image 5 - Chronology of Desire by J.D. Doria

Thu, Nov 12, 2009  Permanent link
Categories: , Individual, Individuation
Sent to project: Polytopia

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Montevideo (part 7)
Project: Polytopia

Within our mythological sphere an epic-edge is unfolding, disclosing the current narration: we as humans are re-positioning ourselves. Re-placing our location and standing in the crossroads of a cosmos. That is the myth of our times. On the fresh brink of myriad new narratives with which to re-array our collective and personal mythological arches. And if I were an artist, then the portrait of the human is an iterative open-ended myth, exposing each moment in a close-up, veiling not the iceberg of void.


Close-Up is an Erotic Irregularity

It was many years ago when I became aware of that sense and taste of mind arising while being engulfed in the ritual that cinema proposes. Sitting and floating in a dark space, in front of the wide screen that becomes as if the very surface of my mind, upon which an image in motion arises and shapes a moment into a close-up.


A mind-arousal of intense sense and intimacy provoking and animating the silhouette of indefinite paths ahead of me, negating the mundane, the known, the repetition of my self. That which till a moment ago was out of the frame (of perception), out ‘there’, suddenly becomes the star of my thought and the champion of my emotions.

Absorbed and penetrated by the immediate sense of exposure, i recognize the urge to place myself in the narrative, to take a stand, to redescribe myself. And while narration lures the plot of becoming into presence, I shift towards a close-up into the sense of mind that is arising.

What is a good narrative, if not the arena in which a close-up situation can emerge in the mind as a potent ground for self-reflection? Isn’t that very sense of exposure and unfamiliar the urge that provokes cracks and turns, that opens sudden passageways between universes?

It was and is a close-up inciting mind that changes my life. An erotic irregularity, negating the lines of distinction and embracing differences as corridors of expansion. It is a close-up in which I catch the future of me as a present in the act of becoming.

And again, it is a close up of the aesthetic epic of art, a blow-up into the open negotiation of placing art within human narrative, which exposes the way art punctuatedly re-portray us anew. Critical junctions co-emerge with a difference in the image we hold and behold; a non familiar close-up; a passageway for self-reflection to cross over into the arisal of new narratives.

So I ask, is art the window to human nature? Is art the tool to shape human nature? Or is it a live crack around which human nature is continuously composing itself?

All of which, I read as narration silhouettes, propositions for a close-up. Each close-up leads, in the immediacy, to the emergence of a different beholder. Who shall be the guests at the live edge of your myth?

The Forgotten Power of Close-Up

In “The Forgotten Power of the Close-up” Kevin Johns writes: “As hard as it is to believe, someone had to invent the close-up, and that someone - like most early narrative film techniques - was director D.W. Griffith”.


In exploring the fine line between the evolution of technology, visual language and the conceptualization of cinema, the old masters of cinema and of silent movie, tied themselves to the inspiring process of “placing” cinema as art. Each one of them created a binding parallel in between the subjective act of placing themselves, placing cinema and the carving of the place of cinema in humanity.

In 1928 Carl Theodor Dreyer, with “The Passion of Joan Arc” provided cinema with a poetical stance. Through meticulously crafted aesthetics, he situated the close-up itself at the heart of cinema. Most of the movie is a silent exposure (through close-ups) of the inner life of a human, a woman, in a situation of trial.

So yesterday night I took my eyes and balls and watch again the movie, at eighty years from its release, the amazing thing was, it left its marks on me.

It was indeed a reflection into our mind. The mounting progression of close-ups manages to animate an awake-space in which the movie is being re-created in the act of beholding.

Taking the aesthetic line enfolded in the close-up, Dreyer manages to avoid imposing upon the flow of images his a-priori trends of judgment, allowing the act of beholding rare latitude.

Dreyer succeeds in actually opening the reflective event of a trial, burdened with competing mythos unto naked and clean exposure of the primal intersection of self-reflection with contradicting frames of narration, by that placing the beholder in a situation of a close-up.

It is the recursive situation of close-up, leading the beholder breathlessly from one intense face to the next, which addresses the subjective discourse as the one setting the context, much before the place, space and time. It is about me, you and our internal reflections when coming to merge with an interesting other, when placing our selves in an interesting narrative.

