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Tag Archives: Renaissance

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]

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Graham Harman’s “Evil Twin”, The Quality-Loving Positor

Shadow Jumping

Graham Harman’s embrace of what he takes to be a coin-flip reading of his project begins,

No one can jump over their own shadow, but it’s a feasible reading of me as my own “evil twin” (without the value judgment, of course).

I say, this impossibilty of jumping over one’s shadow notion may point the way forward, for one really can jump over one’s shadow if one simply moves in relation to a new light source (vocabulary set). One may then have a differently oriented shadow, but then understands the solution to such shadow-staring is keeping an eye upon a multiplicity of light sources, and the nature of their varying strengths.

I’m glad that Graham sees the possibilities of this redescription of his work, and love the notion of a philosophy Federation of “Evil Kirks and Spocks.” I say that we embrace somthing of this, but in fine Nietzschean fashion retain the value judgment, the BGE evil of it (if I recall, Evil Spock was able to think himself out of his evil universe, finding common ground with Good Kirk). What I hope is that if indeed Graham is only attempting to save Qualities, and is merely presenting an OOP as a means for a QOP intention, something more is being achieved than flipping a coin around by pointing out this fact. What Nietzsche wants us to know is that the thing that is evil, that seems like the dark side of something, is really its potentiality masked. Without Hegelian pretension, if indeed Graham is seeking to save qualities, and not objects, we can stop asking questions about the exact metaphysical nature of objects, and start asking questions about what is the best way to save, or as I say, ennoble, qualities. It may well be that positing empty, regressing objects IS the best way, that it does more for the stature of qualities than molten postmodern/post-structuralist fantasy, or even another approach, but until we get to the program itself, we can never properly frame the question.

In this way, I am saying more than the common place that makes of everything a coin. Rather, it is if we get to the real, or at least determinative motivation of a philosophical project, its “evil-twin” underside, we can then open up the project to possibilities that a blindness to that underside undershadows. In Graham’s philosophy this limit, as he admits, comes down the occasionalism-like collaspe of objects which fails to account for the nature of their change. What I would say is that it is of the very nature of the armature that Graham has passionately and insightfully constructed, so as to save qualities, that limits the force of their salvation. If he, I and others come to agree, if we make a value judgment that what we are really after is the esteem of qualities, then we can discuss more precisely the failures of esteem in others’ approaches, and invent better strategies for that esteem, rather than simply looking to shore-up and solve what we thought was the central focus of our attention.

Instead of making a nice pair of things, a doppleganger of inseperable concepts, such as those seen in Graham’s wonderfully titled Count Magnus Effect, one proposes a means for satisfying discourse, for finding agreement. There may be some fun in pointing out to others that they are accomplishing one thing when then thought they were accomplishing something else; Nietzsche had tremendous pleasure in this, and modern day Zizek just loves this game. Such a reversal is not really all that valuable unless one returns it to the question of valuation itself. Do we value the same things and just have different projects on how to achieve it? This is not to say that agreement is guaranteed, but at least the nature of disagreement changes.

Campanella: Knowing is Being

The essentializing dyads that Graham expresses himself in, come from a strong Heideggerian genus, retain a certain human-centric heritage which Graham is pushing against. But I suspect that it is the nobility of the quality that keeps Graham on this  side the panpsychist Gate. As I dig like a Latourian engineer attempting to meet up with the tunnel that Graham has dug in the same Ontological mountain, and trace out each of my excavation, and to the best that I can, his own, it is on the question of the salvation of the quality that I think we can find a common ground. What I will propose that instead of instantiating the rights of qualities upon the nothingness of a retreating and empty object, a consideration of Tommaso Campanella’s proto-Cartesian “Cognoscere est esse,” to know is to be. This a core, quality-directed principle which undercuts in history and object some of the founding theoretical dyads which inform a human-centered picture of consciousness. Much akin to the objects of Graham’s fascination with Late Scholasticism, and Late Renaissance theory (Bruno, Suarez), Campanella’s rationalization of Natural Magic, which is the attempt to synthesize the lived (Quality) emphasis of Telesio’s empiricism to the metaphysics of immanent and unified Being (Augustine), provides the substance of the rescue of Quality without the collapse into molten origins. Campanella’s metaphysics are rough-hewn, though voluminously written, and appear to modern commentators often as a hodgepodge of irreconsilable positions and influences. Campanella comes off as a pre-modern fantasticist, as confused by astrology as he was by the Political situation of which he was a victim. But rather, it is Campanella’s love for the world, its embodied, animal-like quality, its magic of effect, which produced the theoretical possibility for a contemporary salvation of qualites, of the sort that I think that Graham pursues. It is not so much that qualities are granted their rightful power because they are in a tension with Substance Objects which invariably retreat from all investigation, a mark of characterized experiences of human consciousness. It is rather, in surpass of any categorical reduction of human consciousness, that qualities has their own nobility and powers. Campanella wanted us to know that when I come to know something (an entity), I literally am transformed into it (an interesting pre-sage of Latour’s Principle of Translation). When I know a cold thing, I literally become cold. Or, if we want to postmodernize it, when I know Capitalism, I literally become Capitalism, I am transformed into that entity. How exactly to read this transformation I think comes from the notion of assemblage, of bodily (and therefore following Spinoza, ideational) combination, under a figure of power.

