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Curator of becoming, Artist, Writer, Urban Tiger
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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.



    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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    ‘Matter’ becomes soft. It is the softening of matter, of ourselves, of our genes, of our beliefs, the softening of our mindset and base-images, which is distributed all over as the voice and signal of the 21st century. It is the softening of ‘matter’, of the concreteness of our precincts and restrictions that allows us to choose our identity, to shape it as malleable substance. Fundamentalism, the historical mindset of fundamentalism is becoming obsolete. (From notes in black and white)

    Migration into the Soft

    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, ‘middle’ loses its structural image while sustaining the potency of relation. Where is the ‘middle’ of flowing minds? The ‘middle’ of imagination? Where is the middle of an evolving phenomenon? Even the middle of a living town… and we are in the middle of each one of them. A shift in meaning, 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. The structural stability of the hard yields to the dynamic potential of the soft, giving play to corridors of yet unexpressed opportunities, momentary shapes, endless reshuffling of landscapes.

    In a momentary crossing over from a world of definite restrictions toward the wilderness of dynamic tensions, mind learns to morph singular states in soft matter.

    The ‘middle’ is an aesthetic attitude of mind.

    We are in migration; we are migrating into the soft; first generations to step into a soft universe, to cross over into softening selves and softening “matter”. And migration, this new form of migration, is reshaping our minds, our perception and intelligence.

    Between mathematics to imagination

    The works of Diana Al Hadid are to me a window into the Soft, a private window into the indefinite opportunities hidden in the ‘middle’ of ‘Matter’. The works occupy the infinitesimal space between construction and deconstruction, between emergence and entropy and between mathematics and imagination.

    Her unique ability to walk these shifting lines, to operate intuitively membranes between construction and deconstruction, is reflected in her inspiring manipulation of shapes. It seems as if matter in her hands is indeed becoming soft, enriched with undomesticated opportunities for re-viewing.

    The works are like a descriptive poem of the gradual coming into existence, a poetry of poiesis – the bringing of a ‘form’ into the light, layer by layer, time after time, process after process, a becoming, a long becoming, a very long becoming that resonates with a million years.

    Yet there is a discernment between natural evolution and conscious poiesis, there is a difference between nature and culture, and between the processes through which forms are produced. A conscious catalyst that interferes with becoming (of form) becomes in its turn intimate with the process of exceeding itself while in the ‘middle’. Thus opening doors that are disengaged from the natural.

    The difference, where manifested, is not a matter of perfection or imperfection as in the world of Plato, rather it is an aesthetic probe, sensing where to make the difference visible, harvesting its power to un-domesticate form. From cracks on the surface of the familiar into the liquid streams of possibilities, emerging as the singular.

    At the inexistent heart of soft matter, aesthetics is rumbling, probing new grounds for thought, portraying the “middle”, not as locus nor as subject, but as a new intelligence within the flow of human minding.

    Aesthetics, the ‘Middle’ of Minding

    “When the lines of distinction between Matter and Mind are fading, that is when an artist begins to work. When matter is soft and mind is clear, when matter and mind become a ‘Brain’ that thinks, then thought begins to move in alternative paths.” (From notes in black and white)

    It is this state of affairs that I call the ‘middle’ of minding, and the ground of aesthetic thought. The intense and singular emergence in which mind and matter forge a ‘Brain’ that thinks and exceeds. A virtual ‘brain’ that moves and emotes along the line of tension, stretched between the intimate and the alien.

    Like those moments in which a sculptor merges with the substance she is working with, and a painter migrates into color and a photographer blends with light, it is not the union that matters but the kind of ‘brain’ that emerges.

    It is with the emergence of these virtual ‘brains’ that we realize; we are not ‘caged in matter’ as much as we are not ‘caged in selves’, rather, we have just begun our journey into flows of concrete potentialities that unfold through and emerge within the amalgam of ‘mind’ and ‘matter’.

    ‘While going to a condition’

    “I want the audience to experience the space” - Hiroaki Umeda

    “While going to a condition” was the first work of Hiroaki Umeda, performed in 2002. It is an enlightening work, brilliant in its simplicity and elegant and modest in its use of technology.
    It ventures away from the standards of perception into an alternative phase-space, into being intimate with an alien mindset of sight. It is a reminder, so to say, of the endless opportunities that constitute the space between forms and language.

    The elements from which the work is composed are brought to a plane of equivalence - body movements, sound, light and technology - so that, the basic unit, the ‘Atom’ from which the performance is made, is an alien composition of multiplicities.

    The hard distinction between the elements is replaced by soft distinction. Making clear that softness is not about a collapse into one amorphous substance, but rather it is pointing to endless relational opportunities, existing in the space that enfolds between the elements.

