It is currently 24 Aug 2017, 10:34

All times are UTC




Post new topic Reply to topic  [ 254 posts ]  Go to page Previous  1 ... 9, 10, 11, 12, 13  Next
Author Message
PostPosted: 27 Sep 2015, 03:29 
Offline
User avatar

Joined: 08 Jun 2013, 07:29
Posts: 275
rilu wrote:
Very nice discussion indeed :)
When it comes to our knowledge of the world, a number of philosophers of science have taken a post-Kantian direction of keeping the a priori structure as underlying our process of learning of/about the world, combined with the philosophy of language (late Wittgenstein especially). What you get then are "contextual a priori categories", characteristic of a certain language-game, and changing over time, from one scientific paradigm to another. As a result, we can say that the world in which we live is different from the world of, say, XVc. scientists (though some prefer to speak of a "world-view" here, rather than the world itself), without saying that anyone ever has an access to the world in itself. We just perceive the world through quite different categories, and these categories remain deeply entrenched for certain periods of time, in which some scientific theories/language-games are dominant. A Hegelian response to that would be interesting, exposing the problems of such a notion of the world-in-itself, but I'm not sufficiently fit in that territory to write any further on it ;)


I have a similar problem with the language-centred denial of access that I have with the more Kantian one. In both, there seems still a privileging of human access under the guise of restricting that access. I think a strong metaphysical claim about the contact between entities is obfuscated in each case by a skepticism that claims to be not making metaphysical claims. But if we insist on the un-breachable nature of our subject-hood (the world cannot penetrate it and overcome our mediation of it) we are making concrete claims about the nature of the world and about the nature of relation between entities, whatever the form our a priori structuring/mediation takes.

Interestingly, was discussing this conversation with a philosopher friend the other night, and they made the interesting point that--ironically enough--the Kantian or neo-Kantian position which locates a fundamental break between humans and the world (but not between one human and another) makes philosophy a MORE totalising system than realism does. To allow for the possibility of unmediated access is allow for a part of the world that cannot be reduced to discourse and which is yet a concrete thing (not a shapeless, vanishing noumenon). No Philosophy or theory can then hope to explain the world or offer a full account of it except via indirect indications, since in any conversation, the context that makes sense of the words/ideas includes things that cannot be included into the words/ideas. We cannot form a techne or a repeatable method for bringing those entities into our intellectual system since their power to break mediation comes from them, and not us.

I'm reminded of what Strauss said in a letter to Gadamer about literary interpretation; from memory, it was that every true reading was particular, with no general method: the individual text offers its own method of being read. A mechanical process of reading/encountering reduces the event to an experience, or reads the book only in light of what we already think we'll find in it (a common sin in my own discipline).

But look: I acknowledge that I swim very much against the tide with this, since Kant's broad "copernican turn" remains common sense in most academies and in the wider world, continuing as it does through the work of Hegel, language-philosophy, phenomenology, Neitzsche, existentialism, and so on.

OK, now I have to go meet two separate but equally looming deadlines. :cry:


Top
 Profile  
 
PostPosted: 30 Sep 2015, 17:24 
Offline
porter
User avatar

Joined: 27 May 2013, 14:02
Posts: 1167
Image

Image

Image

Image

walter ferro's woodcuts from the invisible pyramid by loren eiseley.

_________________
which pyre shall the moon ignite each hour
which pyre in my library crimson


Top
 Profile  
 
PostPosted: 01 Oct 2015, 06:54 
Offline
User avatar

Joined: 30 May 2013, 08:00
Posts: 369
as the copernican turn's turn, kitaro nishida might be interesting too.


You do not have the required permissions to view the files attached to this post.


Top
 Profile  
 
PostPosted: 01 Oct 2015, 11:23 
Offline
User avatar

Joined: 08 Jun 2013, 07:29
Posts: 275
crouka wrote:
as the copernican turn's turn, kitaro nishida might be interesting too.


Sounds interesting (on brief investigation) will investigate further.