What I suggest is that once we identify the hidden, as Graham says, evil valuation behind his project, it is towards a panpsychism that qualitative embrace leads. That is, one needs not rent out high-priced object Real Estate on which Qualities are then permitted to live. Instead, qualities become the very mechanism for embodied agreement and power-assemblage, no more warring in tension with the landlord.

Campanella’s Prison Song to his God: New Year

Lyric Strain

 

 

As Tommaso Campanella counts it, his imprisonment began in 1591/2, with his first Neopolitan trial. By July 1604 he had been transferred from a more comfortable prison to the dank, nearly lightless dungeons of San Elmo. There he would remain for four years continously manicled and chained, and in which he would undergo a conversion of a kind acceptance in 1606. (Transfered to better conditions in 1608, he returned again to the “belly” from 1614-1618). Far from the abstract alegory of a cave, dreamed up by that great Greek philosopher, Campanella lived the rock-hewn reality of a human bodily, political limit, as his photographic memory-aided mind reached out beyond that limit. What his poetry surely lacks in elegance or sophistication, it makes up with prodigious emotional content and primordial situtation, inscribing his dolorous hopes and glints of light in an utter bleakness of condition. Nearly the whole of his adult life will have been spent in prison when he was finally released by the Spanish in 1628.

 

I cannot help but think how these words, before translation, existed on difficult to procure scraps of paper, held in manicled hands, tipped to the angle of the sun in high window, light for only a few hours a day, and yet now exist floating across an ethernet into your eyes. When he says, I’m “tortured in chains within a pit for Thee” what might be a heavy-handed poetic trope suddenly turns leaden when you hear the sound of links that tink as he writes and turns. Even if you care nothing for the poem, there is something to the redemption of that moment, when his words find your eyes, the impossibility that those thoughts could ever reach their compliment, not only beyond the powers of the Spanish monarchy and Papal authority that contrained him, but also across the four vast centuries intervening, in which the memory of the man and his writings has nearly been swallowed whole, something to this moment that speaks to what a New Year is.

 

Prisons are mulitfarious. But not nearly so as their voices. One wonders what inspires one to rhyme, in prison. Is there an apophanic limit to Plea?

 

 

Orazioni ire in Salmodia Metafisicak congiunte insieme

 

I
Almighty God! what though the laws of Fate
Invincible, and this long misery,
Proving my prayers not merely spent in vain
But heard and granted crosswise, banish me
Far from Thy sight,-still humbly obstinate
I turn to Thee. No other hopes remain.
Were there another God with vows to gain,
To Him for succour I would surely go :
Nor could I be called impious, if I turned
In this great agony from one who spurned,
To one who bade me come and cured my woe.
Nay, Lord! I babble vainly. Help ! I cry,
Before the temple where Thy reason burned,
Become a mosque of imbecility!

II.
Well know I that there are no words which can
Move Thee to favour him for whom Thy grace
Was not reserved from all eternity.
Repentance in Thy counsel finds no place:
Nor can the eloquence of mortal man
Bend Thee to mercy, when Thy sure decree
Hath stablished that this frame of mine should be
Rent by these pangs that flesh and spirit tire.
Nay if the whole world knows my martyrdom-
Heaven, earth, and all that in them have their home-
Why tell the tale to Thee, their Lord and Sire?
And if all change is death or some such state,
Thou deathless God, to whom for help I come,
How shall I make Thee change, to change my fate?

