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Category Archives: Philosophy

Two Vectors of Avatar’s Cinematic Achievement: Affect and Space Interface

There were two primary technological achievements that guided the transmutive possibilities that mark out what made James Cameron’s Avatar special innovations organized around aesthetic problems, and here I just want to sketch them out to give greater depth to my other thoughts about the film: Avatar: The Density of Being,  Avatarship and the New Man: Reading Ideology, Technology and Hope. Each of these two indicate the very dimensionality of human aesthetic avatarship – the ability, or path to reading worth through inhabited subjectivity – or at least suggest a landscape for future digital and so-called “virtual world” aesthetically culled interactions.

The first of these was the problem of the Uncanny Valley, the way in which approximations of human beings, if too proximate, create a disturbing sense of alienness such that one cannot (or should not) identify with the portrayed subject. (I thoroughly reject a Fruedian or even Lacanian reading of the Uncanny, for both its essentially optical and repressive analogies, but certainly the effect of the Uncanny Valley is an epistemically important one.) The problem that Cameron faced was that no matter how much tweaking was done to motion capture, the actorly performance, the emotionality, one might want to say its reality, was lost within this valley. The Pandorans were both too human, and not human enough. In short I would say this reality involves a kind of temporal and physionomic threshold of reflection, the way in which internal events (taken to be subjective and expressed facially) within certain thresholds of timing and intensity, can be read as expressing both the states of being, as well as their causal relationships to a shared and external world. The reality of this causal interface is one in which something like the musicality of the actor (emphasizing both the structure and expression) allows internal events to enforce the reality of external ones, confirming the appropriateness of our own internal events-experiences, the three of them forming a data-rich, self-supporting resonance. The overcoming of the uncanny valley in faces was achieved by the actors wearing small cameras which hovered over their facial expressions, along with painstaking, algorithmic conversion of that capture into the avatar’s digital “rig” (a framework of facial representations). A feedback loop of Cameron’s aesthetic approval and technique adjustment fine-tuned the effect such that actorly experiences and expressions found their proper topological space within a virtual and artistic world.

The second problem answered was that of Cameron’s own directorial powers, the ability to author directions to actors in the realtime context of the imaginary enviroment itself. This was achieved through a lens-less “swing camera” which in low-resolution allowed Cameron to drift through the volume (virtual environment) in such a way that his vision and actor performance was granted a threshold of interface which surely imbued communications between them with a specific vital co-expression. The result was that the actor’s spontaneous expression driven by character was melded through the director to an unseen environment, in real time.  The actor could express and m0ve with a certain watery autonomy, and her or his director could side by side focus the actor’s attention to this or that, viewing the sythesized result. Intersubjective triangulation  attained a kind of spatial freedom never before in human expression, we might risk,  a ring of Gyges vector of invisible yet corporeal cohesion holding together the creative agents. It was as if Van Gogh could enter his painting and talk to his paints (which is something artists “do” in one way or other all the same). An odd product of this technology of performance and capture was that the actors no longer had to act TO the camera (or even the space), but rather could lock onto the narrative itself, almost with stage purity, freed from even makeup and costume (this freedom is not entirely new, but it is linked to a new communicative assemblage). The volume in a sense, came to be enveloped around them, directed in real time, back upon the narratological thread which inhabited the actors, through the intersubjective creativity of the director. In this manner, narrative and characterization acquire a near novelistic isolation, appearing at the surface of the actor’s affective skin and muscular terminus, forming a layer, sewn back into a wider fantastic perspective come out of the technological and auteur armature, through which the actor is guided. A final remarkable aspect of this artistic process is that the director, after a performance, can then move back through the volume and performance and rephotograph it, in the real time of the performance itself, allowing the performance and volume to dictate to the camera in unanticipated catalysis with the director’s experience of both the space and the emotion. And this synthesis becomes that of the audience member as well, threading the affect and space interface into its final product, aesthetic avatarship proper.

What is sure is that these new capacities: actor freed from camera and costume, director freed to create volume and actor counterpoint, the intersubjectivity of the communications between the two resewing narrative (and character) to volume in a different way, and lastly the emotional richness of a facialized register (a plane on which it all can cohere and appear to emanate), create a synthesis beyond thresholds previously conceived, wrenching out a powerful redistribution of what can be done with the twins: affect and space.