Top
 Profile  
 
PostPosted: 19 Oct 2015, 03:47 
Offline
porter
User avatar

Joined: 27 May 2013, 14:02
Posts: 1167
Image

Image

Image

came across these illustrations by the hungarian writer/illustrator/composer/everything Lajos Kassák and Dor Rajzaival (later oscar-winning set designer Sándor Trauner) from editions of Kassák's magazine Ma (today). subsequently came across the photograph of Kassák himself, who appears from it to be at once of, ahead and outside of his time. I'm not too familiar with the body of his work, but it seems a decent point of departure to start investigating. thought i'd share with you lot.

_________________
which pyre shall the moon ignite each hour
which pyre in my library crimson


Top
 Profile  
 
PostPosted: 13 Dec 2015, 02:40 
Offline
User avatar

Joined: 27 May 2013, 18:33
Posts: 336
"Klaus Kemp is the sole modern practitioner of a lost Victorian art form — arranging diatoms into tiny, dazzling patterns, like microscopic stained-glass windows."

phpBB [video]


Some favourites: owl, wings, globe. I'd post them here directly, but you need to see a high-res image to really appreciate them.

_________________
the eye of the beholder is in the eye of the beholder


Top
 Profile  
 
PostPosted: 27 Feb 2016, 04:47 
Offline
User avatar

Joined: 30 May 2013, 08:00
Posts: 369
sort of kabuki poster by shunsho katsukawa from around 1774


You do not have the required permissions to view the files attached to this post.


Top
 Profile  
 
PostPosted: 01 Apr 2016, 08:37 
Offline
User avatar

Joined: 30 May 2013, 08:00
Posts: 369
....


You do not have the required permissions to view the files attached to this post.


Top
 Profile  
 
PostPosted: 04 Apr 2016, 18:29 
Offline
User avatar

Joined: 30 May 2013, 08:00
Posts: 369
the look of what is called LHD


You do not have the required permissions to view the files attached to this post.


Top
 Profile  
 
PostPosted: 04 Apr 2016, 18:35 
Offline
User avatar

Joined: 30 May 2013, 08:00
Posts: 369
the inside


You do not have the required permissions to view the files attached to this post.


Top
 Profile  
 
PostPosted: 04 Apr 2016, 22:08 
Offline
porter
User avatar

Joined: 27 May 2013, 14:02
Posts: 1167
i had always wondered what it looked like in practice, as a physical object.. about as alien as I would have imagined something of the sort. thank you for sharing that.

_________________
which pyre shall the moon ignite each hour
which pyre in my library crimson


Top
 Profile  
 
PostPosted: 04 Apr 2016, 22:11 
Offline
engineer
User avatar

Joined: 28 May 2013, 08:10
Posts: 770
Location: Germany
wow, what is that?


Top
 Profile  
 
PostPosted: 06 Apr 2016, 07:24 
Offline
User avatar

Joined: 30 May 2013, 08:00
Posts: 369
http://www.lhd.nifs.ac.jp/en/

it seems that the idea/logic had been around but that the formation of the demonically attractive object was not easy.
the form demanded by necessity/functionality instead of aesthetics.


Top
 Profile  
 
PostPosted: 14 Apr 2016, 06:56 
Offline

Joined: 22 Jul 2013, 18:52
Posts: 7
I.e., the first two minutes of the devastatingly sublime, "From Pole to Equator," by husband and wife filmmakers
Gianikian and Ricci Lucchi. This particular project emerged from a survey of film stored in the state archives of former various former Soviet republics, some under the guise of ethnographic film made as part of a project to systematically record indigenous practices happening within the geographic bounds of the former Russian empire.

Gianikian and Ricci Lucchi came across this film in their systematic survey of the visual holdings that were maintained as part of the bureaucratic strategies practiced by these institutions. The underlying aim of this project was political in nature: Gianiakian, an Armenian filmmaker, whose family suffered under in the project systematic violence now generally understood and referred to collectively as the Armenian Genocide, searched with his partner Ricci Lucchi for evidence of genocide that had been previously denied by the authoritarian subjects responsible for seeing the genocidal strategy through and later for mitigating the extent of the the success achieved by participant groups whose aim was the widespread removal of minority Armenian subjects who lived under in the Ottoman Empire.

