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<nettime> more on the true world plus representations of time and time's
Alan Sondheim on Sat, 3 May 2008 11:35:24 +0200 (CEST)

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<nettime> more on the true world plus representations of time and time's death

more on the true world plus representations of time and time's death

in the grips of the true world

from one scale to another, from human to true world, from mind to emanent.
entities are present within the true world filtered through the history of
ties, around emanents and 'true worlds,' around edge phenomena

distorted worlding, 'bringing one out of the true world' (etc.) what con-
stitutes the true world? worlding? 'true world' in which lines/angles are
'trued' (affine geometry), 'true world' in the sense of 'trued' phen omen-
ologies within which reflects real unclarity, the house of the world,
transforming the world and the true world into praxis and real difference.
and there's truth to this. least, when the true world is considered, em-
anent and organism are intermingled, interpenetrated, within them, they
are true-world true world?

carnated/carnal/knowledge - we could begin by introducing the true world,
primordial, in other words backgrounding. in this sense, the true world is
materialist; how the limits of my body within the true world are the
limits of my world; thought and the true world are based on extrapolation
- the gestural - from conglomerations, inherings, coherings among discrete
and analog, abject.

  how are these constituted within the true world (another metaphor?)?
language is clothed, associated with the true world. nevertheless both
inhabit the true world, mind inhabits both, albeit often virtual within,
inhering to the true world. striated, variegated, constructed, both
thinging and orgasm, wryting into the body of the true world, wryting

  what constitutes the true world? worlding?

  'true world' in which lines/angles are 'trued' (affine geometry),

  'true world' in the sense of 'trued' phenomenologies within which all
worlds are not true worlds, all true worlds are worlding. ikonic signs
inhere within the true world, reading bodies (organisms, emanents, approp-
riated, misappropriated) are ikonic. true world - the body standing land-
scapes of decoding, tendencies and tending of the true world sending
thick-skins, true world of inhering/cohering skins. it is not communality
(nothing is accountable). the 'worldview' stemming from the true world is
symbol, index, chora, self, selving, others, worlds, worlding, world, just
as anything in the true world replaces anysign - the poetics of the true
world, all this skittering, dark matter. messy, inhering, worlding within.
we can't stop now, bodies in space surrounded by symbolic fields, field-
ing, motilities, evanescences, emptiness. we have the true world just
beyond the space of the proscenium, meaning. but then, the shell ... yes,
what we call ghosts are only these slid the real, the real is a shadow of
the virtual, and within the true world messay, future genres which seeping
into one another, true world of emanents and anysign where we're living,
breathing, writing and strange, out there, within, structure paralleling
our own. true world is the mattering/nattering to and among us, and we
have to mess airless realm, the unintended or intentionless realm, in the
true world realm, insertion in other words, an reading as a is identical
to a. let's think of this in the true world, as simultaneously messay and
true world and here, in other anysigns, or none, nothing, no sign at all,
or, inclusive, signlessness.

The true world

"true," "world" without capitalization, small, backgrounding. "true world"
without - connectivity, a tiny, almost insignificant phrase, completion
phase emptying itself out.

the true world is skeining, inscribing, quantum, cohering, inhering; the
true world is image imaginary; the true world is aggregative, confluence;
the true world is emptiness unemptied; the true world is emanent, real
virtual, virtual real; the true world is unreading, is scribbling, is
inscribing under erasure; the true world is the immensity of the true
world; the true world is deferring; the true world is always, is always
already; the true world is catastrophe theory catastrophic; the true world
is analog abject, fissured, indiscrete, analog intrusions, discrete extru-
sions; the true world is imaginary carapace; the true world is neither
this nor that, not both this and that; the true world is unaccountable,
unaccounted-for, of no account; the true world the true world the true

imaginary world

imaginary world inhabits true world. true world is neither true nor false
(nor much of anything). think:

competing neural regimes < self/I > < discrete representations > data-

or beginning with neural flux (within which the discrete emerges): neural
regimes collapse (think of catastrophe theory short-cuts)

what is the I but linguistic shifter/generator (therefore one might say
_the_ linguistic shifter): here's your coagulation, assignment, direct
address (think of direct address as proper name or natural kind). what
emerges from the buzz of the world: discrete representations, _as if_
coagulations from the O/other side. what is absent: the buzz, neural
networking/phase transitions (quantum on up) producing information vis-
a-vis the _subject_ (I as subject, subjected-to).

collapse is to the discrete, intensification, as if essence were culled.
the buzz tends always on the far or lower side towards decay, corrosion,
defuge, subject, subjected-to abjection. on the upper side, discretion,
competition, processes surfacing when necessary, pulled from or by the
buzz - buzz equivalent to the superstructure of the world.

the true world appears with the removal of the lens from the eye and the
subsequent temporal split, redefined as inscription. or not.

consider the  < self/I > < discrete representations > as the _waist_ of
the buzz - any narrower and the system (channel, spew, flux) collapses.
think of < self/I/discrete representations > as _body._ then perhaps
neural regimes < body > data-substance. it is not too far an extension:

< < neural regimes / body > < body / data-substance > >; since this is
metaphor, not mathesis, it bifurcates into two models:

a. < neural regimes / body / data-substance > (within which body includes
an imaginary> and

b. < neural regimes / data-substance > (mixed epistemologies/ontologies of
true world inscriptive processes, demateriality, emphasis on gestural
logics, emptiness).

thus materiality is the available technology of true world. materiality
occurs within the waist: this is the 'level' or holon of every-day life.