The above produced out of information found at Popular Mechanics: How James Cameron’s Innovative New 3D Tech Created Avatar

[click on either for larger image]

Here in diagram and example are the two registers of space and affect which Cameron’s techique worked to free from each other, an aesthetic freedom of camera/eye selection which both can coordinate performance amid the fantastic environment (volume), and also select out a framing of that performance with temporal autonomy. The actor is given relative narrative freedom from staging, the director becomes inter-subjective toggle, and the facialized plane grounds the emotional and volume real.

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Avatarship and the New Man: Reading Ideology, Technology and Hope

Adrian at the eco and vitalist friendly Immanence has posted some thoughts on Avatar worth directing our gaze over to, as they are in some consonance with my own which I am still mulling: Avatar: Panthea v. the Capitalist War Machine: Bambi Fights Back. Some of his response is in consideration of Russ Douthat’s op-ed review, which I will not entertain here, mostly because I do not like New-York-Times-speak, and actually refrain from reading it when I can. (There is something mind-benumbing about how the Times – its op-editors included – aesthetically presents “thought”.) My resistance to the Times aside, Adrian makes 5 or so which I reproduce here:

  1. Douthat thinks that that’s mainstream and that Hollywood is fully behind it, but it’s really still the insurgent religion to muscular Christianity and militarist nationalism. This is one of the rare films in which the Goddess (Mother Nature & the Natives) takes on the Capitalist War Machine and… well, you’ll have to see who wins.
  2. The good white boy messianically leads the natives in rebellion against their overlord invaders — which makes it Christmassy in more ways than Douthat’s Solstice-timed op-ed suggests.
  3. The Na’vi and their planet, Pandora (Pan-Thea, the tree-forest-rhizome-neural-network Goddess and World Soul, Pandora whose box, when opened, unleashed a million megatons of reality on humanity — it’s pagan mythology with a sledgehammer; gotta love it).
  4. The ethnographic theme — the translation/mediation between two opposed cultural worlds, science and anthropology’s dependence and ultimate answerability only to empire/colonialism/militarism, and the cultural intermediary’s desire to go native, is overly stereotypical but, for the Hollywood thriller format, not badly done. It will propagate the gone-to-Croatan meme for a new generation.
  5. Ideology: Behind it all is the Spielberg factor, i.e., that the overt message (‘Man vs. Nature’, or rather high-modernist techno-capitalism vs. Body-Shop-nature-tech) is undercut by the implicit message that it is science, technology, and Hollywood magic — the Image Industry, the Spectacle — that enchants us and brings us what we really want. And they bring us new life, maybe eternal life, through the New Age science of neuro-energetics, gene-splicing, virtual-reality, and all the rest. ‘Jake Sully’ the Na’vi avatar (not the marine) is, after all, a zombie: his body is a remote-controlled, genetically-engineered robot.

As you can tell from my original review, yes, the film is loaded. And I really like many of the features Adrian brings out. It is a smörgåsbord for anyone seeking to make a symptomatic reading of either the film or, via its achievement, our society.  One can pick and choose any number of dishes and fill your ideological/critical plate. I can’t really address the first two of Adrian’s points other than to say that the contradiction between the two forms of Christianity and whiteness perhaps performs a framework for what becomes an absolute and aesthetic multiplicity. I say “a” framework, and not “the” framework, because I sense that there is a narratological overload that Cameron’s film is operating by, one which can be dichotomized in any number of mapped directions. The counter stories that are embedded in their very lamination, our mythological heritage (which for moderns is made up of cinema), they bristle almost with fracticality underneath as stereotypes wrestle with becoming archetypes, becoming, more importantly. allegorious beings. There is in this film a cartological confusion, as if satellite images all selecting out different features of a landscape were layered confusedly upon each other, combined with some hand-drawn maps of significance, and then animately shuffled through, to expose the alter of our world. The very impacted yet temporally spaced nature of the plot features, perhaps inspired by video-game modulation, serves both as our disorientated potential for renewal, and hone’s our ideologically trained animal-like senses into expert tracking and thus, directed experience. (We scent THIS ground, like an idealized native american hunter, noticing every twig snapped.) This is our land.