It is through the close up that the so called inner life of the character crosses over to enter my space of existence, and seduces me to do the same. It is at these reflective turns, that I am incited emotionally both to expand and to include. I came out from this night with the understanding that close up, when masterfully used, is in our human mind a system of inter-penetration.

Close-up is an aesthetic exposure

For Bela Balazs, who wrote the first major work in silent film aesthetics, the close-up was "the technical condition of the art of film". Jean Epstein, a film director and early film theoretician, described the close-up as the "soul of the cinema - the invocation of an otherwise unknown dimension, a radically defamiliarized alterity”.

Gilles Deleuze, citing Bela Balazs, claims that "the close-up does not tear away its object from a set of which it would form part, of which it would be a part, but on the contrary it abstracts it from all spatio-temporal co-ordinates, that is to say it raises it to the state of Entity”.


It brings me to reflect upon the tunneling effect between the heart of cinema and the core of thought-sensation, the expression of art and the reflection of mind, it lies I believe in the power of interpenetration shared by both, the open-end exposure of a moment and the rising sense of mind while in a state of close up.

Extending the analogy, one may say that the act of placing oneself in a narrative is an act of self-description – a situation of close-up, a moment perceived as out of time.

Moving an open reflective space into an eventful space of mind is primarily an act of minding through narration, of coming into close up via narration. For however poetically-strange, it is this very act performed in luring the narrative to the surface and placing ourselves within it that makes us, and simultaneously renders us mysterious to ourselves, opening the infinite fields with which we harvest becoming.

Narration itself is the concurring aspect in the arising of self-reflection. Not one specific narrative itself, as much as the effectiveness each provokes in continuously shaping the moment into a close up.

We moved beyond the paradigm of reducing all narration to one book, one truth, one god, one set of images or facts. It is the multiplicity of subjective spaces engaging the journey towards a more complex and yet effective architecture of co-existence.


We walk the fine line of evolution of technology, language and meaning with the latent knowledge that if, in the days of old, placing the human in a narrative was an act performed once in a thousand years, today we develop the muscle to perform it more than once in a lifetime.

It is the editing room of our open-end, placing and re-placing ourselves in the proliferation of new narratives that is portrayed as the ‘mise en scene’ of humanness. In it one finds not the one exclusive image of man but rather image in motion.

The aesthetic of close-up is ‘bringing in’ that which is out of the frame of perception, that which is always in presence, yet, empty from image. As if to say that the soul of art is a close-up into a substantial absence.

Faces of myth

And now that the future becomes the stirring element of consciousness, it is the montage between placing self-reflection and replacing narration rafts that rises into the forefront. We are as if hacking an open end to our mythos to accommodate the myriad of styles of narratives exposing ‘being’ in a situation of close-up.


By that we sculpt the space for a Polytopic-myth, no more myth versus myth, in a hall extruded from our immediacy and yet impinging upon our life for centuries, rather an aware-space (as culture is) in which thousands of fresh mythological arches can carve ways and eventually co-exist.


And so I ask, what is narration? It is the break-through we need now to accommodate the sight of our-multifaceted-selves; the intimate leverage resolving a strip of furious chaos into a multi-voiced sea of possibilities. It is the future of us captured as a present in becoming.

*

An epic edge is unfolding, a mythological provocation transporting myth into the evolutive fields. It is an iterative open edge upholding itself without excuses, an aesthetic close-up into a polytopic-myth in becoming.

It is Now

10:34/27/09/09/PSE

To be continued..

Sun, Sep 27, 2009  Permanent link
Categories: art, , Narrative, Close-up, Cinema
Sent to project: Polytopia

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Montevideo (part 6)
Project: Polytopia

Now summer has passed,
As if it had never been.
It is warm in the sun.
But this isn't enough.

By Arseniy Tarkovsky



*
Homage

Today, when cinema fights hard not to drown in a sea of glamorized triviality, and baseness seems to rule the day; I find myself engaged with the memory of Andrei Tarkovsky.

Today, my reflection begins with the taste of longing, not for what cinema was, as the medium has changed and developed across the lines of technological up-grades, but for the intimate deep reflective atmosphere that some of the grand artists of cinema cared to deliver, forging the tints and shades of it in our mind.

