Pollock the Cyborg “In-between” the Past and Future

January 7, 2009

“… [Merleau-Ponty] indicates this aspect of time when he notes that “a point of time can be transmitted to the others without ‘continuity’ without ‘conservation’” (Visible 267). These flashings of time in which one moment comes to be joined with others “without continuity” suggests how moments of time become “piled up,” enjambed, as “sudden reversibilities.” The time of aspects of the “inbetween” may be more like a fractal constellation than that of a continuous “spanning” among moments. We may see that it is in this way, even though we may think we are not directly working with machines, that we might have become enfolded in distant mechanical processes that have restructured what our own histories have come to mean to us.” – Glen A Mazis, “Cyborg Life: The In-Between of Humans and Machines”

George Kubler, like Ad Reinhardt, seems concerned with “weak signals” from “the void”. Beginnings and endings are projected into the present as hazy planes of “actuality”. In The Shape of Time: Remarks on the History of Things, Kubler says, “Actuality is … the inter-chronic pause when nothing is happening. It is the void between events.” … The future criss-crosses the past in an unobtainable present. Time vanishes into a perpetual sameness.” – Robert Smithson, “Quasi-Infinities and the Waning of Space”

The “in-betweens” of time, from one moment to another – the criss-cross of time, are possibly what allows for the cyborg. Our ability to follow rules, making tools and using language is our use of the temporal fractals, and not its continuity. The overlapping, “folding over”, criss-crossing of time is an ebbing matrix wallowing somwhere in the elsewheres of the mind. It is, as I see it, a technology itself. The matrix of time is a technology, not much different than a spear, a smudge of paint on a wall, or a computer. It is a design that is also the designer.

The designed-designer of Time, it seems, would look like this:


With a stick drizzling, splattering, and splashing paint onto a canvas, Pollock seemd to paint his temporal fractals.  The stick twists, with the flick of his wrist, into a prosthetic of his aesthetic expression.  The paint becomes “the past, and the canvas becomes the future.  This play of time freezes the past and future into an “unobtainable present”, or an indeterminate certainty that resembles the fractaled past of grey, blue, black, red, and yellow.  The white future, or the “blank canvas” is at play, criss-crossing the fractal of time.  The present is no longer there in this painting.  It is the fractaled matrix of Pollocks past and future.  Pollock, the expressionist, is an agent of the criss-crossing past and future, animated between the past and the future, where time is the “loopy” animator.

To me, it’s violent, joyous – all of the attributive adjectives to humans. It achieves this through an abstract anthropomorphic rendering. That blasts back at you a myriad of fragments that make non-sense. Sometimes there is something thier – a three-dimensional “skull”, and attribute nouns to the adjectives. This spawns the imagination to bound itself into a fictional world of psychosis. These are the power of adjectives – the power of the world in the middle of the Fruedian triad. Language is at work here in this painting. It becomes alive.


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