I am mostly interested in the last three points: going native, going zombie and going goddess. It is correct I think to mark out the “remote control” aspects of these plot features, it is worth pointing out that the war-machine also had remote-control experiences which extended itself out into environments. It is more the case that if Pandora represents a battleground of a kinds, it is one of a race to seal the breach which is implied in the “remote” in remote control. It is a story of connectivity conducted under a technological matrix which imposes upon its viewer the very conditions under contest narratively. Oddly enough it puts the viewer ecstatically and epistemologically in something of the moral (I want to say, but am not allowed to) position of actant in an enhanced world. What do I mean by this? Spinoza says that when we regard something to be “like” us we become affected with whatever it is experiencing. This is a primarily feature of the aesthetic experience, and I would say groundwork for how we know anything about the world at all. Thus there is something to the alien experience. That is, the dis-embodiment of environments that propels the mind further, tendrilling our knowledge out like so many Pandorean root-synapes, to similarities. Avatarship is a primary relationship to the world, and as such requires the fundamental plot point of the film, that we must be able to become our avatars, and not just inhabit them. We must recognize our bodies in them, not reflexively as if glancing in the ideological mirror, but kinesthetically, mutually.

As I have pointed out in the comments section to Adrian’s post, Cameron spent seven years scuba diving after the wealth the film Titanic brought him. One can easily recognized the diving features of the film, in particular when Sully first playfully and childishly smacks luminescence to stimulate it. A junior diver is the one that touches everything (often killing it to some degree). But it is not the portrayal of diving that Cameron was after, I suggest. It was the kinesthetic transferral, the displacement, the suspension, the alien drift, the wobbly wonder that bombards a diver, no matter how experienced. When every single living thing in an environment is physiologically superior to you. When every single living thing is aesthetically more beautiful. When your own suspension is technological and precarious before what can only be called a witnessing. The effect is ecological. Not in any ideological sense, but in a theorein manner. The spectacle is not remote, it attaches with all the physicality as the Na’vi attatches to its ride animal. It is an over-sense.

I think that this is a message in the construction of this film. Indeed the ideological and plot-character layerings work to dis-fuse the viewer in any number of directions, sending her or him into sweet spots of recognized cover, core inter-relation. But this is only a means for the potential to remove the “remote” in remote control. To assume the avatarship of one’s life. For this reason the racial component is an interesting aspect of the plot telling. There certainly is a “white” amid the ethnicity (and animality). But I think we should be careful not to polarize this into an essential binary (there is a “male” as well, and also a “class”). Instead what the experiments of technological achievement suggested by the film imply is something of the order that anatomy IS destiny, or rather, anatomy is possibility. Sully must take on the anatomy of another species in order to perform their world. Ultimately though, our anatomy is our technology (and not just our signification). Our bodies are made of the fibres, and switches, and tempos of all that extends us into the world. “White” is simply that which consciously refuses this dis-location as a mode of its own affect control. In this way there can be said to be something “white” in the Na’vi as well.

We must transmute our anatomies before the alien of the world. For those viewers that granted innocence to the film, Cameron already has performed a first transmutation. And sometimes those who have not logged hundreds of hours in the technology are better suited for the avatarship.

Avatar: The Density of Being

Let’s just say that I am recovering. It is a carefully sculpted onslaught, discretely spaced with only a few flaws, but an onslaught nonetheless. And I am recovering. It’s Pocahontas meets Full Metal Jacket meets The Diving Bell and the Butterfly meets Alien meets Coming Home meets Dragonheart meets Dersu Uzala  meets Brainstorms meets Total Recall meets The Legend of Zu meets Tron meets Dances with Wolves meets Final Fantasy IV meets Logan’s Run, all of this meeting Ecological Crisis ideology meets Indigenous nostalgia meets Disney ethnic cliché and New Age ascension, and all of that sum colliding with the categorical mytho-aesthetic effect of the first Star Wars and possibly 2001. The storylines and plot topologies proliferate at animation-cell frame rates so synthesized, so graced, they are no longer borrowings, but rather operate like flipped gateways for infusions that simply cannot be qualified, nor controled. The movie downloads the viewer with such ferocity and such poetic space the film bends back cinema upon itself, and introduces its content – the question of Avatarship – into the very experience, pulling out from technological increase and its inherent relatability the buried question of sensitivity, connection and projected identification, in short, the implied organic mutuality in everything our machines have brought us. Cameron and his magicians in such a threshold defying 3D invade our bodies and throw out our affects into the arms and sinews of operators which defy all of our repeated attempts to take map of where we are. This past movie recognition, this ethnic familiarity – are the Pandorans African Maasai, elegant Native American Indians, Thai-Myanmar Pa Dong Karen, naked Amazon natives, or even cats – inundates and torques the viewer in a transport that is more than pleasured, more than reflective. It is free…free in only the sense that aesthetic renewal can be free. One is tossed outward amid the equally familiar ideological landscapes of ecological nightmare (however this reads for you), and you are vividly aware of its artifice. But in that practical synthetics the technological nervature examines you and opens you out across the help even to your well-honed intellectual compass. You rifle through cartographies, all of them familiar, all of them critically engaged, but grid on grid, none of them suffice. The imagined-to-be trite self-discovery of the main character’s authentic warrior thymotic spirit (that template) sheds all of is scales amid an interaction with image and physical movement that perhaps only equals the dislocations and alien projections of scuba or spacewalk. If anything else is communicated here, technology is sense, and sense is technology, within the scope of global concern. Nevermind that every Na’vi looks the connotations of every supermodel distortion of mundane biology. Nevermind that videogame freedoms populate with every stigma of ideological absorption. Nevermind that mythologies fragment into flattened space confrontations. The whole thing escalates far beyond its means, revealing how Ideals throw us forwards, how when technologies and techniques are sufficient, they compel the spirit into new-born orbits of extreme decay and apogee, flights that must have been there in the thousands of memory verses when one of Homer’s avatars was repeating the invented history of the Greeks with muscular hexemeter and rhythm in the residue glow of camp-fires.

