i am an eXperiment. a Syncopated word & image coLLage imported
from Our minD sEnse-thoUght collective stream. a trial 2 eXpress
the aRhythmia & the off beat that lies in-betwEEn the bond made of: imAge narrative & senSation. an aEsthetic act and aim of WondeR in the search for a CRaCK. as for if anything eXists at all it exisTs
i n - b e T w e e n.
syncopath’s projects Polytopia The human species is rapidly and indisputably moving towards the technological singularity. The cadence of the flow of information and innovation in... The Total Library Text that redefines...Now playingSpaceCollective Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction.Introduction Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
This is somewhat new kind of religion. I have never imputed to Nature a purpose or a goal, or anything that could be understood as anthropomorphic.What I see in Nature is a magnificent structure that we can comprehend only very imperfectly, and that must fill a thinking person with a feeling of humility.
My position concerning God is that of an agnostic. I am convinced that a vivid consciousness of the primary importance of moral principles for the betterment and ennoblement of life does not need the idea of a law-giver. Especially a law-giver who works on the basis of reward and punishment.
To assume the existence of an unperceivable being… does not facilitate understanding the orderliness we find in the perceivable world. I don`t try to imagine a personal God; it suffices to stand in awe at the structure of the world, insofar as it allows our inadequate senses to appreciate it.
The evening had no destiny at all. Since it was clear, i went out to take a walk and to recollect after dinner. I did not want to determine a route for my stroll ; i tried to attain maximum latitude of probabilities in order not to fatigue my expectation with the necessary foresight of any one of them. I managed, to the imperfect degree of possibility, to do what is called walking at random.
I accepted, with no other conscious prejudice than that of avoiding the wider avenues or streets, the most obscure invitations of chance.
text : Jorge Luis Borges, from “A new refutation of Time”. image : from "Kontakthof" a piece by Pina Bausch. video : Syncopath, Valse d'Orsay, 2013.
No one can play a game alone. One cannot be human by oneself. There is no selfhood where there is no community. We do not relate to others as the persons we are; we are who we are in relating to others. Simultaneously the others with whom we are in relation are themselves in relation. We cannot relate to anyone who is not also relating to us. Our social existence has, therefore, an inescapably fluid character. This is not to say that we live in a fluid context, but that our lives are themselves fluid ..... This ceaseless change does not mean discontinuity; rather change is itself the very basis of our continuity as persons.
text : James P. Carse, Finite and Infinite Games, 1987. photography :Evelyn Bencicova, Ecce Homo, 2014.
And we, inhabitants of the great coral Cosmos, believe the atom (which we still cannot see) to be full matter, whereas, it too, like everything else, is but an embroidery of voids in the Void, and we give the name of being, dense and even eternal, to that dance of inconsistencies, that infinite extension that is identified with absolute Nothingness and that spins from its own non-being the illusion of everything.
So here I am illuding myself with the illusion of an illusion—I, an illusion myself? I, who was to lose everything, happened on this vessel lost in the Antipodes only to realize that there was nothing to lose? But, understanding this, do I not perhaps gain everything, because I become the one thinking point at which the Universe recognizes its own illusion?
text : Umberto Eco, Paradoxical Exercises Regarding the Thinking of Stones. photography :Stephanie Jung
In our dreams (writes Coleridge) images represent the sensations we think they cause; we do not feel horror because we are threatened by a sphinx; we dream of a sphinx in order to explain the horror we feel. If this is so, how could a mere chronicle of its forms transmit the stupor, the exaltation, the alarm, the menace and jubilance which made up the fabric of that dream that night? I shall attempt such a chronicle, however; perhaps the fact that the dream was composed of one single scene may remove or mitigate this essential difficulty.
The place was the School of Philosophy and Letters; the time, towards sundown. Everything (as usually happens in dreams) was somewhat different; a slight magnification altered things. We were electing officials: I was talking with Pedro Henriquez Urena, who in the world of waking reality died many years ago. Suddenly we were stunned by the clamour of a demonstration or disturbance. Human and animal cries came from the Bajo. A voice shouted 'Here they come!' and then 'The Gods! The Gods!' Four or five individuals emerged from the mob and occupied the platform of the main lecture hall. We all applauded, tearfully; these were the Gods returning after a centuries-long exile. Made larger by the platform, their heads thrown back and their chests thrust forward, they arrogantly received our homage. One held a branch which no doubt conformed to the simple botany of dreams; another, in a broad gesture, extended his hand which was a claw; one of the faces of Janus looked with distrust at the curved beak of Thoth. Perhaps aroused by our applause, one of them - I no longer know which - erupted in a victorious clatter, unbelieveably harsh, with something of a gargle and of a whistle. From that moment, things changed.
