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towards day 18 @ sf, part 1

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

reviewing a further comment on a preceding post: Uri Khein on “towards day 16 @ sf: the dancer’s role in RJF project, pt. 2”

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)

towards day 16 @ sf: the dancer’s role in RJF project, pt. 2

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

nothing in general: reviewing a comment on the previous post

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

towards day 16 @ sf: the dancer’s role in RJF project, pt. 1

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

the other is annihilated, the object is hopeless and the subject in his presence is erect: cherchez la femme. Douglas Glover’s Elle.

– 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’

days 14 & 15 @ sf

The actor occupies the instant, while the character portrayed hopes or fears in the future and remembers or repents in the past: it is in this sense that the actor “represents.” … This is how the Stoic sage not only comprehends and wills the event, but also represents it, by this,