The Art of the Paradox: Massumi Speaking on Luminosity

Massumi tells us that there is a method of paradox production which he holds in contrast to the clarity aims of critique, a kind of production of Luminosity through paradoxical operators:

Generating a paradox and then using it as if it were a well-formed logical operator is a good way to put vagueness into play. Strangely, if this procedure is followed with a good dose of correction and just enough technique, presto!, the paradox becomes a well-formed logical operator. Thought and language bend to it like light in the vicinity of a superdense heavenly body. This may be an example of miraculation. (As if luminosity itself can be invented.)

Parables of the Virtual, 13

I don’t have a lot to say about this, other than the exact methodology of condensing the paradox into a light-bending black hole, the intensity of the process, its entire mechanism of pressurization, seems what keeps paradox from being mere confusion, or banal contradiction. In order for luminosity to be invented, so to speak, a great and crushing paradox has to be performed, something that (unlike the setting out of the grid, the framework, in Kant, the screen upon which the phenomenal movie is then played) does the opposite, it takes the logical nexus points, the molecular bond of our rationality, is imploded, crushed-under.

I am unsure if I agree with either the methodology, or the analogy, but something tells me that it must be put into the rhetorical (if not metaphysical) store of the arms of philosophy.

The Sewn Stitch of Logical Stoppage: Massumi on Terminus

The difference between actual stopping that occurs when a continuity exhausts itself and reaches a terminus and the logical stopping that goes over what then appears its path, in order to cut it into segments separated by plottable points, is not at great as it might seem at first. The retrospective ordering enables precise operations to be inserted along the way, in anticipation of a repetition of the movement – the possibility that it will come again. If the movement does not reoccur, it can be captured. It comes to a different end.

Parables on the Virtual, 10

Here Massumi is really cool. The passage is in the context where reflexive feedback of positionality (definitionality) loops back into potential, in his story of ontogenesis. I do resist this picture of time and action, but will bracket it and allow it to travel with me. Here though is a compelling homology along the registers of terminus. There is the ending that is actual, for instance we might assume something like “death”, and there is the terminus of logical capture (which he goes onto exemplify by “space”). Both are kinds of endings. The analogy thrusts us forward onto interesting topology, but how far are we to take this (we don’t want to ontologize it into a force, I would want to say, a force of “death” or extensionality)?

If I take a Spinozist reading of these two terminal relations, the actual termination is a break down of a consistent ratio of parts in communication. The parts fall out of orbit, so to speak, they disperse. Spinoza would deny that the continuity “exhausts” itself, rather he reads it as that it has been intercepted by a stronger force (or forces), encountered a dis-ressonance, a dis-ruption. Where it gets interesting is that the definitional capture or “end” that result in the nominalization of possibility, is that any nominal relation MUST be considered as part of the environment of the actualizing ratio that is being described. In a certain sense, the living processes that are being terminated in a description (which for Spinoza are a lasting ratio of parts in communication), are not simply fed back into by those descriptions, but are also participated in, with those descriptions. When we describe, logically, this is not just a sharing of freeze-frame death, but also a lived cross-body communication and mutuality. (This is an enfleshed melding, which can really occur via affect, as much via idea.) It is for this reason that I resist the reflexive loop as essential, the stationed turn that wants to make of logic a sewing stitch.

