Reductive Two-Dimensional Mapping

January 12, 2009

(For those that don’t understand the non-understandable:  )

Allow me to define a few things first, rendering the my words into 2-dimensional maps:

enantiomorphic reflections – This means to reflect the three dimensionality “out there” into the chambers of the three-dimesnional “inner eye” without antropomorphizing it with the analytical mind. Allowing the many reflections to remain abstract.

causality of the scales – Think about it in terms of Scientific scales of the micro and macro worlds – QM and General relativity respectively. Now, the way I see it, there is a scale in-between those scales which is what the instruments of the eye and ear detect. Not unlike a microscope or a telescope. At this scale, there are varying degrees of zooms (like on a camera). If one “zooms in” so to speak, on the structure of language with a “zoom scope”, it becomes a One-way causal “structure”. However, if one “zooms out” and widens the scope to the Eye and the ear, there is this “thing” we can do that Smithson calls seizing the spiral of the “combinatory” sensations of the eye and ear. This is achieved through the senses distancing themselves from the morphology (transformations) of the interpretive mind that can only account for the one-way causality of the subtle scale change, or “zoom” that we experience analyzing language through syntax.

perception as lattices – No. Perception (enantiomorphic reflections) are not “erected” from a lattice, or grid. The analytical one way causal mind is “erected” from a grid that has been detected by the analytical mind, that functions on a different scale than the eye or the ear. So it would be more appropriate to say, “analytical emergence from grids.”

pictures of scales – When one analyizes, with the mind, a “syntactical structure”, it becomes a two-dimensional, very precise picture of language.

round earth to become a potentially infinite flat earth – We need ground to walk on. This is a metaphorical three-dimensional picture of the “temperament” about the relations between the analytical mind (flat earth), and the enantiomorphic three-dimensional reflections (round earth). The analytical mind is encroaching and breaching the enantiomorphic chambers, and distancing us from apprehending the reality around the eye and ear. So, the mind is calibrated at a different scale than the eye and ear.

Site – the experience of an open landscape.

Metaphysics – (in this sense) a transcendent set of limits that restricts the map to rules and the map-maker to rule-following. Whereas art is enantiomorphic reflections, not maps. Metaphysics falls apart in the seizure of experience. (see “Site” below)

–  Literacy works at a scale that is not the scale of the eye and ear. It is uni-directional (one way) causality.

–  The scale of the eye and ear, is a poly-directional, paradoxical scale, that doesn’t “fit” within metaphysical confines.

–  The epistemology you are confined by, if at all metaphysical, is because of the scales “above” and “beneath” (i.e. uni-directional scales) the disassembled array of poly-directional experience.

Metaphysicians confine artists by thier limits in the form of what Smithson would call a “Wardon-Curator” in the metaphysical limits of a gallary, as opposed to letting artists set thier own limits.

Now, take this into consideration:

Site (my interpretations of Smithson)

1. open limits (metaphysics falls apart; Epistemic limits have no merit)
2. A series of points (displaced abstract reflections)
3. Outer coordinates (what is beyond the map)
4. Subtraction (ambiguity)
5. Indeterminate Certainty (no categorical containment)
6. Scattered information (enantiomorphic reflections)
7. reflection
8. Edge
9. Some place (physical)
10. Many

The paradoxes of experience at the scale of the Eye and Ear:

It is a mania for two-dimensional literacy distancing us from the actual. Language is seized by the enantiomorphic chambers (smithson) of the eyes. “Enantiomorphic” means “unchanged”, “not exposed to the anthropomorphic tendencies of the psyche”. Poetry is not to be read, but experienced in three-dimensions through the enantiomorphic chambers of the eye, or the “inner eye”, or the imagination. Language is both expressively and impressevly (or “embedded”) relating to the expressive and impressive experience. Simultaneous enantiomorphic (unchanged) expressive-impressive “dialogue” “constitutes” the experiential seizure of language, where one seizes language and language becomes a seizure. It is not unlike the three-dimensional “inner ear” where sound is an enantiomorphic reflection into the body of experience, where textures, lines, shapes, colors make a three-dimensional reproduction that animates the body into dance. It is unhindered by the literary mania in anthropomorphizing “lifeless waves”, or “dead letters” into an assemblage of categorical content. If language is looked at, and not read, the dead letters make nonsensical reflections in the eyes’ enantiomorphic chambers. So language “itself” is a false notion you hold. There is no “itself’. It is all a relational, process between the “foreground” (landscape), “middleground” (enantiomorphic reflection), and “background”(two dimensional mapping).


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