'The following pages are the result of a practice has developed in recent years, the political nature of writing. It is an allegorical tale, which conceals that is, below the surface of words, thinking about the world and writing itself, and that is linked to the theme of my operation. This account, together with the book without the actor role (Zone Publishing, 2010), closes a cycle impure, pipe, ie, always on the edge of theatrical and literary system or beyond the division into genres. And finally closes with the stories and representations. From this point forward just the performance as an act of radical materialism, where poetry and body resistance is the dominant ideas'.
....'At the University of London, Whitehead turned his attention to issues in the philosophy of science. Of particular note was his rejection of the idea that each object has a simple spatial or temporal location. Instead, Whitehead advocated the view that all objects should be understood as fields having both temporal and spatial extensions. For example, just as we cannot perceive a Euclidean point that has position but no magnitude, or a line that has length but no breadth, it is impossible, says Whitehead, to conceive of a simple spatial or temporal location. To think that we can do so involves what he called "The Fallacy of Misplaced Concreteness," the error of mistaking the abstract for the concrete.[2]
As Whitehead explains, it is his view "that among the primary elements of nature as apprehended in our immediate experience, there is no element whatever which possesses this character of simple location. … [Instead,] I hold that by a process of constructive abstraction we can arrive at abstractions which are the simply located bits of material, and at other abstractions which are the minds included in the scientific scheme."[3]
Whitehead's basic idea was that we obtain the abstract idea of a spatial point by considering the limit of a real-life series of volumes extending over each other, for example, a nested series of Russian dolls or a nested series of pots and pans. However, it would be a mistake to think of a spatial point as being anything more than an abstraction; instead, real positions involve the entire series of extended volumes. As Whitehead himself puts it, "In a certain sense, everything is everywhere at all times. For every location involves an aspect of itself in every other location. Thus every spatio-temporal standpoint mirrors the world."[4]
Further, according to Whitehead, every real-life object may be understood as a similarly constructed series of events and processes. It is this latter idea that Whitehead later systematically elaborates in his imposing Process and Reality (1929), going so far as to suggest that process, rather than substance, should be taken as the fundamental metaphysical constituent of the world. Underlying this work was also the basic idea that, if philosophy is to be successful, it must explain the connection between objective, scientific and logical descriptions of the world and the more everyday world of subjective experience.
While at London, Whitehead also became involved in many practical aspects of tertiary education, serving as Dean of the Faculty of Science and holding several other senior administrative posts. Many of the essays in his The Aims of Education and Other Essays (1929) date from this time. It was also during his time in London that Whitehead published several less well known books, including An Inquiry Concerning the Principles of Natural Knowledge (1919), The Concept of Nature (1920), and The Principle of Relativity (1922).' quote from Stanford Encyclopedia
Collaboration is working together. Can two people work together without ever having met?
Doron Golan and Michael Szpakowski demonstrates that they can...
Whereof one cannot speak, thereof one must be silent:
The exhibition takes its title from Tractatus Logico-Philosophicus by the philosopher of language Ludwig Wittgenstein. It explores a collaboration between two artists across geographical distance through the ineffable language of image.
Israeli video artist and filmmaker Doron Golan and British artist, composer and educator Michael Szpakowski both make digital films, which they share through websites and email lists, exploring the mystery of everyday life and of being a human in this place and time. Over the years, the two artists have developed a dialogue and friendship through the exchange of their work. Since 2005 they have collaborated to found and curate DVblog.org, a groundbreaking early platform for art films on the Internet. And yet they've never met face to face. HTTP Gallery in North London is pleased to host the first meeting between Golan and Szpakowski and their art, in real space. Making their online collaborative process physical, the central installation has three elements: a new silent film by each of the artists with a new musical composition by Szpakowski. Bearing their shared sympathies in mind, the artists have independently determined the length and subjects of their films. As a result, the correspondences and resonances between the works are as yet unknown, and will change constantly. The collaborative installation will be accompanied by elements of their independent practices, including a new installation by Szpakowski utilising video and silver birch branches and a selection of Golan's recent videos, engaging with elements of life in the Middle East and his native Israel, to which he has returned after many years living in New York City.
HTTP Gallery based near North London's thriving Green Lanes area is London's first dedicated gallery for networked and new media art. Working with artists from around the world, HTTP provides experimental approaches to exhibiting artworks simultaneously in physical and virtual space, and for online projects that explore participative and collaborative art practice. Projects on DVD, real-time, webcast, software art and live art also play a role in their curatorial work.
chick here: Fark Yaralen=Scars of Difference Blog quote from site " MULTITUDE OF BLOGSNone of the PDFs are my own productions. I've collected them from web (e-mule, avax, libreremo, socialist bros, cross-x, gigapedia..) What I did was thematizing. This blog's project is to create an e-library for a Heideggerian philosophy and Bourdieuan sociology Φ market-created inequalities must be overthrown in order to close knowledge gap. this is an uprising, do ya punk?"
... this blog continues to be a bag of tricks ... l originally started it to share sound art links but it has been revamped and is now focusing on language. Like the 'unsound' it still ranges from spoken and sung cacophonies, links to writers such as Stein but now many others, my furiously fitful notion of sounded language and its scores, and hybrid or experimental writing, especially with a flarffy twist. It previously worked for me as a research space for my PhD so posts before April 2023 will reflect that. Just to be clear 'unsound' for me is no way a value judgment ... majena mafe
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