(ISS028-E-016173 12 July 2011 NASA helmet view from astronaut Mike Fossum)
§7. It doesn’t make sense to suppose that a monad might be altered or re-arranged internally by any other created thing. Within a monad there’s nothing to re-arrange, and there is no conceivable internal motion in it that could be started, steered, sped up, or slowed down, as can happen in a composite thing that has parts that can change in relation to one another. Monads have no windows through which anything could come in or go out! And ·anyway, quite apart from the imperviousness of monads to them, these supposed migrating accidents are philosophical rubbish·: accidents can’t detach themselves and stroll about outside of substances! . . . . So neither substance nor accident can come into a monad from outside.
(Josiah McElheny. Endlessly Repeating Twentieth Century Modernism, 2007.)
§10. I take it for granted that every created thing can change, and thus that created monads can change. I hold in fact that every monad changes continually.
(Anish Kapoor. Cloud Gate, 2004.)
§13. This detailed nature must bring a •multiplicity within the •unity of the simple substance. ·The latter’s detailed nature is a ‘multiplicity’ in the sense that it has many components that don’t stand or fall together·. That is because every natural change happens by degrees, gradually, meaning that something changes while something else stays the same. So although there are no •parts in a simple substance, there must be a plurality of •states and of relationships.
† G.W. Leibniz. 1714. Monadology.
Hermann Hesse. 1927. Steppenwolf. p203.
1. (2012/03/15 R.H. Quaytman @ Art Institute of Chicago)
every picture is a page belonging to a chapter.
every picture has the dimensions of one of six sequential areas of a fibonacci spiral.
representation(s) of the pictures’ side-edge may be superimposed on the image (stacked/leaning/…).
a picture may be re-pictured (modified) on another page.
lines may be torn in the image.
the image may be drawn with ‘diamond dust’.
the sequence of pictures in a chapter may be reordered.
the anti-narrative that the sequence of pictures/chapters tells is not pre-determined, may be discovered/re-fabulated.
2. (2012/03/15 Sara Ludy @ Gene Siskel Film Center)
passage between inside & outside, thresholds & postures.
anti-garden, simulated landscape-architecture.
disorientation, zooming, cropping, panning, layering.
software extended, embedded, embodied.
haptic abstractionism, inter-body-glitch.
window, framing; panes repeating into depth, centrifugal vision.
abode, circuiting/prowling, vacation (snapshots), encyclopedic tourist.
1. (2012/01/17 Jon Rafman @ MCA)
Kool-Aid Man in Second Life: promo video 2009
2. (2012/02/06 Robert Hullot-Kentor @ UofC)
The figure is necessarily comic, though not funny. The sacral –giving in order to get– at the altar became the pieties of the surrendered laboring day that amounts to working in order to buy. What satisfies guilt in the individual payment of the debt, an act of defense, is a moment in the reproduction of the guilt of the whole in the form of the structurally renewed demand for more sacrifice on all sides. The exchange across the counter top mediates itself as do tit for tat, an equivalence of retaliation that demonstrates the primitive content of all equivalence. All that there is to remember of that life is a fright barely kept at bay. What holds it together, tears it apart and masks the toll taken. Nothing is remembered, because all that there is to remember is the calculation of every event in terms of the need to obliterate what preceded it. That is the uncanniness of the collective antagonistic memory in the perception of the “present” under our own eyes. History repeats itself not because the lessons of history have gone unlearned, but because to date history has only taught one lesson: that of sacrifice as the form of self-assertion; as the only technique –the concept of technique itself– by which what is weaker can master what is more powerful in making itself like what was once terrifying. Every exchange quotes up the actual reoccurrence –and not as any return to the past– of the primordial sacrifice in which a nascent humanity was first overwhelmed by what it beheld, and, to master itself, inflicted on itself what it was at the mercy of. —Robert Hullot-Kentor. SEVERE CLEAR – Sacrifice and Right Wishing.
3. (2012/02/10 AA Bronson @ UofC)
4. (2012/02/25 Thomas Ankersmit @ Graham Foundation)
Henri Matisse: Japanese Mask, 1950
Henri Matisse: Verve Vol. VI No. 21-22, 1948
Ellsworth Kelly: Black and White, 1961
Ellsworth Kelly: Magnolia
Gary Hume: Capital, 2011
Gary Hume: Untitled (Nest #1), 2008
what if what I desire I already possess? –mimicry and performance
Every portion of matter can be thought of as a garden full of plants or a pond full of fish. But every branch of the plant, every part of the animal (every drop of its vital fluids, even) is another such garden or pond. –GW Leibniz. 1714.Monadology. §67.
Guo Xi: 山水手卷
Characters can only exist, and the author can only create them, because they do not perceive but have passed into the landscape and are themselves part of the compound of sensations. Ahab really does have perceptions of the sea, but only because he has entered into a relationship with Moby Dick that makes him a becoming-whale and forms a compound of sensations that no longer needs anyone: ocean. It is Mrs. Dalloway who perceives the town – but because she has passed into the town like “a knife through everything” and becomes imperceptible herself. Affects are precisely these nonhuman becomings of man, just as percepts – including the town – are nonhuman landscapes of nature. –Gilles Deleuze & Felix Guattari. What is Philosophy? p169.