Not many directors held such a dramatic stand for the human spirit as did Tarkovsky. “Stalker”, 1979, was his fifth movie (out of seven), and I wish to use it as a preface with which to continue the unfoldment of this series.

Stalker Synopsis:

Twenty years ago, a meteorite falls to Earth, and decimates a provincial Russian town. Villagers travel through this curious area, now known as The Zone, and disappear. Stories purport that there is an inner chamber within The Zone called The Room that grants one's deepest wishes. Fearing the consequences of the knowledge of such an inscrutable resource, the army immediately secures the area with barbed wire and armed patrols. But the desperate and the suffering continue to make the treacherous journey, led by a disciplined, experienced stalker, who can stealthily navigate through the constantly changing traps and pitfalls of The Zone. A successful Writer perhaps searching for inspiration or adventure, and a Scientist searching for Truth or salvation, enroll the Stalker to guide them through The Zone and to reach the doorsteps of the Room.


*

All that might have been,
Like a five-cornered leaf
Fell right into my hands,
But this isn't enough.

*
Sculpting time

“Stalker” is a movie that deals with the uncertainty partaking in spiritual longing. It is a movie about the life of self-reflection, the hunting of a passageway between unfulfilled spiritual longings and the integrity rising from self-discovery. All of which is portrayed in the background of human attempts to cross over towards the “there”.

Tarkovsky developed a theory of cinema that he called "sculpting in time". By this he meant that the unique characteristics of cinema as a medium take our experience of time and alter it.

Bringing closer the texture of the inner reflective ground, where one engages oneself in deliberations of integrity; where one enacts a fragile freedom and elects one’s longing.

In the cinematic language that Tarkovsky developed there is a direct and innocent presentation of the inner life of a human, mainly a masterpiece portrait of longing, human longing.

In our time, when new technological lines are rising by the day, proposing to reshape our basic grounds and inviting our imagination to ‘pick’ ourselves anew, I find that the metaphor of the “Room” is still standing.

What are the consequences of a situation in which our longing is exposed to lead the actuation of our dreams and wishes?


*

Neither evil nor good
Had vanished in vain,
It all burnt with white light,
But this isn't enough.

*

The Room is here, an actuation machine that every day grows its technological wings, but where do we turn when in the Room? To which orientation facility?

The Room will not deliver an answer of who we are (nor inherently disclose our profound wishes or deepest nature), it will reflect however that which we can do, plugging our dreams and wishes to a can-do instrument and not necessarily to the voyage of self-discovery enclosed in longing, nor in the richness of mind and emotions proper to it.



*

Life took me under its wing,
Preserved and protected,
Indeed I have been lucky.
But this isn't enough.

*

A compelling attraction

And so, while dwelling in the imaginative participation of sculpturing a far future, it comes to mind that the very lines of our longing can serve us as an instrument of orientation.

I turn to longing when the Room is now rising around me. While our endless can-do machines keep on growing our powers of influence, I do find it relevant to wrestle a crack into the chain of actuation.

Longing opens as a virtual bridge in between different states; a tension searching to rest not in established capabilities, but in the constancy of disclosing the moment.

It is a voyage towards the possibility of a friendly universe; a soft erotic passion towards the unknown, including the past as a vehicle and the future as its open field of roaming.

It is the leverage by which I do keep an open-end bare with no-restraints, allowing the emergence of an imaginative space. A compelling attraction to walk beyond a contour of knowledge, being it the knowledge of one self or any other body of knowledge.

In this sense I read longing as an emotional verb, free from specific objects, emoting with that rare intimate sense of emergence of a singular mind, breaking-through the contour of mortality.
Longing is a catalyst bringing forth the event in which, through minding, potentialities are eventually being cut into form.

Isn’t longing the potent and intense mind situation in which what, how and who we are, is being re-shaped; isn’t it the moment in which the unimaginable becomes believable?

A change in the curriculum vitae of men

Longing, a raft of the futurist as that of the artist, the stuff upon which imagination glides and cares to deliver a change in the curriculum vitae of man.

What is mortality?
Is it life that enfolds the irregularity of death? Or is it a multiple set of limits, the very defining contour of oneself? Is it the conceptual end or a repetition of history? Is it the sound of the monotonous or the pristine taste of mystery?