It all began with a suspicion (perhaps exaggerated) that the Gods did not know how to talk. Centuries of fell and fugitive life had atrophied the human element in them; the moon of Islam and the cross of Rome had been implacable with these outlaws. Very low foreheads, yellow teeth, stringy mulatto or Chinese moustaches and thick bestial lips showed the degeneracy of the Olympian lineage. Their clothing corresponded not to a decorous poverty but rather to the sinister luxury of the gambling houses and brothels of the Bajo. A carnation bled crimson in a lapel and the bulge of a knife was outlined beneath a close-fitting jacket. Suddenly we sensed that they were playing their last card, that they were cunning, ignorant and cruel like old beasts of prey and that, if we let ourselves be overcome by fear or piety, they would finally destroy us.
We took out our heavy revolvers (all of a sudden there were revolvers in the dream) and joyfully killed the Gods.
text : Ragnarök by Jorge Luis Borges, Labyrinths 1962, translated by James E. Irby. image & video : Syncopath, Take Off, shot in Tempelhof Berlin 2013
* Ragnarök (wiki) = is an important event in the Norse canon. it is a series of future events, including a great battle foretold to ultimately result in the death of a number of major figures (including the gods Odin, Thor, Týr, Freyr,) and the subsequent submersion of the world in water. Afterward, the world will resurface anew and fertile.
* Tempelhof airport Berlin (wiki) = Tempelhof was designated as an airport on 8 October 1923; The old terminal was originally constructed in 1927; The Nazi government began a massive reconstruction in the mid-1930s in anticipation of increasing air traffic; Tempelhof was one of Europe's three iconic pre-World War II airports; One of the airport's most distinctive features is its large, canopy-style roof, which was able to accommodate most contemporary airliners during its heyday in the 1950s, 1960s and early 1970s, thereby protecting passengers from the elements; Tempelhof Airport's main building was once among the top 20 largest buildings on earth; Tempelhof Airport closed all operations on 30 October 2008; In August 2009, Berlin city officials announced that Tempelhof would be opened in May 2010 as a city park and will be used as a park indefinitely; On the weekend of 8/9 May 2010, the outfield was festively opened as Berlin's largest public park named "Tempelhofer Feld"; More than 200,000 Berliners visited the park to enjoy its wide open spaces for recreation ranging from biking and skating to baseball and kiting.
Information Collection and Use by SpaceCollective.org
SpaceCollective.org collects user submitted information such as name and email address to authenticate users and to send notifications to those users relating to the SpaceCollective.org service. SpaceCollective.org also collects other profile data including but not limited to: gender and age in order to assist users in finding and communicating with each other.
SpaceCollective.org also logs non-personally-identifiable information including IP address, profile information, aggregate user data, and browser type, from users and visitors to the site. This data is used to manage the Website, track usage and improve the Website services. User IP addresses are recorded for security and monitoring purposes.
User Profile information including members' pictures and first names are displayed to people in order to facilitate user interaction with the SpaceCollective.org service. Email addresses are used to send notifications related to the service. Email addresses are not shared or displayed to people within a user's personal network or anywhere else on the website. Users within a personal network communicate on SpaceCollective.org with each other through the SpaceCollective.org service, without disclosing their email addresses.
To facilitate the connection between members on the service, SpaceCollective.org allows users to search for other members using display names. We may also use a user's email address to send updates or news regarding the service.
Correcting/Updating or Removing Information
SpaceCollective.org users may modify or remove any of their personal information at any time.
Members who no longer wish to receive notifications may choose not to by selecting the appropriate checkbox in their personal account settings.
SpaceCollective.org member accounts are secured by member-created passwords. SpaceCollective.org takes precautions to ensure that member account information is kept private. We use reasonable measures to protect member information that is stored within our database, and we restrict access to member information to those employees who need access to perform their job functions, such as our customer service personnel and technical staff. Please note that we cannot guarantee the security of member account information. Unauthorized entry or use, hardware or software failure, and other factors may compromise the security of member information at any time.
Sharing and Disclosure of Information SpaceCollective.org Collects
Except as otherwise described in this privacy statement, SpaceCollective.org will not disclose personal information to any third party unless we believe that disclosure is necessary: (1) to conform to legal requirements or to respond to a subpoena, search warrant or other legal process received by SpaceCollective.org; (2) to protect the safety of members of the public and users of the service. SpaceCollective.org reserves the right to transfer personal information to a successor in interest that acquires rights to that information as a result of the sale of SpaceCollective.org or substantially all of its assets to that successor in interest.
SpaceCollective is a joint initiative of filmmaker Rene Daalder and designer Folkert Gorter. Daalder is the project's main author and creator of The Future of Everything. Gorter is the site's interaction designer and the curator of the Gallery. System architecture and technology created by Josh Pangell. The Future of Everything episodes are edited by Aaron Ohlmann and produced by American Scenes Inc; executive producer: Joseph Kaufman.