It of course may be that Massami will move in this direction with his treatment of affect, but as a Spinozist of affect I have to say that when describing, chopping up, framing, etc, these actions themselves must be understood and affirmations of my own ontological status, and thus must be understood not simply and terminus relations in reflection. Part of this involves the radical reconsideration of what terminus is. Indeed species can become extinct, but as well they can be (or will be) re-activated through technological means. The genetic line of my body, its cells, does end in the possibilities, but also advocatable is the continuance (or permanence) of its varying combinations.

Ontological Privilege: Massumi on the Priority of Change

Massumi here reshuffles his cards in the stacked deck, so that the aces will fall into his hand.

Indeterminancy and determination, change and freeze-framing, go together. They are inseparable and always coincide while remaining disjunctive in their modes of reality. To say that passage and indeterminancy “come first” or “are primary” is more a statement of ontological priority than the assertion of a time sequence. They have ontological privilege in the sense that they constitute the field of the emergence, while positionings are what emerge. The trick is to express the priority in a way that respects the inseparability and contemporaneousness of the disjunct dimensions: their ontogenetic difference.

Parables of the Virtual, 8

I want to approach this field/emergence logic of priority from a Spinozist point of view (surprise). We at first see some strong general homology. The “field” of change and process is Natura Naturans (nature naturing) and the emergent positionality is Natura Naturata (nature having been natured), and there is even the rough correspondence to the diminishment of the importance of the modes that some readings have imposed on Spinoza (all the way to Hegel’s accusation of an acosmism). This is significant, and something I always want to stress when people try to impose an Idealist (18th century German) interpretation on Spinoza. The modes are the very means by which Substance exists and acts (E3p6dem). They are not secondary, or less real. What is key about this is the prescription of human action implied in any diminishment of “positionality”, the sense that positioning or framing comes after (in any sequitor fashion) the processes themselves. Instead, all our degrees of power, being, pleasure, perfection changes are real and coincident changes in semiosis. This is to say, following Spinoza’s treatment of the affects, our changes in capacity are changes in the idea we have of ourselves in the context of the world itself, but not reflective changes in idea. We do not look at ourselves in a mirror (of consciousness or any other), and then make adjustments in idea. Rather, our concrete “position” is itself a positional change. This goes down into a radical sense of what (self) affirmation is, a non-reflective (relatively) autonomous embrace which includes that which cross-currents our own being, propelling us out to mutualities.

Massumi at this point, in his counter to positional, linguistic philosophies I think is very well placed. But there is a difference I believe between our ratio-imaginary mappings (including mathematics) of semiotic differences, and informational semiotic change involved in process of becoming that Massumi is trying to prioritize. The “field” is not just processes of becoming that underlies a surface of concretizations or condensations, but must be semiotic (that is to say, informational) itself. What he calls “freeze-frames” are both imaginary, but also real, let us say, edge-of-chaos determinations. Which are strictly speaking determinations without being opposed to (linear) indeterminancy.

Another way of stating this is, perhaps: There is no “disjuction”.

As Energy Is to Matter: Massumi on Indeterminancy

Massumi troubling on how to characterize the body such that it is dynamic enough, and roots itself in Deleuze’s concrete abstract:

The charge of indeterminancy is inseparable from it. It strictly coincides with it, to the extent that the body is in passage or in process (to the extent that it is dynamic and alive). But the charge itself is not corporeal…Real, material, but incorporeal. Inseparable, coincident, but disjunct…

One way of starting to get a grasp of the real-material-but-incorporeal is to say that it is to the body, as a positioned thing, as energy is to matter. Energy and matter are mutually convertable modes of the same reality. This would make the incorporeal thing a phase-shift of the body in the usual sense, but not one that comes after it it in time. It would be a conversion or an unfolding of the body contemporary to its every move.

Parables of the Virtual, 5

This is the thing. There is a preoccupation with the body, per se, which wants to take IT as the locus of something vital and non-reductive. This reads as a mythologization of the social entity “a person”. If we adequately re-describe bodies abstractly and powerfully enough, and locate enough metaphysical/ontological powers within a “body”, then we trace out a storyboard of how each and every “person” (who is only a  concrete actualization of the “plan” of bodies in general), can erupt with differences that are meaningful. Because this mythology involves the trappings of binary logics, the border of the body has to be taken as a logical toggle-point. The struggle of origin, located in this mythological, person-redeeming way, compression cosmological arguments into what is otherwise given freedom under the much wider nomenclature of “the flesh”. The abstract floats under the flesh, like a magnetic carbomb, waiting to unfurl its political (sensory) change. The localization of “body” frustrates me. It carries too much baggage.