Mortality I understand, mostly, as a restrained imagination, justified by the irregularity of death. While immortality I choose to read as imagination with no-restraints.

Imagination glides into existence upon the synaptic tentacles of our longing, and it opens into an unrestrained space for our mind to expand.

It seizes the possibility we entail to be emotionally active and reactive beyond the immediate sense of reality. Imagination is the ability to reintroduce again and again a lucid spark into the appearance of the concrete.

In it I find the origins of the portfolio of significant moments, those we address with terms such as insight, intuition, creativity and understanding. Don’t they all begin with imagination approximating no-restraints?

We are human when the taste of infinity is crossing ways with us; we are human when the indefinite shades of it are falling softly like snow on a crisp morning, unveiling rafts to cross over into the ‘resuming’ of sanity.


*

Not a leaf had been scorched,
Not a branch broken off. . .
The day wiped clean as clear glass,
But this isn't enough.

*
And so I elect my longing… rising in my mind as a ‘disciplined stalker’ needed to stealthily navigate through the constantly changing traps and pitfalls of unrestrained open spaces. A time and space folding machine, bringing from within potentialities as a crossing surface to emote with, yielding an imaginative space within which to maneuver the mind in a singular fashion. Longing, the provocation of an un-ending mind, walking futures in the process of self-discovery.

It is Now
12:34/05/8/2009/PSE

To be continued..




The Poem was written by Arseniy Tarkovsky, the father of Andrei Tarkovsky, a renowned Russian poet, one of the poems I love and find always contemporary.(Poem of Arseniy Tarkovsky Translated by Maria Pearse)

Image 1, 2, 3 are from the movie Stalker
Image 4 - Giacometti preparing an exhibition

Wed, Aug 5, 2009  Permanent link
Categories: Tarkovsky, longing, Emotions, Imaginiation
Sent to project: Polytopia

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Montevideo (part 5)
Project: Polytopia

And yet the future is already in our midst; it is the extending tendrils of a past, laying ahead of us. Addressing them with the substance of future is a conscious act of minding our own evolution. A transitory installation of our fragile freedom.
(from the ‘petit manifesto’)


*
That which unites us

That which unites us is that we do see far. The substance of far reaching sight is at the heart of our imagination and thus of our humanness.

It is upon far reaching sight that we act in shaping ourselves, reminding, that reality is a thought in progress, never resting in present description but exuding of a knowledge exceeding itself.

By turning our collective gaze towards the far ends of the now we find relevancy in language and meaning in communication. In understanding our tomorrow’s selves we unearth the ability to seal alliances of co-existence and alter pasts, rephrasing ‘the other’ from being ‘there’ to being native to our inner consortium.

That which unites us is the motion of reaching out of ourselves. Claiming into existence new directions to articulate ourselves into the unknown is at the heart of being conscious and thus of our humanness.

Whether reaching out in the direction of a spiritual portfolio of epiphanies or to ‘the other’, towards an artistic vision or through scientific tentacles, whether beyond the ordinary or beneath the foundations of thought, that which unites us is the motion of bridging forth our self-description, rephrasing finite grounds into infinite game, in all directions, the very story of being human.

The extensible character of our being, capable of including the invisible paths ahead of us, reminds that humanness is unimpeded motion of realization, never resting in present form but in exposing the event of becoming.

Consciously minding our own evolution is a daring narrative of our longings, a new stage in our vehicle for reaching out. Embracing it is to avoid being alienated from humanness, deepening our becoming in explicating the core nature of ourselves.

*
We are an entanglement of un-ending mind, indefinite body, and a million interacting labs; a recursive cross-dimensional communication - an open evolutive event.
(from the ‘petit manifesto’)

*
A Recursive Paradoxical Nature

In our midst future is occurring, permeating us, falling, invading the now, carving spaces of longing for re-conceptualization, to accommodate our inherently conflicting nature.

An echoing tune of liminality is crossing through. Our indeterminacy stretched upon a curve, lays between a previous moment, yet exceeding itself, and the next one, already transcending the image that produced it.

In our midst is a recursive paradoxical nature, whose verb of realization alters the image of its production, nuancing the verb itself - the overly open ambiguity of a becoming itself in becoming.