III.
Nathless for grace I once more sue to Thee,
Spurred on by anguish sore and deep distress:-
Yet have I neither art nor voice to plead
Before Thy judgment-seat of righteousness.
It is not faith, it is not charity,
Nor hope that fails me in my hour of need;
And if, as some men teach, the soul is freed
From sin and quickened to deserve Thy grace
By torments suffered on this earth below,
The Alps have neither ice, I ween, nor snow
To match my purity before Thy face!
For prisons fifty, tortures seven, twelve years
Of want and injury and woe-
These have I borne, and still I stand ringed round with fears.

IV.
We lay all wrapped with darkness: for some slept
The sleep of ignorance, and players played
Music to sweeten that vile sleep for gold:
While others waked, and hands of rapine laid
On honours, wealth, and blood; or sexless crept
Into the place of harlots, basely bold.-
I lit a light:-like swarming bees, behold !
Stripped of their sheltering gloom, on me
Sleepers and wakers rush to wreak their spite:
Their wounds, their brutal joys disturbed by light,
Their broken bestial sleep fill them with jealousy.-
Thus with the wolves the silly sheep agreed
Against the valiant dogs to fight;
Then fell the prey of their false friends’ insatiate greed.

V.
Help, mighty Shepherd! Save Thy lamp, Thy hound,
From wolves that ravin and from thieves that prey!
Make known the whole truth to the witless crowd!
For if my light, my voice, are cast away-
If sinfulness in these Thy gifts be found-
The sun that rules in heaven is disallowed.
Thou knowest without wings I cannot fly :
Give me the wings of grace to speed my flight!
Mine eyes are always turned to greet Thy light:
Is it my crime if still it pass me by?
Thou didst free Bocca and Gilardo; these,
Worthless, are made the angels of Thy might.-
Hast Thou lost counsel? Shall Thine empire cease?

VI.
With Thee I speak: Lord, thou dost understand!
Nor mind I how mad tongues my life reprove.
Full well I know the world is ‘neath Thine eye,
And to each part thereof belongs Thy love :
But for the general welfare wisely planned
The parts must suffer change;-they do not die,
For nature ebbs and flows eternally;-
But to such change we give the name of Death
Or Evil, whensoe’er we feel the strife
Which for the universe is joy and life,
Though for each part it seems mere lack of breath.-
So in my body every part I see
With lives and deaths alternate rife,
All tending to its vital unity.

VII.
Thus then the Universe grieves not, and I
Mid woes innumerable languish still
To cheer the whole and every happier part.-
Yet, if each part is suffered by Thy will
To call for aid-as Thou art God most High,
Who to all beings wilt Thy strength impart;
Who smoothest every change by secret art,
With fond care tempering the force of fate,
Necessity and concord, power and thought,
And love divine through all things subtly wrought-
I am persuaded, when I iterate
My prayers to Thee, some comfort I must find
For these pangs poison-fraught,
Or leave the sweet sharp lust of life behind.

VIII.
The Universe hath nought that changes not,
Nor in its change feels not the pangs of pain,
Nor prays not unto God to ease that woe.
Mid these are many who the grace obtain
Of aid from Thee :-thus Thou didst rule their lot:
And many who without Thy help must go.
How shall I tell toward whom Thy favours flow,
Seeing I sat not at Thy council-board?
One argument at least doth hearten me
To hope those prayers may not unanswered be,
Which reason and pure thoughts to me afford:
Since often, if not always, Thou dost will
In Thy deep wisdom, Lord,
Best laboured soil with fairest fruits to fill.

IX.
The tilth of this my field by plough and hoe
Yields me good hope-but more the fostering sun
Of Sense divine that quickens me within,
Whose rays those many minor stars outshone-
That it is destined in high heaven to show
Mercy, and grant my prayer; so I may win
The end Thy gifts betoken, enter in
The realm reserved for me from earliest time.
Christ prayed but’ If it may be,’ knowing well
He might not shun that cup so terrible:
His angel answered, that the law sublime
Ordained his death. I prayed not thus, and mine-
Was mine then sent from Hell?– ‘ .
Made answer diverse from that voice divine.

X.
Go song, go tell my Lord-‘ Lo! he who lies
Tortured in chains within a pit for Thee,
Cries, how can flight be free
Wingless?-Send Thy word down, or Thou
Show that fate’s wheel turns not iniquity,
And that in heaven there is no lip that lies.’-
Yet, song, too boldly flies
Thy shaft; stay yet for this that follows now!

trans. John Addington Symonds 

Tommaso Campanella’s Poems, original language 

Symond’s Translation of the Sonnets