Also note Massumi’s analogy of matter to energy. Matter is a kind of colder calcification of freer floating intensity or fluidity. Solid to its liquid. But what is strikingly missing (at least at this point) is “information” the third term. I’ve talked about the metaphysical value of Information before: Information, Spinoza’s “Idea” and The Structure of the Universe. What does information as the third term to Massumi’s incorporeal-concrete do? It opens out every body across its boundaries, transversely. We do not get the doublet of the actual and its ghost beneath it, and the attendant mythology of personhood. Instead the body itself tears across its sinews and bone, into a different matrix. Instead of locating a Same/Difference autonomy of “movement” and its animation cell analogy (where does difference come from? as quaesta), the infinities within a body strain against the infinities outside it. The “phase-shift” decenters every object not just from itself (boring), but from every other existence. A change in information elsewhere touches the informational state of this body. Massumi’s vortex seems to be missing an axis of imaging, at least at this point. Too much internalization of change, too much Hegel thrown forward:

This self-disjunctive coinciding sinks an ontological difference into the heart of the body.

It is precisely this sinking into, like an anchor’s line into the aeons of coral reef, that is a needless or occluding mythology of the self.

Spinoza Stock Up, Heidegger Riding High

UPDATE: As you can see from this site that philosophy stock prognosticator professor Harman references, Spinoza’s stock DID go up in 2009! (at least against Leibniz stock, which has been experiencing a trending downturn):

The Obama bailout must be having a decided effect on Spinoza Corp, which is still chasing the legendary profits of Leibniz in 2004-5. It may be seen as simply a return to mid-decade performance, or a sign that Spinoza Corp heath has tapped into new post-crisis resources and will leave Leibniz behind. Also Heidegger has been riding high for quite a while, exempting the blimp of Derrida’s death, suggesting that Heidegger is a bit recession proof, performing well in good times and bad, perhaps something like the Shirley Temple Effect.

Argumentative Aesthetics

For those who don’t believe that arguments can’t be made by visual media:

The effect is, well…profound. The Chameleon gaze of enthused expectancy worked into Texas business suit CEO, how white black must become to assume power, how compromise is alteration, how political rupture is seamless transition, how interappelative we all understand instantly…policy and skin. Features and drawl. Inhabitation and ideal. Human and cyber-extension. The list goes on of what can be poured into a image. Inter- or Intranet.

On Massumi’s Parables of the Virtual: Movement

Opening lines…

When I think of my body and ask what it does to earn that name, two thing stand out. It moves. It feels. In fact, it does both at the same time. It moves as it feels, and it feels itself moving. Can we think of a body without this: an intrinsic connection between movement and sensation whereby each immediately summons the other.

I am reading Brian Massumi’s 2002 book now, and this blog is going to go through a bit of a change. Part of this transformation perhaps will be my reading of Massumi’s book, which I hope has the heft to throw me forwards. If not, it may be a mere diminishment. Selective responses to Massumi should appear here, perhaps as small gateways forwards.

To Massumi’s opening lines. Yes, body and movement. Note his reflexivity though. It moves as it feels (feeling=movement), but it feels itself move (movement=feeling itself). I wonder if he is conscious of this importation? Further, there is a dimension of feeling that he does not seem to consider in his binary. This is the feeling of densification. The feeling of sitting down into. The sensation which is only a movement by analogy. A heading down towards zero.

I write in the margins…

“I do not trust “change” in the concept – it is an utter denial of real change which neither a multiplicity, nor a difference  (somehow these binaries bleed as leeches). Change is a connectivity and a cohesion that does not bend back – you want to call it a fold.”

What do I mean by that? There has always been a fear of change that wants to domesticate it through ab-straction, it seems. And sometimes the worst of these are philosophies of change, those that attempt to depict it, praise it, raise it up. Who had more fear of change…Heraclitus or Parmenides? Nietzsche or Spinoza? I fear Massumi’s binary for the body. It cosies up to movement. But he is also right that philosophies of rupture missed something about change and movement, ever searching for the periodic gash, whether it be a revolution or symptomatic rent of the Real. This is just another fear of change, genuine transformation that occurs in the microbes of the soil, the smallest places, continually. As he writes of past recent philosophies…

The slightest ongoing qualitative change paled in comparison paled in comparison to the grandness of periodic “rupture”. Against that possibility, the everyday was the place where nothing ever happens.

I know that Massumi wants to work this sense of movement into Deleuze’s metaphysics of difference, one of the least interesting aspects of his thinking. I am hoping for more.