Yet, did we not cross it time and again in our manifold paths to the now, attempting to capture it and arrest it in our genes, bodies, and outstanding architectures of mind, sense and form?

In our midst is an emerging space, exposing a synaptic dynamic community of fluid dimensionality, resilience in minding, at last. Minding our own future, thoroughly suggesting to steer once again the notion of ourselves, situating humanness as our conscious inquiry and not as a granted frame.

In our midst a moment of creative pregnancy, crowding its infinite rooms not with the violence of pre-invading truth, but with softness in allowance; Knowing not subject from object, nor, convergence from departure, developing, in the shades, an aesthetic intelligence faster than conception.

Searching not to settle itself into extracting the ‘David’ from the ‘marble’, the one David that our past inevitably suggests, but making the marble a fluid space of crossing possibilities.

*
Arresting the exclusiveness of one locality from being the dock of consciousness; bargaining instead for openness of mind with which to set sail. (from the ‘petit manifesto’)

*
Minding our own evolution

Minding our own evolution is evolving the frame of evolution as we know it, proposing conscious aware directed selection, as taking its place in being a relevant counterpart to natural selection.

It is by all means a conscious daring act of self-description, and one of no return at that, mainly because it pertains to openness, mindfulness and freedom, our innermost longed for coordinates of being.

Renewing the question of ‘what, how and who we are?’ presents us with the urge of forging wisdom, an awakened eye that sees the story we tell, in all directions, as a double-edged becoming.

As in the hand drawing its reflection, a minute change in the drawing eventually expands back to the hand itself, and thus alters the way the drawing is performed, and over again. A nature in flux is a recursive contradictive nature, a becoming itself in becoming. It indirectly yet profoundly, continuously and minutely influences its course.

Future is a live and potent matter in describing ourselves, it is the medium for storytelling in embracing an emergence, it is the drive of a now in becoming. A double-edged blade that we realize we should bother to learn how to handle.

*
By accepting and declaring entrance to the stage of minding our own evolution, we diverge from the common image of continuity, being in immigration procedure towards becoming in becoming. (from the ‘petit manifesto’)

*

In Humanness as in Art

The story of our nature, the nature of our story, is an entangled dynamics of becoming in becoming, reminding us, in art as in humanness, that the verb of being, nuancing itself, inter-evolves with its pattern of realization.

That which unites us is our shared interest - being free to mind our own evolution and minding our own evolution as free beings - the art and the game-chart of being a human.

*
And so, we came to realize the contradicting nature of storytelling, being the story an immersive pattern of convergence and yet, simultaneously an exit door in iteration towards the next departure. (from the ‘petit manifesto’)

***
It is the story we tell about our minding, and the way we mind the story we tell that is in change, pulling, mutating, departing, converging; it is now, in days of longing.

Longing, the ganglion of the futurist as that of the artist, the stuff upon which imagination glides and cares to deliver a change in the curriculum vitae of man.

It Is Now
04:00/17/3/09/PSE

To be continued..

Image 1 – beyond human nature - by Olaf Schlote
Image 2 – longing - by J.D Doria
Image 3 – Düsseldorf 4 - by Spencer Tunick

Tue, Mar 17, 2009  Permanent link
Categories: Human nature
Sent to project: Polytopia

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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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Montevideo (part 3)
Project: Polytopia

Through technology the span of human life will increase, approximating towards immortality; in direct correlation the manifold costs of being alive will progressively decrease. In proximity, being alive will not cost us anymore in life, rather, it will aggregate into generating life.
*
Does Sanity have a sound?

At times, sanity is a volume of silence, a body of flowing texture, wishing not to rest in destiny but in emergence. At times, sanity is a naked thought, hanging in darkness, wishing not a thinker but a lover. At times, sanity is just the sound of breaking bread, wishing not a language but a merging. At times, sanity is a voice of intensity, wishing not a vessel but a crack. At times, sanity is not at present, neither is madness in proportion, it is then that a pile of words reveals itself as a waveless ocean.

Betraying the locality of consciousness

The magic of cinema is simple; it allows us to give ourselves to a plot, in which we become a version of ourselves within a unique world frame. Art taught us through many mediums and styles, the simple fact about ourselves, of being not one, but a poetry of emerging compositions, of being in the flow of becoming.