The films, which they themselves identify as forming the center of their life's work, have brought to light colonial practices from the quotidian to the bureaucratic technologies developed to support the expansionary ambitions of empire. This film, in particular, has been constructed out of several disparate reels of film discovered in the archives that had been taken during several expeditions to previously unexplored regions that were of interest to the Russian colonial project, principally for the potential extractive wealth to be found in in their yet-to be discovered resource rich regions.

In the process of searching for recorded evidence of the Armenian Genocide, which for decades after the tragedy, was denied by various nationalist organizations that stubbornly continued to support extremist and fascist ideologies, the artists encountered film recorded by bureaucrats who had been charged with recording the goings-on across the newly assimilated territories, memorializing everything from the quotidian to the novel, implemented with the aim of constructing a singular ideology to be shared across a newly unified empire.

From these reels, many which had not been seen again after the initial recording, Gianikian and Ricci Lucchi discovered images memorializing a spectrum of events, from the quotidian to the novel and extraordinary, together that constituted the daily goings-on of empire. They spliced individual frames, hand colored negatives and added the canny haunting score -- the aural component contributing yet another aesthetic layer, making possible an encounter with the the piece that is more rich as a result.

The recontextualization of previously disparate forms may be described as yet another kind of "cutting-up" with the ultimate aim of making intelligible/whole that whose potential in isolated had been anemic: this aids one in understanding the difference between the acts of transformation and that of transfiguration. The latter has always been suggestive of the emergence of a new form of being, something made possible only when one has enabled a phase change that is more than a 2-dimensional, processual change that occurs along a horizontal line; rather, it describes a turning into another by turning into itself; a richness of experience made possible in a space that is made potentially more complex in space with greater dimensions -- a difference that may only be properly described as ontological in nature. Or 1+1=3.

phpBB [video]


metrobulotdodo


Top
 Profile  
 
PostPosted: 22 Apr 2016, 04:13 
Offline

Joined: 30 May 2014, 19:49
Posts: 104
Location: Portland
Georges Baitalle
Quote:
The living organism, in a situation determined by the play of energy on the surface of the globe, ordinarily receives more energy than is necessary for maintaining life; the excess energy (wealth) can be used for the growth of a system (e.g., an organism); if the system can no longer grow, or if the excess cannot be completely absorbed in its growth, it must necessarily be lost without profit; it must be spent, willingly or not, gloriously or catastrophically.



Cai Guo-Qiang

phpBB [video]


Top
 Profile  
 
PostPosted: 12 May 2016, 18:37 
Offline
User avatar

Joined: 30 May 2013, 08:00
Posts: 369
simon yotsuya


You do not have the required permissions to view the files attached to this post.


Top
 Profile  
 
PostPosted: 13 May 2016, 07:28 
Offline
porter
User avatar

Joined: 27 May 2013, 14:02
Posts: 1167
Image
die gänsemagd, paula modersohn-becker

_________________
which pyre shall the moon ignite each hour
which pyre in my library crimson


Top
 Profile  
 
PostPosted: 14 May 2016, 18:53 
Offline

Joined: 12 Jul 2013, 09:24
Posts: 138
Location: swedistan
http://mileswmathis.com/chom.pdf

chomsky as a gatekeeper. interesting read.


Top
 Profile  
 
PostPosted: 20 May 2016, 20:12 
Offline
User avatar

Joined: 05 Feb 2015, 21:31
Posts: 169
Location: NYC
phpBB [video]


An introductory short for a friend's father's auction.

My other half scored, arranged, engineered, mixed, and edited; the paintings, however, are all Blakelock's magic.


Top
 Profile  
 
PostPosted: 06 Jun 2016, 05:16 
Offline
User avatar

Joined: 09 Jun 2013, 07:08
Posts: 163
phpBB [video]

"no that's not my house,
I live in the garage."


Top
 Profile  
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 254 posts ]  Go to page Previous  1 ... 9, 10, 11, 12, 13  Next

All times are UTC


Who is online

Users browsing this forum: No registered users and 0 guests


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot post attachments in this forum

Search for:
cron

Forum hosting by ProphpBB | Software by phpBB | Report Abuse | Privacy