    Sound, light and movement are as if physical substances, materials that he strips from melody, text and continuity; so that the relation with them and between them is a flesh of direct contact.
    Once the index of patterns is cracked open, and softness fills up the fractures, space is exposed as an eruption of unpredictable spatial opportunities, the ‘middle’ of undefined possibilities becoming tangible.

    The volume of possibilities

    “It's not easy to see things in the middle, rather than looking down on them from above or up at them from below, or from left to right or right to left: try it, you'll see that everything changes”. — Deleuze and Guattari, A Thousand Plateaus

    Both intelligence and evolution operate upon multiplicity of options; our tendency to anchor an understanding to a single point of view or a specific form is a bias of linear perception. Moving into softness we need a metaphor expanding awareness to unexpressed multiplicity and parallel waves of possibility; together with the accuracy of calibration we need corridors into the ‘middle’.

    In cinema the set of coordinates in space are defined by the location of the camera, the motion of it and the kind of lenses that are selected, together coalescing the type of perspective. These are the vectors mapping the phase-space of sight (the volume containing all possible perspectives applicable to a given cinematographic moment, whether actuated or not).

    The question of where and how to operate the camera is an exploration of such phase-space and any shot is in fact a particular state within the volume of optional perspectives.
    The evolution of technology in relation to cinema did change profoundly the volume of possible sights and the set of restrictions operative in it – thus altering the way to navigate and create within a phase-space, which is itself in change.

    The matter of cinema progressively becomes soft, but this is not necessarily enough in making greater cinema; on the contrary more often than not it reflects a gap in speed, between the growing freedoms of technology, reducing restrictions, and the fragile freedom of our minds in being able to extract singular states out of equivalent multiplicities.

    It is not that it is less easy or more difficult to make movies today; it is a different task altogether in terms of operative intelligence.

    The great masters of the medium indeed begin with softness of ‘matter’, they transform restriction to tension, and then when Mind and Matter, sight and observer, co-forge a ‘brain’ that thinks, they move to a new path in the phase-space and bring to fruition a singular state of sight.

    Much like the first moment of “The consequence of love” by Paolo Sorrentino (2004). It is a still shot, an airport landscape, a long and empty conveyor belt, in the very end of it, far in the depth of the frame a human enters moving towards the viewer. Step by step, as the human figure is approaching and closing the distance, the sense is almost transforming into a thriller.
    The thriller though is about the viewer migrating into the world of the movie.

    Just before the human figure is about to leave the frame, the camera begins to move. But now the camera is very tangibly loaded with the viewer mind and emotion, as if the ‘mind’ of the viewer and the ‘matter’ of the close-up co-forged a brain that emotes; the gap is engulfed into a new corridor of possibilities, and bravely gliding to a new and singular path.

    For a blink of a second time stands, space opens, the seeking of a new encounter and the apparently bland first contact with the movie is suddenly overwhelmed by information.
    From then on the viewer remains in longing for that kind of moment, while the story of the hero of the movie is exactly the same, longing for that kind of instance in which matter is soft, and contact produces different versions of ourselves, even if the consequences are deadly.

    The magic of art is in the accessibility to singular states of sight and emotion, which provoke deep and inexhaustible observation. So that it allows us, while being no more than a case in evolution, to sustain corridors of observation upon matter becoming soft.

    Matter loosens its grip

    The becoming soft of matter is riding multiple ruptures in technology, science, society, subjectivity, philosophy and art, if just to name some of the realms in which it is gathering momentum. It is this network of ruptures that makes matter soft, or differently put, makes matter pregnant with new clouds of opportunities and sights.

    It is connectivity, hyper connectivity and the incoming interfaces between the physical and the virtual, between brain and machine that make matter soft. These coordinates in which domains overlap, oscillate and gently seep into each other are corridors into the middle.

    Matter loosens its grip, its hardness and rigidity, becoming malleable, pliable, a quasi-solid stream of opportunities.

    Yet, we do know how to operate in a hard world, and we are only now gathering the intelligence and speed that fit softness. The softness of matter calls for the softness of a new aesthetics, to fit the radical ongoing change.

    We need to rethink intelligent operation in a soft universe, extraction of singular states out of flowing streams, instantaneous processes of reconstructing mindsets together with the art and science of curating becoming.

    It is Aesthetics that provides us the grounds to a new system of navigation.

    Image 1 – Santa Cruz - Cueva Manos
    Image 2 – Diana Al Hadid - In Mortal Repose, 2011
    Image 3 – Diana Al Hadid - Self-Melt, 2008
    Image 4 – Tara Donovan - Untitled, 2003
    Image 5 – Neri Oxman - E,X,Y,Z,S,S,T

    Thu, Jan 19, 2012  Permanent link
    Categories: Intelligence, Aesthetics, Soft, Middle
    Sent to project: Polytopia
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