Isn’t it the case that magic begins in radical participation, that of giving ourselves un-conditionally to a narrative in action? Within it pleasure gathers its flowing property. It is then that we participate in life, minding not time but an occurrence, an event in-happening.

It is in the act of giving ourselves that we take our cues not from time and self, but from the flowing texture of an open moment, it is then that we see pleasure as the playful ground of intelligence, contemplating a possible wisdom occurrence and betraying the privacy and locality of consciousness.

Art, in the sense of the work of an artist, always, is an expression of betraying the local taste of consciousness, as it is always in the move between potential sights to a potential “other”.

Placing oneself is a conscious verb

In essence, technology should be measured by the freedom it gives us, the freedom to give ourselves unconditionally to the narration of Mind as an eventful space.

Narration, as I am using it here, is our essential instrument of setting coordinates and orienting the motion of self-reflection, setting a story-world in which narratives are the verbs.

And so, it occurs to me that narration is the instrument for placing ourselves and oneself, setting a “place” to Mind, the possible consequence of which is an event, via a narrative, that is a Meta composition of the verb of being.

Narration if so is the conscious function of setting a “place” for minding, by composing a story-world, a platform for the mining of narratives. Freedoms, gained by technology, are changing the status of localities, from being fixed to being consciously variable.

By that, placing ourselves will be open to interaction and complementary to the optimization of poiesis – the poietic work of exposing the dynamic of thought sensation to the spectrum of its potentialities of actuation.

Placing oneself is more and more close to consciousness and less and less correlated to locality. Moreover, placing oneself, in the sense of narration, seems an essential characteristic of a conscious being.

Technology is not a “literature”; yet, it does and will allow, via the semantic grid of all things, an explosion of narration into multiple and diverse narratives of poiesis.

In that the projection of Polytopia and the multi-faced coherency that it may disclose to our humanness, is an intimate companion in a ground-less transition.

Open Existential situation

Technology in its myriad pathways of breaking through provokes in us that which we have been after for eons. Technology is transforming line by line the character of our existential situation.

Existential situation I understand as a multi-dimensional setup of proportions of freedom/restriction, a body that gives orientation to our meaning assignment, that curves the dynamics of thought and is by all means our drama setter.

The case of being mortal, the case of resources being limited, the case of being irrevocably far from the “other”, all of this has concurred to determine our previous situation in this universe and our placement in time, serving as the axis for our emotional landscape and mythological portal.

It is in fact right now that our existential situation as humans is transforming.

Webbing our relation into a texture of high and smart connectivity, unlocking resources from being finite, cracking mortality – all of it, the tip of a wide and vast iceberg.

New West

Economy was always based on the manifold costs of being alive and defined by our existential situation.

The vision of reducing the cost of being alive to minimum means upturning the drama of being into a completely different nature of narrative.

We know at depth the legacy of our narrative, that of swimming against the current of a constant decrease in the shores of aggregation. Change this factor and a new drama of being emerges.
If indeed the costs of being alive are progressively decreasing as an outcome of the on going transformation of the existential situation, a new drama and correlative economical framework are emerging.

Transforming the existential situation yields spaces for alternative economic frameworks to coagulate. Yes embryonic, yes in transition, but the surplus of space susceptible to alternatives is our new west.

Though based upon our existential situation, economy, in essence, is our best vehicle to negotiate and upturn the cost of being alive.

Edge

We understand by now that utopia is not a game changer, simply because utopia is a frozen matter projected upon the flow of events, using not narratives but ideology as machine of actuation.

Utopia is not a substantial alternative to an existing reality, as it presents a rigid paradigm as substitute to a rooted pattern, but at the end of the day it is the ‘exclusivity’ of the pattern that continues. Technology does propose a substantial edge, by yielding an actual platform upon which a meta-shift in paradigm is possible. This substantial edge allows us to begin to mind our own evolution and to cross over to many alternatives, celebrating a true literature of being and of collective.

Our future is about the emergence of an alternative conceptual space, in which new narratives can lead the eventful space of mind. We seek in it the freedom to give ourselves to the emerging narratives in action, composing the verb of being. Sanity momentarily is as well simply the rare sound of tight resonance between our thought sensations and our conscious actions.
Will we find the fine-tuning between the necessary madness and the voice of sanity?
***
It is in fact our existential situation as humans that is in transformation.
It is now
3/1/09/PSE

To be continued..

