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Tag Archives: phenomena

The Synth of Photosynth: Subjection and Engagement

Here: Photosynth of Popolopen Creek [link did not work, now it does]

Still experimenting with the notions of Space implict and explicit in Microsoft’s new Photosynth service. Above is a still from my second trial, the first was talked about some in context with Graham Harman’s Object Oriented philosophy. As you might see from the still, the program and service offers a way to synthesize various planal captures of a physical space such that something of the original experience topos is re-produced. The planes of approach are vectored against each other under the posit of any number of virtual positions, and the effect is one of REAL environment. This effect is furthered by the means of viewing. One either toggles through the virtual space with the arrow keys, jumping photo by photo clump in a kind of primative, self-directed cinema staggar, or with the mouse slides through the space, up, down and across; or lastly one can pin-pointed planal windows with the mouse and jump-into each with a click, spun across the constructed dimension.

The aesthetic makes a good backdrop for some of the actor oriented thinking I have been doing (I am in the middle of reading Graham Harman’s forthcoming work in Latour Prince of Networks, and also studying Augustine’s De doctrina in view of Davidson’s principle of Charity). What strikes me most forcefully is the summoning up of the experience. It is not so much that the physical space is represented (though clearly it is reconstructed in a mathematical sense, and “the space” or “the object” in this aesthetic does seem to become the primary subject). It is more that the conscious engagement of an enviroment is re-lived, as if in the mode of a memory, the way in which objects, perspectives, aspects suddenly come into mental view in an unpredictable yet linked way (each visit to the synth produces a different narrative experiences). This mimic of consciousness becomes a parallel metaphor for the mimic of sight that the still camera rectangle accomplishes. Somehow in the whirl of axial polygons induces or invokes the experience of memory, (or investigation), the very topoi  of photographic iconic use.

In particular the hinge-swings of the synth which break from the smooth curve of the space, instead of expressing the failure of a continous space, in their imagery of book pages, call into being the very booked realities in which page-turns are not disruptive, but enhancing, apophantic. Reality itself is exposed as layered, positional, framing, temporal, juxtaposed in the very artifice of the aesthetic. One can feel the seams between photos, and it is this felt texture, like zipper scars, that gives the experience its power, the way that reality “shows through” the crude prismings.

The sun is dimming in the late afternoon of the bridge above. The positions of the subject jerk about as planal as their property frames, tied to so many Renaissance visual grids, yet as long-set sun, stones and snows turn on virtual axes, displaying their polygons, and the anamorphic projection of the self is levitated through-out, the spirit of the space (and not the subject) is called forth. In fact, the community of effects, something which is not centralized, not particularized is set up before one, across  flesh.

There are no Black Boxes, and Latour wants. There are more Spheres translimpid of occasioned and causal shadings. The way that bodies inform by combination.

[An alternate synth from the same site]

A Look Back for a Moment, The Hole of Spinoza’s Vision

Right now I’m busy composing my Cabinet article, a result of this width of research I have done. Part of this process is looking back at my various conclusive essays to see where I have gotten. There is one that really struck me as a signficant reduction of the kinds of philosophical conclusions that can be drawn from my study of Spinoza’s optical endeavours, in particular pointing out how deeply he diverged from Descartes who preceded him. I repost it here for anyone else’s pleasure, for I read it again this morning and was really moved by its import (sometimes it is like that, one forgets what one wrote):

here: “The Hole at the Center of Vision”

Comments are of course appreciated


Properties and Qualities: paschonta

A way Speaking: I would suggest Paschonta (from the Greek participle of pascho, things suffered, experienced, undergone) rather than Phenomena (from the Greek middle/passive participle of phaino, things appearing).

We can think of the world in this way:

1. There are extentional parts which compose extentional relations which are available as property-descriptions under a physicalist function/structure domain.

2. There are intensional states which are composed by intensional relations (the relationship in communication intrinsic to any body as a system), as an intrinsic relation produces a quality, sensation or experience, of such parts being together.

Extensional Parts = Physicalist description

Intensional States = Phenomenal description (Paschonta)

Intensional relations which made up many essentialist descriptions are nothing more than the triangulating capacities of a body to projectively report upon conditions of the shared world such that it is causally related to it, and these relations resulting in qualities and experiences make little sense outside of this triangulation since they provide the connective tissue between ourselves and the world and others.

To speak of paschonta, things suffered or experienced (instead of phenomena, things being made to appear) is to read the world both causally and bodily. We regularly read the paschonta of others, (and the paschonta of ourselves).

Build a table using directions, measurements, exemplar and you have followed extensional paths. While building the table listen to the report of wood as you strike it, the feel of the joints as they are joined, and you have followed paschonta, the intensional path. The two paths are braided.

The problem with phenomenal descriptions, and why they should be replaced by paschontal descriptions, is that they encourage a representational view of the world, one in which the “picture” of something is imagined to match up with the real thing on occasions of true sentences. Paschonta, rather, are the experiences themselves, as we imagine others to experience them (or our own experiences as we take a reflexive view upon them), such that our relations to others and the world we share makes sense.

Dualists mistake paschonta for things in-themselves (imagining a kind of extensional intensionality), rather than for relations between perceptile bodies, the felt of report.