In learning by doing, or by interacting with and adjusting to materials, machines and models, experimentalists progressively discern what is relevant and what is not in a given experiment. In other words, the distribution of the important and the unimportant defining an experimental problem (what degrees of freedom matter, what

Inevitably, that gesture of definition IS the argument. – Uri Khein, comment on preceding post, all further quotations are in italics. The gesture of definition anticipates an argument. Here I am happily bastardising my little understanding of Gilles Deleuze on the order of a risk (material) and a challenge (anti(philo)

To preface these notes with an additional note from Gilles Deleuze – the painting arriving whole and gradually… “And then I made these things, I gradually made them. So that I don’t think the bird suggested the umbrella; it suddenly suggested this whole image.” This text seems obscure, since Bacon

Generality is not the problem. Generality itself is the plane of immanence, of unspecified, all-pervasive significance out of which the actor never reverses. –  Uri Khein, “Consciousness is the Stage,” part 1, (c) 2007 If generality is not the problem, how does it constitute the immanent field of significance out of

So. If in each section or piece, Ida has an ideal object, which is the picture carried in the mind, and she rehearses the steps to reach it and from these steps come phrases of movement; the phrases either head off into unknown territory or already suggest the ideal object

– www.mexartes-berlin.de/deu/film/arsenal.html Reminds one of Cabeza de Vaca (1991, Nicolás Echevarría, dir.). Shamanism meets European rationalism. something warm washes through me like a tide of blood, bringing a sensation of peace. I think, I give up. Which is strange. I don’t know what I’