Sat, Jan 3, 2009  Permanent link

Sent to project: Polytopia

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Montevideo (part 2)
Project: Polytopia

"I live on Earth at present, and I don't know what I am. I know that I am not a category. I am not a thing — a noun. I seem to be a verb, an evolutionary process — an integral function of the universe." R. Buckminster Fuller

***

Suddenly it is cold, so cold that for a glimpse of a moment motion is frozen, the sight utters warm and fancy, the moment irregularity is clearly a Blue-Moon happenstance. Between the old forgotten hypothesis of Prometheus and the new evolved version called AI, it is humanness that comes to rise up, pulling itself out by the future landing into the paths of past.


Poiesis and Puting

I love words, the story of words, the history of a word, and though I am familiar with the notion that words themselves are empty (but then what is not?), a word becomes an entity when in composition; it has a character, a taste and a sense. As an artist, I know words as matter, as color, as sound, as flow.

Yet, above all, words are like doors. In timing they open a space, a crack in the matrix of interdependence, for intelligence, through consciousness, to adopt a new configuration, a new pattern that connects.

The right word, in the right timing, in the right place… and the sense of opening is overwhelming. While in my studio, I know this when am hunting for colour. The right colour does the magic, the magic of transcending being into a flow.

And so, I enter this virtual studio with a question - what is the verb of being?

And we know the fallacy in the question. There is no verb to being, there is however a question, a pattern of relations that correlate the space of us/me with the space of all and everything.
Now, I throw the question into that ‘pattern’. It is a personal question made of the stuff of intimacy. I am not here in search of the universal, I am however on the track of self-discovery.

The state, the mind state, is changing in correspondence, matter is opening, undressing from a particular description and moving to a superimposed descriptive state, the ‘distance’ between potentiality to actuality gradually disappearing.

While the silence is quickening I realize that actually the question is simple, as much as it is personal. In essence, I am asking what is the contextual action of the substance of me? What is the ‘middle’ of my longing?

Two words are emerging. The first is ancient, the second is new, the ‘milieu’ of intelligence is changing, and now comes the work.

The verb of being is Poiesis,

The axis of Poiesis is Puting.

Poïesis is etymologically derived from the ancient Greek term ποιέω, which means, "to make". This word, the root of our modern "poetry", was first a verb, an action that transforms and continues the world.

Poiesis here means:

The process of bringing a becoming into presence.

Or in other words, the poietic-work of exposing the dynamics of thought-sensation to the spectrum of its possible actuations.

Pute is etymologically derived from Latin, from the ancient term Putare, which means to cut, to clear, to clarify and to think. This word, the roots of our modern “computing”, is in short the act of making sense through calculation, the act of creating sense through re-iteration of correlations.

Pute here means:

In essence, the creative moment, the moment of puting brings forth a new sense into existence, that is a Mindful Creative Pregnancy.

Poiesis

Poiesis, as the event of being, is the poietic work of exposing the dynamics of thought-sensation to the spectrum of its potentialities of actuation. The poietic work is that of bringing the dynamics of thought-sensation all the way, as changing states, from and through the possible, to the probable and the actual, via capturing, articulating and realizing. Poiesis if so is the artful ‘action’ of being, through which unpredictable becoming is exposed via a mindful creative moment. It is a love affair always fresh from tunneling the un-known while distilling the knowledge.

Pute – A Mindful Creative Moment

In the movie “Modigliani”, (2004), Director and Writer - Mick Davis, there is an interesting scene presenting seven artists standing in front of an empty Canvas full of the passion to paint a masterpiece that will take part in the Paris annual art competition. Modigliani tackles this work with the hope of creating a masterpiece, and knows that all the artists of Paris are doing the same. The scene unfolds in cinematographic language, the happenstance of a creative artistic moment seen through the drama between the artist and the empty Canvas.

For many years I have been exploring the nature of those creative artistic moments, which though belonging to multiple landscapes and different contextual representations, have much in common. Whether it be an artist, a philosopher, a scientist, an engineer or a mystic, within his or her curriculum vitae of flow of cognitive-emotional life, we may find descriptions, stories and products of the creative moment.