[ 'true world' is misnomer: it implies duality, rectitude, the purity of
'the fragility of good things,' ration, logic, ratio. misnomer: it implies
world, totality, absolute, one, monad, null, emptiness, range, closed
manifold, language, planet. misnomer: 'it' referencing the discontinuity
of the phrase, seepage, placement, shifter, particle, production. 'true
world' is placeholder under erasure, sentence-space. 'true world' is
neither true nor world, full or empty, fecundity or emptiness, creation or
annihilation, creativity or death, negation. 'true world' is neither
neitherness nor neither-both-a-and-b, i.e. sheffer-stroke and its dual.
'true world' however does not inhabit or draw forth negation. what a
mixture of writing and substance, virtual space and time, abject plasma,
inconceivable corrosion, loss of bodies, inscribed and uninscribed
slaughters turned around, inverted, con-figuration, cul-location. 'true
world' is the flattened world, defuge, what happens after after hours
happens all the time. ]

( 'true world': find another phrase. )

http://www.alansondheim.org/snaps for new images of interest

finalgame of divas

The poetics of community in relation to temporal sequences and emanent
representations / inhabitations. (two 'breakthrough' videos in a series.)

"We must therefore recognize that what is designated by the terms
'glance,' 'hand,' and in general 'body' is a system of systems devoted to
the inspection of a world and capable of leaping over distances, piercing
the perceptual future, and outlining hollows and reliefs, distances and
deviations--a meaning--in the inconceivable flatness of being. The move-
ment of the artist tracing his arabesque in infinite matter amplifies, but
also prolongs, the simple marvel of oriented motion or grasping movements.
Already in its pointing gestures the body not only flows over into a world
whose schema it bears in itself but possesses the world at a distance
rather than being possessed by it." (Merleau Ponty, Signs)

What is the form of finalgame? It may be proffered as a Poser 7 file for
download, manipulation; it may consist of a series of images your or I
might produce with Poser 7; it may be an exemplary video such as
finalgame.mp4 or less compressed, finalgame.avi; in any case it is a
dynamic object, four-dimensional, used either for further manipulation on
the part of the viewer/subject, or for re-presentation in any number of
media, after such manipulation. Codework and dynamics interpenetrate.

Now in finalgame, three doubled motion capture files (each produced by two
humans simultaneously inhabiting varied elements of a single body) are
combined to provide emanent momentum; the emanent itself is composed of
three temporal sequences transformed into dynamic objects: 1. Single
images of a lacrosse player in 'typical' game poses; 2. Multiple 'snaps'
of a lacrosse player in a set of poses, combined into a single dynamic
object; and 3. A single 'snap' taken over six minutes of a woman walking
back and forth in front of the scanner. The first corresponds to a
traditional painting or photograph; the second to animation deconstructed;
and the third to both radar and other scans of dynamic behavior, and the
deconstructed psychology of internal time consciousness. These dynamic
objects are carapaces replacing the 'human' avatar elements of the emanent
who now wears time.

In divas, three to four motion capture files are simultaneously graphed
and played on a single grid; each of the files again is produced by two
humans simultaneously. The style is that of the DIVA viewer; the motions
construct communal interaction as doubly-inhabited bodies are situated
within the playing field.

In both videos there are varying interrelationships among single actants,
multiple actants, multiple sequences, and dual 'inhabitations' of a single
behavioral matrix.


death and time's death

one temporality juggles and jumbles another, but when is this occurrence;
to the extent that temporality, time, is a representation, it's bound by
ordinary linear sequencing in much the same way that deontic or fuzzy
logics are bound by binary logic; a fuzzy formula might hold some of the
time for example but then this might holding would be suspect to true or
false, would it not? just so everything devolves around the dyadic of
representations of discrete phenomena. one cannot escape death, even in a
digital realm where time clashes against time, time and again: first, the
sequence is technology-dependent for implementation; second, it cannot
retard the hastening of death for the subject - creator or viewer; third
it always flies to an end as the machine is cut off or the sequence is
relatively short and unlooped. what's constructed is a myth, the myth, as
in Michael Snow, of the continuously walking woman - a myth which is
remarkably fragile, unstable; even in sequence.mp4 she moves through a
limited number of presentations, the scan happening to catch her at
various moments across the field. she moves and continues to move, and,
Muybridge-like, the assumption is that the spaces between frames or states
is filled. in sequence.mp4, however, there is no filling, everything
re/presents itself within the single frame, already the harbinger of death
and movement's cessation.

small file of walking woman sequence agitated by magnetic field and
rotated 360 degrees


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