In my exploration whether by investigating others or within my experimental contour, I came to the understanding that such a moment is an axial property of being a human. Poiesis, the verb of being, the poietic work of exposing thought-sensations to their potentialities, is brought forth via the creative moment into an unpredictable becoming.

The verb of this creative moment I call to pute,

I like the sound of it, the taste of it on the tong, the flow of it,

Pute, Puting,To pute,

Pute in general is a mindful creative moment and pregnancy. It by all means does not belong exclusively to art, but to all domains of human intense activity. It is in this sense a property of being a human and a higher cognitive-emotional phenomenon. It will be sane to say that the consequences of those durational moments of Puting did play a momentous role in the life of giants in humanity and as a consequence in the life of others.

Pute – Index of Being

Definition - Pute is the verb of a Mindful Creative moment.

Telos – Puting converges into a fragile, special and unique instance of knowing while riding an aesthetical sense.

Nature – state of mindfulness riding oriented passion into the un-known at the edge of chaos.

Being - Apex of puting is conception, through which being re-articulates itself, or expresses itself anew.

Meta – Inputing is the keyhole for emergence of insightful thinking, creative articulation and the spectrum of rare moments that punctuate equilibrium - high lands of sight, epiphanies, vision and emotional awakenings.

Dynamics - Merging into computational and intuitive composition of forces that awake a becoming which is unpredictable.

Esthetics – asymmetry of interest coagulated with the symmetry of openness.

Poetic – Puting is a Renaissance Machine of being.

Example: To coin the word Pute I enter into a state of puting.

Collective Puting (the future?)

Cinema is an interesting case of collective-puting, a dynamic complex orchestration of masters at work. The movie is happening in the relations, overlapping multidimensional relations. The significant notion here is the criteria of the relation – adding dimensions to the collective – puting event.

The movie making procedure is a collaboration of Puting-stations, to which each individual station is a unique and characterized mastership, yet, each station carries the precious knowledge of how it connects (in proximity) to all other stations.

The movie emerges piece by piece in the middle, the dynamic intersection in which and through which the bottom-up interacts with the top-down; that is the ‘milieu’ at realization.

I do know that there are a poly-manner ways of making a movie; in some, like in the case of Alfred Hitchcock, the actual making of the movie does not change the shape of the movie significantly. In others, like Federico Fellini, the making is where the movie is being shaped.
This way or that way, there are many ways and different proportions, in which the individual puting station is related to collective-puting and vice versa. My point here is that exponential growth in connectivity via technology is leading us most probably to co-puting.

Which puts us closer than ever in our shared poiesis, the exposure of a better us to its possibilities of actuation, in a better future in a better world.

I do not come here for a moment to undermine the ultimate criticality of the individual puting station, rather, am pointing and hinting towards a unique and special case, that of collective-puting as an indication of the future and the future mind.

It seems, that for the first time in human history we, as a collective, are converging into co-puting. We are collectively in a creative pregnancy entwined with the emergence of a new mind.

Ensembles of puting stations are emerging. These ensembles are not homogeneous (as in the topos of polytopia); they are not exclusively related to one discipline, but they are animating in proximity in the same kind of frequency, they are pushing the same mind wave forward in proximity.

Montevideo

It is dawn, now, caressed by the far rhythm of ocean waves, it is crisp and yet it is pregnant with thick and moist mist. It feels like being taken out of a context, the context of being my self. I know that sense quite intimately. I practiced it for many years and still the act of self-denial always on a balancing scale, never on solid ground. And so, I am increasing the volume of emotion and move bare footed from sensation to sensation, gathering the emotional sleeve pointing to an open ended horizon. I am slowly activating the organs of thought and steering the tension, I log into consciousness and silently observe the change in the ‘milieu’ of intelligence, and here, exactly here and again, I understand that I am not alone, a flaming wave, yes, but inseparable, and the memory is fast and hits me, it is:

12:36/4/12/08/PSE

I am one moment into the Post Singularity Era (PSE).
I am almost dis-qualified from being my self,
Emergence of a future mind is the plan.

To be continued…

Fri, Dec 5, 2008  Permanent link
Categories: future, art, Poiesis, Polytopia, Singularuty
Sent to project: Polytopia

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